Lead Boots bars 13-16
With
Tommy WebbTommy Webb teaches bars 13-16 of the metal track 'Lead Boots', combining power chords, single notes and the F sharp, with dynamic picking to shape your tone.
What's in the course
30 lessons (0h 55m) · 1 free
01. Melody using G note
3:33
02. Melody using G note (performance)
0:57
03. Melody using dotted half note
2:14
04. Melody using dotted half note (performance)
0:53
05. Melody using A note
3:59
06. Melody using A note (performance)
0:53
07. Road To Nashville bars 5-8
2:49
08. Road To Nashville bars 5-8 (performance)
1:04
01. Riff using F# note
3:47
02. Riff using F# note (performance)
0:47
03. Riff using a key signature
2:00
04. Riff using a key signature (performance)
0:51
05. Riff combining power chords and single notes
2:07
06. Riff combining power chords and single notes (performance)
0:49
07. Lead Boots bars 13-16
You are here3:07
08. Lead Boots bars 13-16 (performance)
0:56
Lesson transcript
Metal Section Lesson: Lead Boots
We've made it to the end of the metal section. Today, we're looking at a part from the song Lead Boots, which we're going to learn eventually in this course.
Overview of Techniques
This section combines:
- Power chords
- Single notes
It specifically uses the F sharp, which we've identified at the second fret on the E string.
Power Chords
Taking a look, we have two types of power chords here:
- E5
- A5
Again, we're going to use our rolling finger to get down to that A5 chord. After that, we'll play:
- G with our middle finger
- F with our first finger
- Open E string to finish.
Adding Expression
When this phrase becomes a bit more comfortable, try hitting the strings slightly harder to give it more rock expression.
- This will cause it to hit the amp with more intensity, meaning you'll get a bit more distortion.
Demonstrating Different Dynamics
I'll just show you a few ways to change the sound of the amp without adjusting any settings on our guitars:
-
Soft Strumming: Here's me hitting the strings really softly. You can still hear lots of power coming through with plenty of distortion.
-
Increased Force: But when I strum harder, you'll hear it becomes much more compressed and rounded sounding, with an increase in distortion and gain.
Remember, this doesn't mean pelting the strings as hard as possible, but using firm, controlled power. We're still maintaining good technique while digging in a little more.
Using the Volume Pedal
As I was going through that example, I was using my volume pedal to add or reduce some distortion. We can do this by:
- Pushing our foot down to increase distortion.
- Taking our foot off to decrease it.
If you don't have a volume pedal at home, that's totally okay! You can achieve this using your hands as well.
Hand Technique
- Start off really soft.
- Gradually get firmer.
- Then back off again.
Cleaning Up Your Tone
Another trick for cleaning up your guitar's tone is using the volume knob.
- With my pedal all the way up, you can hear it's really distorted.
- Now, I'll roll back the volume knob about halfway, and you'll hear the tone become slightly cleaner.
- If I go back even more, it gets even cleaner.
Notice the amount of gain is changing, but not significantly the volume. This is great if you don't have any pedals at home and want to switch between single notes and big chords.
Practical Application
This technique is often used in rock music, especially during solos, when transitioning from playing chords.
I'll give you an example of that:
- You can hear how the guitar cleans up without needing pedals or changing your amp settings.
It's worth trying out at home to see if you can get different sounds from the gear you have!
30 lessons
0h 55m of structured video lessons
Advanced video features
Slow down, loop a passage, follow along
Mobile, tablet & desktop
Practise wherever you are
100% satisfaction guarantee
30-day money-back guarantee
Meet your guru
Meet your guru
Tommy Webb is a London-based guitarist who completed a BA(Hons) Degree in guitar at the Academy of Contemporary Music in Guildford, studying under Sandy Beales (One Direction, Wheatus) and Nicolas Meier (Jeff Beck). His own playing moves freely across rock, pop, indie, hip-hop, country and metal - the exact ground his guitar methods cover.
Tommy has worked with a wide range of artists and bands across the country, including Jarki Monno and Indira May, sharing stages and sessions with guitarists Paul Murray (Jess Glynne, Zak Abel) and Adam Chetwood (Paolo Nutini, Mark Ronson), and drummers Alex Woodward (Black Honey), Luke Robinson and “Bambi Music” (N-Dubz, Lethal Bizzle, Wretch 32, Tinie Tempah).
On stage, he has performed at the Jazz Cafe opening for soul singer Jocelyn Brown, plus venues and festivals including Ronnie Scott's, Troy Bar, The Watford Colosseum, Camden Assembly, Kensington Roof Gardens, Notting Hill Arts Club, Meraki Festival and Sundown Festival.
On record and radio, Tommy has played live sessions for BBC Three Counties Introducing, Vibe FM and Pulse 88, with tracks featured on BBC Radio 1 and Radio 2. He has recorded at studios including South Lanes Brighton, Hempstead Road and Titan Studios with producers such as Steph Carter (Gallows, Lyoness) and TMS / Froe Barnes (Lewis Capaldi, Dua Lipa).
In his guitar methods, Tommy passes all of that working-musician know-how on to you - teaching the techniques, tones and feel behind real styles, from rock and pop to indie, hip-hop, country and metal, so you can play the music you actually love.
