Slam

With
Tommy WebbTommy Webb teaches 'Slam', a metal band piece built on down-picked E5 and A5 power chords with heavy distortion and tight rhythm.
What's in the course
50 lessons (1h 52m) · 1 free
01. Intro to the Indie guitar sound
Free lesson2:09

02. Melody using B&C notes
3:45

03. Melody using B&C notes (performance)
0:55

04. Melody using alternate picking
2:36

05. Melody using alternate picking (performance)
0:55

06. Melody using alternate picking & D note
2:47

07. Melody using alternate picking & D note (performance)
0:51

01. Melody using B C & D notes
4:16

02. Melody using B C & D notes (performance)
0:58

03. Melody using E note
2:08

04. Melody using E note (performance)
0:46

05. Rhythm part using C chord
2:00

06. Rhythm part using C chord (performance)
0:48

07. Parka Life bars 5-8
1:57

08. Parka Life bars 5-8 (performance)
0:50

09. Summary of Indie section
0:21

01. Intro to Pieces
1:00

02. Rock City
5:51

03. Rock City (performance)
0:50

04. Party People
7:20

05. Party People (performance)
0:46

06. Road to Nashville
6:08

07. Road to Nashville (performance)
0:47

08. Lead Boots
6:33

09. Lead Boots (performance)
0:49

10. Parka Life
5:01

11. Parka Life (performance)
0:43

12. Represent
5:23

13. Represent (performance)
0:46
Lesson transcript
Music Lesson: "Slam" - Metal Inspired Piece
Introduction
The song we're looking at now is "Slam" from a metal inspired piece. This is going to be a lot of fun!
Technique
- We're going to use down plucking for the whole piece to achieve that really tight, aggressive sound.
- We want a distorted tone, so:
- Make sure your amp is on the distortion channel.
- Turn the gain really high.
- Use the bridge pickup to cut through the distortion for clarity while maintaining a heavy sound.
Song Structure
This song is heavily based on power chords, particularly in lines two and three.
Melody
To start off, we have a little melody that sounds sludgy and slow. We want that heavy sound coming through:
- Open E String:
- Ensure a good attack to let the distortion ring through clearly.
- Follow with:
- C: The third fret on the A string.
- B: The second fret.
- Play the third fret with your middle finger and the first fret with your first finger.
Rhythms
- We maintain the finger per fret method, simply shifting up one fret.
- The rhythms in Bar Two:
- A half note followed by two quarter notes.
- Sequence: Open A string, the third on the E string (G), back to that A string at the end.
First Two Bars
Here's a breakdown of the first two bars:
- E, C, B, open A, third on the E string (G), open A.
Bars Three and Four
- Bars three and four are similar to one and two:
- Bar three mirrors the first bar.
- There's a cool lick at the end of bar four to descend back to that E note.
- Play open A to the third fret on the E (G), finishing with open E.
- Use a nice firm touch for the half note E.
Line One Practice
Here's line one, which I'll take slowly so you can join in:
Count in: 1, 2, 3, 4.
- Palm Muting:
- When playing the open E string in bar one, make sure the E has stopped when you're playing the third fret on the A.
- Use your palm to mute the E string to avoid any crossover.
- This prevents a messy sound we want to avoid.
Lines Two and Three
- This part is the most fun in the song! We're playing power chords.
E5 Chord
- Play the E power chord five times (five quarter notes):
- 1, 2, 3, 4, 5
- Followed by three beats of rest and a quarter and half note.
A Power Chord
- In bars three and four, we do the same with an A power chord:
- Play the second fret on the D string with the Open A above.
- Count:
- 1, 2, 3, 4, 5, 4.
Line Three
- In line three:
- We have the same movement but with seven strums of each chord.
- Sequence: Six quarter notes and a half note to finish.
- Count:
- 1, 2, 3, 4, 5, 6, 7, 8.
Line Four
- Line four is the same as line one.
Practice Tips
- Take this song nice and slowly.
- Ensure you're only playing the strings indicated when playing power chords.
- Feel free to loop this song until you're comfortable before building up speed gradually.
Performance Note
- In this metal style, you can pick a bit harder to give the amp more power and distortion.
- Listen to the difference:
- If I go from soft to hard: the harder I pick, the more compressed the amp gets, creating that desired metal distorted sound.
Final Thoughts
- Slow it down, build up gradually, and let's give it a go with the backing track!
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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.

































