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As evident in the proficient use of symmetrical fingerings in his playing, Dimebag was never one to shy away from “outside” playing. In fact, he actually shied away from using scales and modes in any traditional fashion. While clearly knowing what and where notes would be in key, Dime would often use the notes “between” scale tones as a way to create a mood and add tension. These chromatic licks, using passing tones between scalar tones, made up a large part of his playing. To demonstrate, example 17 is a lick that Dimebag would often use to bring a solo to a crescendo. Not only does the lick sound good, it’s extremely easy to finger, allowing more musical movement in a limited physical space.
Another thing Dime would often do is take a simple lick like that shown in example 18, and simply move it chromatically.
Example 19 shows the lick moved chromatically up the neck one fret at a time, while example 20 shows the same lick moved chromatically down the neck in the same fashion.
Chromatics weren’t just a lead technique however, as Dime would often use chromaticism in his rhythm playing. This was only one component of his “lead-rhythm” technique, but when used in a riff it was extremely powerful in creating movement, texture, and mood. Example 21 shows the use of chromaticism in a Dime-style rhythm riff.
Another use of this technique, this time moving downward chromatically, is depicted in example 22.
As with all of the other techniques used by Dime, there are countless possibilities available for variation, and experimentation in your own riffs and licks is highly encouraged.
Commandment 8: Go “Off”
In a similar vein to the use of chromatics, Dime made extensive use of the wrong” notes in any given key, often featuring them in his riffs and licks." For example, the notes diatonic (in key) in E minor are E,F#,G,A,B,C,D. Being that there are only 12 notes (A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab) in the octave, there are 5 notes that are non-diatonic when in any given key. Therefore, when in E minor, the five notes that are non-diatonic are F, G#/Ab, A#/Bb, C#/Db, and D#/Eb. Theoretically speaking, these intervals (relative to the root) are the flat 9, the major 3rd, the flat 5 (tritone), the major 6th, and the major 7.
Dime was a skillful manipulator of these “outside” notes, often using them as the focal points in his riffs and licks. Unlike other players who would view using these outside tones in the manner of modal substitution (playing lines based on relative modes which use these alternative notes), Dimebag looked at all 12 chromatic notes as part of a greater, more cohesive, all encompassing “super-scale," with no-holds-barred usefulness of all notes relative to the root.
As we’ve previously looked at the use of the major 3rd, and the flat 5/tritone is a metal and blues staple that speaks for itself, we’ll look at Dimebag’s use of the other 3 intervals in his playing. As an excellent example of this use of the “wrong” notes in a given key, example 23 uses the flat 9 (F) and major 7 (Eb) played against/in unison with the E root.
Example 24 uses the flat 5 and major 7th.
Example 25 uses the major 3rd and major 6th as the prominent intervals.
Commandment 9: Play “Texas-Style”
One of the overall coolest aspects of Dime’s style was that he never played in a “normal” fashion. No matter the note or chord, Dimebag always articulated it by putting a little “English” on it. In “Dime-speak,” this was known as playing “Texas-Style." Dime would play notes/chords with any number of techniques (sliding, bending, muting, mutating with the whammy bar and/or pedal, etc.), making them drip with style.
Accomplishing this sort of playing is as simple as throwing a slight bend or artificial harmonic on the notes in a chord. Another method is taking “target” notes written for a riff and then playing them by approaching them from a ½ step below and bending into them. Example 26 is a riff using this technique.
Example 27 is the same riff played non-“Texas-Style." Notice how much more interesting it is with the bends and harmonics?
Example 28 shows how Dime would get extreme mileage out of just 2 notes (E and F) through the use of slides and micro-bends. Palm mute the open E notes for maximum effectiveness.
I suggest really listening in depth to your favorite Dimebag riffs and licks and checking out the nuances that make his playing so special. The personality that Dime put into his playing truly took the Van Halen mantle and raised the bar.
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