Rock Guitar Lesson - Alexander The Great By Iron Maiden

1. Alexander The Great Course Introduction: Hi, my name is Jeff sink and welcome to my course looking at the epic trek, Alexander the Great By Iron Maiden. Hi good soulmates and welcome to my latest course. Looking at the epic song Alexander the Great By Iron Maiden. Alexander the Great is the final triumph from the Somewhere in time album, which was released back in 1986, really is a true classic song. Now as a musician, I've always had a passion for Iron Maiden. Over the years. I have played tall and recorded video lessons covering well over 70 of their songs. Song is a great one to learn with the usual quick, fine guitarists and exciting dual guitar harmonies, which have always been a trademark of Iron Maiden. Lesson has been a challenge to create, mainly due to the lack of life material and they're available for me to check exactly what Dave and aging we're playing. It's a great song, but quite intense and quite complicated. Hence, the reason I made and don't tend to play it live that often for time. So then we go up to the C Sharp. She's spoken in different than the normal. So we're going up the lesson is broken down into easy to follow sanctions. As per usual, I give you a demonstration of what has been played and then I just walk you through each of the parts step-by-step. There is onscreen tablet chip that falls through each of the steps, really making this very simple, easy or cause to follow. So we are just on the E5 and we have got two bars of the gallop. Down, down, up, down, down, up, down, down, up, down. Here for your convenience, the tablature is available in PDF and guitar pro seven format for you to download. So you can work through at your leisure. Techniques you will learn in this song include melodic Scale harmonies, quick shifting power chords, palm muting, and single node firing guitar riffs. So why don't you join me as I show you how to play Alexander the Great 2. Dave Murray Clean Intro Section: Right, Let's look at the opening section and I'm gonna be looking, first of all, what I believe is Dave Murray and also Steve Harris both playing the identical things on the base. If you're the best way you can do this as well. So we're just doing an E5. We're playing seven on the a, nine on the D, and nine on the G. And it goes like this as your 799. And then followed by the triplets, you form is actually going to be playing that D-string five times. Then it's back to we do that four times. And then we move quickly down to the D5, which he's gonna be 577. Same strings, a DNG, and it's the same pattern played four times. Then backup to the E5 sequence on that part. E5 four times, D5, four times, back to the E5 four times. And then down to the D5 four times. That is the ordinary little section with the lead line as we played by average swivel the top. Now from there we go and play an E minor chord, which is across the seventh fret stone from the street. You're going to play 799, d and g. Eight on the B and seven on the high E string, you play the bass note first, so you playing the E plane again. And we play a C major. So we're playing the bar across the eighth fret, so we do an E eight, AND on the 10th fret, then g, nine, and then on the B and the high E string. Just playing eighth using the bar obviously. So it's just a standard symmetrical the game play the base code. Then you go back to the E minor and you're going to play it three times. Back to the seat. One more time. That takes you to the end of the section where Dave Murray is playing on the clean guitar. Easy to play. So what we're gonna do now, we are going to look at the agent is playing over the top of that. 3. Dave Murruay Intro Section: Right, Let's look at the opening section and I'm going to be looking, first of all, what I believe he's Dave Murray and also Steve Harris, both playing the identical things on the base. If you're the best way you can do this as well. So we're just doing an E5. We're playing seven on the a, nine on the D, and nine on the G. And it goes like this as your 799. And then followed by the triplets. You form is actually going to be playing that D-string five times. Then it's back to we do that four times. And then we move quickly down to the D5, which he's gonna be 577. Same strings, a DNG, and it's the same pattern played four times. Then backup to the E5 sequence on that part. E5 four times, D5, four times, back to the E5 four times. And then down to the D5 four times. That is the ordinary little section with the lead line as we played by average swivel the top. Now from there we go and play an E minor chord, which is across the seventh fret stone from the street. You're going to play 799, d and g. Eight on the B and seven on the high E string, you play the bass note first, so you playing the E plane again. And we play a C major. So we're playing the bar across the eighth fret, so we do an E eight, AND on the 10th fret, then g, nine, and then on the B and the high E string. Just playing eighth using the bar obviously. So it's just a standard symmetrical the game play the base code. Then you go back to the E minor and you're going to play it that three times. Back to the seat. One more time. That takes you to the end of the section where Dave Murray is playing on the clean guitar. Easy to play. So what we're gonna do now, we are going to look at the agent is playing over the top of that. 4. Adrian Smith Clean Intro Section: Now I'm staying on the same guitar sound for this. But obviously as you're aware, if you listen to this before on the album, There's a lot of riba on this guitar, awful lot of reverb. For the purpose of this lesson, I'm just going to play very clean setting. Just see you can hear the notes that I'm playing. The book. Yes. No need to comment the sound on this heavily, heavily reverbs and also these gotta be delayed in there as well. So I'm just going to play this through. We're not going to worry about the sound. We're just going to worry about the nodes. So this section goes like this. Now I've stopped it because that last note that I've played, 14 is the start of the next loop, is going to be playing this twice. Both of them are on exactly the same except for one little point, which I will talk about as we go through this. Now, the timing is in C64, the same as the previous section. So we're going 123456123456. Just want you to be aware of that when we play. So it is played over the E natural minor scale. I've seen tableaux natures were the kind of moving all over the guitar, but listening to it and the shift on the strings that I can hear being played through, just really make it ran the C natural minor and it makes more sense that that's the way that agent would have a prompt this. So if I'm wrong, I put my hands up, but to me this is what I'm hearing. So we start off on the 14th fret on the D string. Crossover to the G string, we're doing 1112 than we do in a 1414 on the G to 12 on the beam. Then we've got 13 to 15 on the beam. And then at 1214. And we've always got bumped feel of down, da-da, da-da, da-da, da-da. This always thought when we play it out through a very simple part, but then we've got a 15143 times on the high E string. And then to a twelv on the high E string to 15. I'm back again. So we're on the B string now. We're going to do a 12th. Hammer on the 15th, pull off to the 12th, I'm back to the 15. Easy enough to do that. Then we've got a 12th on the B. We've had 1215 pull-ups to the 12. So we said 12 sing-a-long. Going down after you've done 1215, pull off to the 12th. Ten on the B, to the 14th, on the beak. Let me just do that again. So we've got ten, 121512 on the base string to 14 on the G. Then we got 40 and on the G to 12 on the B, 14 to the 12th, on the g, 1112 on the gene. Back to the 14 to the 12th, on the gene level on the G to the 14 on the D string. Now about 14, as I've mentioned, is the opening note of the next line, but it just follows into it because, you know, we started off on that line. So when we finishing, we go in which he's done no, the status, the second sequence. Everything is the same. From here, we go back. So there's that force and we played. We go on but everything is still the same. We've brought my little 12151259. This is where it's different. Just this one pump. It's not gonna do the 12th. What he does, e goes to the 14 on the G string and use a full tone bank. And then a 121512. That's the only difference. And then he's binds to 1412. Now, all on the G string, 14121112 on the gene 1412. Then we have about 11 to 14. That is the opening section that is played on the heavily doped also delayed guitar by Adrian Smith. Now the next part of this, he's going to be switching to a overdrive guitar. So we're gonna get distorted signal. So I just changed the center, the guitar. And let's have a look what he's playing. 5. Adrian Smith Melodic Intro Riff: So we switched over to a distorted sound. I'm just going to play through the line that he's being played over the E minor chord, going to the C major chord. And it goes like this. Right? So we starting off on that nine. So we're playing nine on the gene. Then we do a 91112 on the G. Cross to the beach bike, to the 12 on the G, I meant to the 11 to D2L. And across banker to the nine on the gene, that's your main theme. Now that won't link, that is predominantly played through first one. That's what we play. The second time. That is one little variation for that. Instead of staying on the nine at the end, we do a band of faults, own band on the ten. So we get this. Unless a nice lazy bank. And then he goes back into now when we hit that nine, we then do a slight up to the 12th fret and bind to the nine. So culminates in this part. I'm going to play through with the one on the band. So all I did put a band on the test. Then I went back to the 91112 on the G ten on the beam, and then back to the 1211 on the GI, 12 on the D to the nine. And then we just do a slight up to the 12th and then bind to the nine. Then we've got a 12th on the D string, going back to the nine. And then we are going to repeat all normal line, which is the 911121011 on the G, 12 on the D. And I bike to the nine. And we gonna get the warm with the band. Then we go back to our usual. That concludes the opening section, which is the clean guitar settings. From this point onwards, we are pretty much using the distorted guitars. So what we're gonna do, we're going to check that out now. 6. Dave Murray Verse Intro Riff Section: So before we jump into the first less juice, check what is being played by day Marie over that sanction that we just looked at by Adrian. Very, very simple. And of course we aren't going to be playing The Iron Maiden gallon, which goes like this. So we are just on the E5 and we have got two bars of the Gallup. Down, down, up, down, down, up, down, down, up, down. And then go into the C 34 bytes, ie. Then we've got ten on the low E string, 108 to a B5. And then we repeat 34. So that is what is being played by Dave. This point. Now, we are in the verses. 7. Adrian Smith Pre Verse Riff: Now for this part, and he feels like the tempo is kicked Tilburg, he hasn't kicked up. We are just playing, instead of playing aims. We're not going to play it in sixteenths. So he's got the feeling of being played faster because we're playing twice as many nodes, they're shorter period of time. But this next link is the same like we were just playing ball. We are playing it quicker. So it would go like this. And I guess repeated there you can see well faster. And could we use to the triangle, you get a beat. It's quicker, but it really is just going from age to the 16th. That's all that's happening in that section. So don't think it's kicking off faster, simple, it's not. So the link is the same. We've got nine. And then 91112 on the gene to the ten on the bike to the 1211 on the G, to the 12th, to the nine or 12, and the D bison on the G. Nice little alternating pig. The second time right? Now, instead of doing the Ben, what do you do is you just go straight to the 12th on the beam. So we don't get a band. Then we go back and play the link. We don't have the seven Combi though, anything like that. We go and bind to two rounded off. We have got on the D string 12109. Let me just play that quickly for you. Quickly. Let's wait. Then it repeats that whole section. Help, easy enough to do. But that's what is being played by Adrian. Don't get fooled into feeling it's a faster tempo, is not just twice as quick on the notes. But if you went through the first part, you will find that power relatively easy. Alright, let's check out the verse sections and also, we'll go back and see what Dave's doing. Overlap a little rest there. 8. Dave Murray Main Verse Section: So that is part of us. We're going to be checking, I want the marriage playing because he's finally easy session in this room, guitar. So it is very simple. We just been playing, He's just the end is different. So it goes like this. You see almost the same only part is the end. We've got the two bars of the gallon on the a to the C5 code. This time we're going to go down to the third fret dog is still a C5, down to B flat, a B five. Then we've got B5, B2 and fought and he didn't know. Then we've got a open, a free on the low E string to an F sharp five chord, which is two on the E and four on the a. So we get this. I'm gonna repeat four times. That is water being played. That's why I went for this first one. Very easy. That sets up a feel for the rest of the song, which is being done. The pitcher here coming through are more being played by Adrian on this. This gives me these kind of gray print makefile you've got. But the core is sitting there with Dave Murray. So let's go now checking what Adrian is doing. 9. Adrian Smith'Verse Section: Finally, for this sanction, agent has got four different ways of playing this. So let's take each one at a time. So the first one goes like this. So we start off with an E5 on the 79. Then we do an E 5D, 5D file. Then we're going to play an E minor chord. Sit down, up, down. If I've typical bar on the seventh fret you, so you do an A7, then you've got d and g on the nine, B8 and the bar, obviously pulling in the seven. So we get then we're going to lift off the fingers apart from the bar, which will not seven. We get. Then we move down to receive five, which is same as what you saw when being played by Dave Murray. So we do a C5 to be flat. It was day. And then open three on the eight. And I've shown five. So that last part, n to the c, is always going to be the same. Differences. That is by the same. Next one will be easy, this warm but still little a change. And again, each silver, that second part in the E5, we start off the same. So stop E5, e5, D5, E5. Then we've got the bar across the seventh fret and he's holding down D9 and he just plays that twice. Down to the C5 anesthesia. Third one. And this one is the busiest one of them, but it's still not too bad. So we plan on A5. Then we do. And that's what we've got there together. D Phi, d Phi. Then we've got open E string. It's the seven on the a string. And then we got 91097. You got that little delay because we played dotted eighth notes down, down to the C5. Let me do that again. Now the final one, again, e sound a little bit of middle sanctions. We start off the same. So it's exactly the same as the usual ones. Then we go to an E minor, but it's any form. So we doing there, we've got the bar on the seven. You're holding down your third finger, D9. And your second finger is going to be holding down. But we know playing at this point, but he's gonna be in position. He's gonna be playing the b eight. A little thing is playing beaten. Then you lifted off and then you're playing my seven back to the sea. So they are the three that are being played by Adrian scan an effect on that as well. He does sound like a bit of a flanger that's going through that because you can hear it's shifting on their tools sound. So he's playing through CVA or he's doing a very, very controlled on the wire, but you can just feel this, especially when he's doing now. Then little sections and of course, just feel like there's something going on there. And shortly new list to the front. You'll know exactly what I'm meaning on that. Anyway, that is diverse sanctions. Let's go and check out what's being done through the course. 10. Chorus Section: The corresponding details on plain sink holes in the same position. I can't hear no difference between them. So very simple to play through this and I'll just do it to spray them the cota. So it goes like this. E5 for whole bar, d Phi for whole bar, the strings. So you do it 577 on the, AND doing an A5 back across the extreme, doing a C5, D5. Repeat the whole thing all over again that she calls, could, can easily get it off these courses like that. Now, we are going to be going deeper into the soul, done the choruses we've done. The first is, what we've got is these interludes through all of the different parts. So what we're gonna do now is work through interlude number one. 11. Interlude 1 Adrian Smith's Section: Right, Let's just first look at interlude number one, which is the easiest form of a whole interludes in this song. It is harmony. What I'm gonna do, I'm gonna play adrian Smith's harmony first because this is the one that you were predominantly hearing when the trunk is played. So it goes like this. Then that would repeat itself. So it is a two bar loop. Then all we're gonna do, we're gonna move the strings. We just move everything down. One string. Play the Tirith descent, which makes it fairly easy. So first of all, the first two bars started off on the seventh fret on the a string. We're going to play that twice. Then we've got a 910 back to a nine. So we got crossover to the seven on the D string, just playing at once. Bike to the ten on the a, and then back to the nine, and then back to the tenth. So again, finishing on the 7th. So first part, second part, we move down to the eighth fret on the E string. We're going to play that twice. We do tear on the cross to the seven on a bike to the ten on the eight. Up to the ten again, I'm finishing off on the first finger on the seven. So that last part, figuring wines, what you can see that on bead spreading this across all of the fingers. When we're playing the first part of playing out with my first finger and then using the firm and the little finger across the nine and the ten, and then move it across the first finger again on the seven. When I move down to the E string. So when I introduced the second finger for, so really what I've got is a cross 78910. I'm just using the fingers that correspond. First finger, second finger, third finger, little finger. Just keeps it more and more organized. So that's the first part. As I've said, what we do now, we just change the string position. So if we started on the a, on the previous one, we are going to start on the D string on the seventh. Same Bristol, exactly the same note, positions, Frank position. So it's seven two-sevenths and then nine to nine cross to the seven on the G. Ten on the d, 1091097. So then said second finger then moves down to the eight on the, a string. Up to the ten, seven on the D. Like of a 1080 tonight, finishing on the 7th. And you're going to repeat each one of them. So it's always a two loop. So the first one, repeat. And we do the exact same thing on the second ball when we move up. So that's what Adrian is playing. Never going to check out what Dave is doing. 12. Interlude 1 Dave Murray Section: So the phrasing for the league is exactly the same. But there's not as much movement on this form whatsoever. So let me just play through and then I'll break it down for you. Okay? So we are starting this leak on the a string. Again, I'm with plain vanilla twice crossover to the D string. And we do a 7910 to the seven. And then we do a 109. And then we've got a 797 on the D string. Finishing that little parma on the temperature and the aim. Next part due to tens on the, to the 79 on the d. And then we go back and do the seven on the D. Ten on the a, ten on the D, and finishing on the nine on the a string. So now pump. And again, I've done the same thing. I'm using across the whole red. I'm using the four fingers. First, second, third, fourth, 78910. Next part. Move everything down. So we'll be starting on the d ten. So we get this. So that is 1010 on the D string, 79 on the G string, followed by a 71097, and then 79710. And then we've got 1010 on the D 797 on the bike to the ten on the D seven on the gene. And then back to the nine on the D string. Let's say you play each one of them lakes. You do it twice. Move on to the higher position and do that twice. And you can see that's not too bad at all for the interlude that this point, we would then go back to averse all the way through the verse. Then straight into core section, played all the way through the course as we've shown you. Then we hit interlude number two, which is the big interlude. We are going to go through it. I'm going to break it down stage by stage for you. First thing though we are going to look at in this interlude is that rhythm section that is being played. The bass, the guitar, which is Dave Murray on the guitar, I believe, on this section. So let's take a deep breath and let's get into the main interlude section. 13. Interlude 2 Dave Murray Section: Right. Here we go. Big, big session here looking at this credible, credible interlude sanction. Previously, we have been playing in 44 time going through the course sanctions than we've been playing also in 646810, whichever way you want to look at that, she'll be on more comfortable with. Now in this part of the song, we are now switching to 78 time. Which means if you are not been playing in a strange time signatures, we are going if you've been an eight a time, that would be 12341234. And so it will be an even number, top lumber even bottom number even. We have got an odd number, which means that you have got 7 eighth notes in a bar. Trying to explain that in a simplified version. If we was playing 1234, we normally go to the end. But in this one we don't, it'd be 123412341234. So we are dropping one of the apes, hence 78 time. That would be fine if we just playing 12341234. But we're now we're putting a little bit of a groove into it. But when I started slowing this down, that's when you can start to hear the rumor little bit better what's being played. So we've got a pretty much focus on that. The ultimate speed on this. When you first start playing this, I'd say for you to get into plucking visit. Of course, this is a very complex section, but we have got this line. That's what he's playing on the rhythm. Now if we look at it by the bar, we have got easiest one I see on this you've got to apes, which is just I just play them as two downstrokes. Then we have got four sixteenths. Sixteenths, followed by then two down-strokes again. Now that's an even number. Then we've got that little kick, which is that set of nodes. So let me do that a little bit slow. So I'm going that little key. When I do that. That's the start of the new Baba second part. And use the ribbon. Now, we are going to play in the first instance, we aren't going to play at home. The second fret of the B got to play it out for eight bars. So Muslim shuffle it up eight times. Then we're going to go to the open a string. We're going to play it out four times. Bit is just not quick because you're going you got my last bar on the beat four times. Then we go back to the bead. I'm going to play it out full time. So again, practicing between the a to the b, do the before times. Let me go back to the a four times. Then it goes back to the beat four times. So then we go up to the C Sharp. She's opening different than the normal. So we're going up. Do that four times. Then we have got one more. Move up. Again. We aren't going up to the sixth fret, so we're going up to the D-Sharp and we only going to play it out three times. So we got that wrong. See, who's on that one? Still a claim on my visit. And of course, he's not gonna get on that because that will be the end of the bar. Mr. because that would be the end of that section because we've got them free going into that. So that is the rhythm that is being played through that section that is being played by Steve Harris. And it is, I believe on, but just playing on that notes. That is Dave Murray. Because behind that you've got a whole bunch of different lead lines that are being played by Adrian Smith. Just wanted to cover just one little part is coming out of that. You have got some double stop bands that are being played by Dave Murray, which takes us into the second part of the interlude section. So we're just going to check that out. Then we can have some fun looking at what Adrian is playing. This closing little sanction as best I can hear it when I've slowed dish write down goes like this. That's what I'm hearing or just one I believe I'm hearing anyway. So you're coming out of that last part. We're on that sixth frame, drama to D-sharp. What I'm doing there, I'm just playing for fret on the B string. And then going across to the seven on the G string. And we got a band bending the help of a belief that same. So halftone. Back to the note on the fourth. So we go in for 7.5 tone, bent back to the form. Move on to French are on the sixth frame. And we do the same family doing sinks going to the nine on the G half tone burnt. Then we move up to more friends and we're doing an eight to 11 on then to finish it, we doing an 11 on the B string to 12 to ten on the gene? That's what I believe he's doing that he encountered with what's going on behind it as well. But that is over a free fall time bar. And at that point, that would take us into the second part of the interlude, not the end of the second part of the balloon. So that is through that irregular time section, that is what is being played by Steve and also by Dave. Now what we're gonna do, we're going to look at all the various links that are being played by Adrian through that. 14. Interlude 2 Dave Murray Closing Section: Well, we're going to quickly look at is the sanction that takes us from the main interlude back into the op tempo beat. So I'll just play it through and then I'll break it down for you. So it goes like this. Simple. I'm going to start off with an E5 power chord to around 79 on the, AND you can also hit the open a string as well, be in Guinea. So we can play it out. Then we're going to play 98 on the D. Now this is a 64 bar, so 123456. So we get a longer break on that. Then we do a B52, an E5. So we playing 79 directly above it, going down to the E5. At this point, we all know back in 44 time. So that'll be easy to figure out the timing on that. But your first one was do the same thing, the 98 on the D string. Then we got this little link here, which is, which is ten on the a to the eighth on the d, 109, on the a string to 678. So we get done. Then we go back, we plan up be five to the FIM. Usual over that 98 on the D. Then we are going to finish off with very similar pattern to what we've just played. We're going to play ten on ten on the a to the eighth on the D. Then we've got a 10971097 on the a to the seven on the E. And then we're going to play up to a C5 power chord followed by d Phi public also we doing, does you see two frets higher? Does your d. So that last part, let me just play out through. So again, this point we're into what would be known as interlude number three, which is heading towards the source sanctions. What we're gonna do quickly, look at the rhythm that is being played by David Merrick. And we'll also look at the line, the melodic line that is being played by Adrian Smith over the top of that. 16. Interlude 3 Adrian Smith's Section: Right, so when I do now, I'm just going to play the line that is being played by Adrian Smith, which goes like this. And that just repeat trend until we get to the solo. So what are we doing? What we start off on the D string and we're going to do a seven, 910 crossing over to the seven on the G string and then back down 1097. Next line starts off on the ten, on the D string. And we're going to cross over to the G string to do a 7910. Back to the night. So we get this ten, right? So what we're doing there, we start off on the D string and we're going to play 7910. Cross over to the G string plus seven. And then we do 10987. We go back down on the D string. Next line starts off on the 10th fret. On the D string. We do a 791097 by coupon luxury. Then we credit finished that little line with an eight on the B string. So, so far we've got this. Now what I do then, I switch over to my first finger because I've gotta do an eight on the height on the B string with a 1010 across the beam on the G. So we get 810, Finishing on ten on the gene. Then we've got a 1097 and then the G. And then a 1097 on the a, decent finishing on the ten on the a. So we get us along with squamous. Then we've got a 1010810. So we get eight on the D string. And then it got 8888810 on the day to bank to the eight on the D. Finishing on the eight on the end. This is when you playing this, you gotta get that feel of bada, bada, bada, feeling the background of that seeks for time feel. You play, thinking for four times, it just doesn't work. You get locked out of that field. So as you playing these lines that say you're playing on. And then the same thing, which was that on the D string doing that 8810 to the eighth. And then you repeat that point that we enter into the first of the guitar solos, which is adrian Smith's, which we'll be covering it in a separate section. 19. Adrain Smith Guitar Solo Lesson: Now we are going to look at ages Smith's cranky tassel. In this. I have to say this guitar solo has got so many cool little blues pentatonic links that this solo to me is a must for intermediate. Even the beginner intermediate, looking to play solo link. Don't have to play it as fast as Adrian who's playing the Blitz seeing through this, that's why it makes it sound so rocky. But so many of these great little links in here just contained in this short little lesson, can be used for your own personal playing. And what I'm gonna do the back end of this lesson effectively a separate lesson to this one here is to show you how to incorporate a number of these leaks into your plank. Go through this lesson now and then click on part two, which is some blues-based licks using the same ones that you are learning in this section, I have some phone, right? Let's look at the opening lake, which goes like this. Okay. What we're doing, we started off on the seventh fret, on the G string. We're going to pick that and do a full tone, bend them. We're going to tap out on the 15th fret. So at the top of the band, we're going to tap on the 15th fret on the G string like this. We then going to, and at the same time pulled back to the five fret on the G string. So let me just try and do that in slow, tough here. So you've got this crossover to the seven on the D. And we're going to do a 575 entirely together. Now, we've got a really nice blues pentatonic lick. Really isn't a link that you can use yourself. You're going to steal anything from this lesson. This link is a cracker to use. So we're going to start off with a full Tom band on the eighth fret on the B string. So we bend that crossover to the five fret on the a string. Let me go back to the eight on the B and we're gonna do an eight to the seven on the beam. Then we've got a seven on the G string. I get seven on the G string. We're doing a typical kind of blues line from here, where we gonna go from the seven with a band and then do five on the beat and five on the ear. So it's like a mini sweep. So, so far we've got this. Then we go back to the B string and we're gonna do an eight to a five again. At this point, we are going to take in the blue node. So we playing through the a blues scale because he's gonna go to the aid on the G to the seven and the five moves down to the seven on the D. Now, probably not the metal plates. We have now got a squealing on the seventh fret on the G string. So we gotta tell you I miss it. We've assault on Ben Paulina off to the five on the G. So let me just try and plan out a little bit slower. So since these two links there, but because they've running after each other, I've put them both together. Right? Let's look at number two, which is used twice in this song. This one is a tough one to here what he's playing you and I've slipped the trunk down. Just listen to what I believe is what he's doing here. It's all based around hammer on and pull off. So it goes like this. I said that's what I believe he's doing. So what we're going to do, It's all across the seven, the five, and the four. We're also introducing the open strings as a pull off base to it. But he does start off with one peak will be doing a 75. Then from there on, we just gonna do know how many times is he doing that? Depending on how quickly you can play in this view is playing this and you just wanted to learn the song does to get close to the soma, you might end up playing a little bit slower. But when I do now, I tend to be playing that four times, finishing on that four. So I get it. So it's a very touchy feely little late. Let's say if you couldn't get the speedup, you probably do a little bit less. Just to fit in that little section there. Again, you can play it even quicker if you wanted to get as many, but you're starting at the beginning of the bar, one, 23456. So that link gets played second type as well later in the song. Right? Let's move on to the next lake, which again, this same format gets used twice in the soul. Just one little variation at the end of it. So it goes like this. What I'm doing there, I am playing first fret on the a string. Then I play on to the three, sliding into five. Crossover to the three on the D. Then I do in a five to seven on the D to the five. Then I just dive, bomb, dropping down and kill off the note. So slow motion, fairly simple, like I say, we do another variation of that later in the song. Right? Let's move on to the next phase. So next slide. So what we're doing though, we started off on the seven, we hit that warm. Then we're going to do again seven again. But we do an 87 off to the five. So we go back to the seven. Repeat the 7875 again, but this time we're going to finish with a full Tom bands. So you put the two together. Then we've got this 878, that is the capsule. Next part. We are back on that 7875, but then we do another 75 at the back of that. So we get then we do an eight on the beam, cross to the five on the bike to the age of five again. Then we have an 85 on the beach. So we get, then We do eight to five on the crossover to the G string. And we do the five, the seven, and the five, the seven cross to the five. So we skip a string, we crossover to the E Fi, back to the B string, A5. Then we've got this typical bluesy Lake. We're doing a full tone bend on the seven, on the G. Pauline back to the seven and then pull up to the five. So again to the seven on the D. And then back to the five on the gene. Entire thing. Nice and slow. Slower again. Right? Let's move on to the next link, which goes like this. Let me scale. You may just scale on it when walking down through there. What we're going to be doing is playing for five on the cross to the seven. So what we're doing now, we're doing a 45 on the G to the seven, on the D string. Back to the four. Let me do a five for sure. First part, we move down and we do a phi of 35 on the D string, then we do a three. Sorry. So what we're doing There, we are. So we start off with a 45 on the gene to seven on the D, back to the four on the G. Now on the D string, 57, shift down to do a 35. Move down again to do a 23 on the D. Reach down we a little finger to do the five on the a to D string. And then we do a 35 on the a. Finishing with the two classical field, not just moving down our scale. Now we go back to that lake that we played previously, only variation. Now we've got a full tone bend on the B string on the 8th, France. So we get this semi gain, that one to the three slides to the file. Three on the D string. Five to the seventh slide bank to the file. And then move up to the eighth friend, Tom Ben on the aid, and then back to the eight. So that comes at the end of that little passage there, right? The next League, very, very jaw Satcher Yanni, surfing with the alien. We're gonna be using the edge of our pink to play in this lake. Main finger watch it is the sound of the other strings getting in the way when the pixel, we're gonna be doing this. So we run in now, Dad, dad, dad, dad, but the peak is doing a constant on the 13th fret. The notes we're going to be using on the rundown are going to be 121086. So we get m with a ton of the beet juice hammering down on the edge of the front edge of the pink is being used instead of using your finger, you get because you want to get this speed and because he's saying we are using and we just move down, then we've got a 56 to the eighth. That's all on the beach, right down through the seats to the five. And then we do a five on the G. And then to a five on the day. That a try and do it a little bit slower. Too easy to do that. A lot easier when you're pumping away without peak on the end on that fretboard doesn't make it a little bit easier. Now, we're going to revisit the lake we played at the beginning again, which is that pull off the hammer on the polar form. So soon as you become a same luck again. Right? Let's look at the last link, which goes something like this. What I'm doing there, I'm doing it an 85 pull off on the high E string to the eight on the B string. Bank doing an 85 pull off to the eight and the b to the five. So than I do in a five on the B, followed by a seven on the G. To define, i'm, I always like to see that as the first sanction of this link. Next part, we do in a 87 on the G, followed by 875 on the gene to the seven on the D. Bike, to the seven, on the g, to the five. And then we've got to run down here where we're going to play 75 on the D, 75 on a mini sheet on the three. So altogether, He's the end of the guitar solo. 20. Improvise Using Licks By Adrian Smith: Right, As promised, I'm going to show you how you can use these lakes that we have learned in this lesson and play them over a piece of music that is nowhere near related to an I am song. But by changing some of the phrasing but none of the nodes. It sounds okay, right? Right. As promised, we are going to use these lakes to play over. A piece of music is in the key of a minor, but he's nowhere near related to an Iron Maiden Song. So this is the piece of music that we're gonna be using. Nowhere near. And I had made in pieces it. But what I'm gonna do now, I'm going to put that piece of music, corn. I am going to use these lakes fish. I'm not going to use the one I am going to use is this one. I said that I might just sneak that one end of it later. Anyway, I'm sure you will pick out the links as I play through. So let's have a go. As you can see, that whole solo was comprised of all of them licks being played by Adrian Smith. I even managed to get that one in there as well. And he said he pretty good, better than what I thought it was. I did try to run them through at the beginning in the sequence, but later on, then I just use them as I felt light just playing out. And then I think I went. It was quite nice about ICP, give them space. In fact, let's do that. I'm going to open these open, just give them a little bit of space, a lot of gap between what I'm playing. So lung tissues have not gone away from any of the links whatsoever. So the link, it will be below for the piece of music I've been playing there. And you can experiment with these licks that you've learned in the original soil by Adrian Smith. Because they're all pretty standard legs. He's just, he's playing them as I've said before, he plays them faster and the music behind the rock. But when we've got more of this kind of, I'm not sure. You've got here just a standard Belady tune. And of course, if you played with some of the effects, if you're lucky enough to have multiple effects, echoes deletion, really go to town on it. Anyway, the main thing more than anything is to have some form when you're doing this and hopefully learning these lakes from Alexander the Great. You've taken some of the ideas and some of these legs and you're going to incorporate them into your old playing. Enjoy yourself and I speak to you real soon, until then. Goodbye.