![]() Marc Okubo (Veil Of Maya) & Misha Mansoor (Periphery) Interview.This riff calls for left-hand flexibility to execute the minor 2nds in Measures 1 and 5, and right-hand versatility to execute the rapid shifts between those arpeggiated 2nds and the tightly muted chugging that surrounds them. Veil Of Maya: Marc Okubo Masterclass (Part 2).‘I like to stray away from using straight power chords in drop tuning, because you can always add the major third or the minor third and play barre chords instead. I try to invent chords in Drop-B tuning that kind of play the bass line and melody at the same time.’ The final dissonant chord Marc demonstrates is a Maj7 voicing with a minor 2nd between the 7th and the octave. Work on each one separately, and then play through each sequence of chords that happens between palm mutes or percussive strikes, which are marked with Xs. The biggest challenge involves navigating between the riff’s fingerings smoothly. Moves like the chordal bend in Measure 2 will require isolated finger strength, in order to bend the top note without changing the others. The emphasis in this riff is on lush three and four-string voicings. The 4th string note is cut short as well, so the only notes that ring out are the quickly-hammered notes on the 6th string that lead up to it. The second section involves a heavily choked staccato riff, broken up with a series of hammer-ons on the 6th string punctuated by a closing note on the 4th string. The F# on the 6th string moves down to a D#, and the D# on the 4th string moves up to an F#. Marc’s tuning, combined with him keeping B in the middle of both chords, allows him to reverse the outer notes F# and D# by keeping his fingers on the same frets but swapping strings. The first riff alternates between two inversions of a B major triad: B/F# and B/D#. Veil Of Maya – Its Not Safe To Swim Today – Verse The riff’s most frequently repeated pattern involves two notes per string – practice the ascending pattern in Measure 4, and then the descending pattern that appears first in Measure 6. When played at full speed, this entire section is a barrage without pause, all the way up to the open power chord at the end. Veil Of Maya – We Bow In Its Aura – Riff 3īesides forcing you to open up your technique to execute the arpeggios in Measure 5, this riff’s biggest challenge is to your endurance. The physical challenge, as in Riff 1, lies in keeping the unmuted bursts as tight as the power chords, while the varying repetitions of the 16th-16th-8th chug pattern require dedicated listens and play-throughs to internalize. This riff keeps up the frantic pace of the song so far by alternating between groupings of chugged power chords and bursts of hammer-on/pull-offs. Veil Of Maya – We Bow In Its Aura – Riff 2 Work on getting this section comfortably up to speed before attempting to jump into the double sweep arpeggio that follows its second appearance in Measure 34. Completing that dance is the action on the 2nd string, which requires both palm muting and fret movement. The arpeggios begging in Measure 26 require you to pedal a palm-muted note on the 4th string while keeping the shifting top note on the 1st string open. Veil Of Maya – We Bow In Its Aura – Riff 1 Without palm muting to help keep your riffing clean and tight, you’ll have to focus your attention on tapping and pulling off accurately in order to keep the riff’s breakneck pace flowing smoothly. Immediately after the stabs of palm-muted diads in Measure 2, Marc executes a series of tapped triplets on the lowest three strings. This first part of ‘We Bow In Its Aura’ involves fast switches between very different techniques. Artist Masterclasses > Veil Of Maya: Marc Okubo Masterclass (Part 1) Veil Of Maya: Marc Okubo Masterclass (Part 1)
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