Watch On
Rhythmic string bending is a crucial aspect of many riffs I create, and a prime illustration of this technique can be found in the main riff of Holy Roller, which I recorded with Spiritbox for our 2021 album, Eternal Blue.
Figure 1 showcases the primary riff of Holy Roller, which I execute during both the introduction and conclusion. The initial six measures are played solely on the seventh string, featuring a series of pull-down bends and releases that repeat.
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In the first measure, I start with two unbent eighth notes at the 12th and 9th frets, followed by two rapid ¾-step bends and releases at the 13th fret during beats 2 and 3, articulated in a 16th-note rhythm. The measure concludes with a return to the unbent notes.
In the second measure,syncopation is introduced by emphasizing the upbeats,particularly on beat 3,where I bend the note at the 9th fret up a half step and sustain the bend into beat 4. The last note of measure 2 is tied to the first beat of measure 3, enhancing the syncopated feel, followed by another half-step bend. Measures 3 and 4 largely mirror measures 1 and 2, but measure 4 concludes with two palm-muted eighth notes on an open A5 chord.
Measures 5 and 6 effectively reiterate measures 1 and 2,leading into a substantial F#sus2 barre chord played across all seven strings. This chord is shifted up and down the neck in a syncopated dotted-eighth rhythm, with each chord held for one and a half beats, creating a striking effect when executed in succession.
The riff culminates with another pair of palm-muted open A5 chords, followed by high natural harmonics (N.H.) chords on the top three strings, strummed as 16th notes using alternate (down-up) picking.
To produce the harmonics, gently rest your pinkie finger from your fretting hand across the top three strings at the “3.2” location, which is slightly beyond the 3rd fret.
As with many of my riffs, the addition of bends is essential to prevent the riff from sounding monotonous. When executing the bends at the 13th fret, aim to consistently raise the pitch by ¾ of a step, which lies between a half step (one fret) and a whole step (two frets).
Figure 2 depicts the breakdown verse riff of the song,constructed from a two-note F/A chord played on the lower two strings and strummed in a syncopated rhythm with palm muting (P.M.). I utilize all downstrokes here, except for the pairs of 16th notes, which are played down-up.
The syncopation is achieved by accentuating specific eighth-note upbeats (the “and” counts) and sustaining the chord into the subsequent downbeat.To internalize the phrasing effectively,practice the figure while tapping your foot firmly on each beat. Begin slowly and gradually increase the tempo to match the recording.
In measure 8, I again play “3.2” natural harmonics, this time across the top six strings. I strum the harmonics with upstrokes on each eighth-note upbeat. The key to achieving the desired sharp attack is to incorporate a bit of the flesh of your thumb into the strum, which will also help to accentuate the harmonics.
