Michael Jackson’s “Smooth Criminal”: A Grade 6 Guitar Song Analysis

Introduction

The Grade 6 level song “Smooth Criminal”, from the Trinity Rock & Pop (2018–2021) Guitar syllabus, is a good medium-level piece to choose from the prescribed list. This iconic song was originally written by Michael Jackson and appeared on the Bad (1987) album (listen to the original version here). It should be noted that the Trinity syllabus makes use of an altered version of the song that was covered in 2001 by the alternative “Hard Rock”/“Heavy Metal” band Alien Ant Farm (listen to the cover version here).

It is recommended to make use of a specific type of plectrum (pick) to execute this song efficiently. I advise using a “heavy/thick” pick (0.85mm–1.20mm) with a “sharper/pointed” angel. A Dunlop Jazz III or a special edition Kirk Hammett Signature Jazz III pick will suffice.

The reason for this recommendation is because the song is quite fast and requires speed with precise pick control. In my opinion, “heavier/thicker” (0.85mm–1.20mm) picks are often used in the genre of Metal because it is easier to accent and produce heavier “chugging” rhythms and “blistering” solos with these types of picks. “Softer/thinner” or lighter picks (o.45–0.69) are better to use for open chords and strumming (when a “lighter” sound is needed).

One should also keep in mind the type of guitar sound/tone one is personally looking for. All that actually matters is if you like the sound of your guitar or the tone. You do not necessarily want to be an exact copy of other musicians. You should strive to let your own “sound” shine through. Additionally, finding the right type of amp and distortion is also important. Specifically for this song, the Gain should be kept at about “7” to avoid unnecessary distorted feedback (turn it up to “12” if you want).

From personal experience, the type/brand of amplifier, pickup, and guitar makes a huge difference in the overall sound of the performance of a song. Without going into this in too much detail, I have noticed that ESP ltd guitars (specifically those with EMG pickups) have a more bass-heavy tone. This makes them ideal for playing Heavy Metal riffs. On the other hand, Fenders have a more treble “tin can” tone (especially those that have single-coil pickups). Subjectively, I feel that Fenders are ideal for playing Classic Rock, Jazz, or Country songs but this should not stop you from playing as many genres as you possibly can on any guitar you want (no matter the brand).

The abovementioned digression into considering pick, guitar, and amplification type (and wattage) is important for any guitarist to know. Especially those that are at the level of, and currently entering into, Grade 6.

Intro Riff Analysis

This version of “Smooth Criminal” is in the original 4/4 time but appears to be in the key of “A Natural Minor (Aeolian)” (there is no “G#”). One will notice that it opens with a tonic “A5” power chord before heading into the iconic main riff. It is unlikely that it is in the relative key of “C Major”.

The main intro riff idea has an almost awkward rhythm. It opens with a quaver rest that then leads into semiquavers.

Admittedly, it is easy to aurally hear and mimic the riff (especially if one knows the song well enough). Otherwise, if one struggles with this riff a quick fix is to divide the semiquaver pattern into units of 2 to make it a bit easier to conceptualize rhythmically.

To clarify, it is easier to rhythmically say, internalize and count 8 semiquavers (divided into 2 units of 4) than reading 6 semiquavers. This is especially true when you are in a 4/4 time signature. One tends to want to keep the divisional units as clean and clear as possible.

The reason for pointing this out is that one may often struggle to play this rhythm cleanly and precisely. It is therefore important to practice this riff slowly (with a “heavier/thicker” pick as suggested earlier).

As for fingering, make sure your hand is at the second position — Position II (with the first finger at the 2nd fret). For this riff, this means that:

• The pinky (finger 4) from your fretting hand will be playing fret 5.
• The ring finger (finger 3) will be playing the 4th fret.
• The middle finger (finger 2) will be playing fret 3.
• The index (finger 1) will be playing fret 2.

Before one attempts to jump straight into playing this awkward rhythm at full speed, it may be beneficial to check out and practice one’s pick control. The following “basic speed picking” exercise will help you achieve this (sheet music Musescore link).

Remember to practice it slowly with a metronome and then incrementally increase the speed once you become more comfortable.

For this exercise, it is important to be aware of how one transitions between the strings. One should focus on maintaining fluent (up and down) alternating strokes while using the momentum of the pick’s motion to help move to the next string.

After doing this exercise a couple of times, warming up the picking hand, one can begin to practice the rhythm of the first riff using a similar alternate picking motion. Remember to use alternate picking and only use “double down-strokes” when you need to emphasize a note. Try playing the riff using the following alternating picking motion.

Alternate Picking:

Take note that “double down-strokes” are used on the staccato quaver note values for emphasis. “Down strokes” are usually stronger or more accented. Since this piece is within the genre of “Hard Rock”/“Heavy Metal” it will be good to apply some “straight palm-muting” to this intro riff idea.

One can also play this riff using “economy picking”: using the “down picking” motion to “sweep” effortlessly to the next string. However, I would advise using the alternate picking method if you struggle with the rhythm and tempo.

Economy Picking:

If one struggles with counting the rhythm and rests then one can attempt to ‘feel’ the rests by breathing (involving the body). This involves quietly “sniffing” (in or out) according to the rests note value. This is something Classical guitar players will typically do. The reason why this works is it helps one maintain a sense of rhythmical momentum. The rest (the ‘silence’) is still part of the music/riff.

Luckily the intro and verse riff is repeated many times and provides one with enough opportunities to thoroughly practice the riff.

The next section will focus on the 3 main parts/ideas one needs to independently learn, isolate and practice separately before one considers playing along with the backing track.

1) Bridge Riff Analysis

The bridge riff officially starts with a tied quaver note in the bar just before. (again apply the “sniffing” rule to the rests to feel the momentum of the riff). This riff has a straightforward rhythm and not many issues should arise here.

When this bridge passage is repeated for the second time there is a link section that leads back into the “chorus” riff. This link is played in time with the drums and is easy to hear and anticipate (especially if one knows the song well enough).

2) Chorus Riff Analysis

The chorus riff has a similar rhythm to the intro riff. The only difference is this riff is played using power/bar chords. The chorus riff can be divided into 2 main parts/sections.

Section 1:

Section 2:

One will notice that the ending of the riff has a “tailpiece” that connects back to the bridge riff with a tied note.

3) The Instrumental Guitar Lick

There are no strict guidelines on how to play the pick scrape passage that comes before the instrumental section. Try to make this pick scrape your own and by doing something creative (more opportunities for creative expression appear in the higher Grades).

The instrumental guitar “lick” is the most difficult part of the piece and serves to prepare one for what it will be like learning and preforming solos in other pieces from the Grade 6 syllabus and by extension full-length solos in the higher Grades.

In order to effectively learn this “lick” one can divide it into 4 easily digestible parts/units. Practice each of these units slowly and isolated (incrementally increasing the tempo once comfortable).

The next step would be to divide the “lick” into 2 larger sections/units. Focus only on one section at a time before combining both sections to play the full “lick”. As before, practice this lick slowly, with a metronome, and make sure you take note of the “hammer-ons” and “pull-offs”.

Tip: For proper “pull-off” technique, make sure your finger pulls the string down perpendicular to the fretboard.

With regard to finger placement, one will need to situate their fretting hand at the 4th position (Position IV). It is important to note that you can switch to the fifth position (Position V) when playing the second bar/unit, especially if you struggle with “hammer-ons”. It will be easier to do a “hammer-on” with the stronger first and 3rd finger as opposed to the 2nd and 4th finger (the 4th finger is usually weak and does not receive much training). Although, this shift in position will result in a loss of fluidity and speed. It would be best to practice “hammer-ons” using the 2nd and 4th finger (it serves as a good finger strengthening exercise for the pinky).

*Important: If your hand gets sore, take a break!

Make sure to practice this “lick” slowly and precisely. Do not hide behind the distortion. It is always easy to hide mistakes and bad techniques with distortion — It will hurt your playing in the long run. Practice this “lick” using a ‘clean’ tone first before applying distortion.

Tip: Make sure you “palm mute” the staccato notes to reduce distortion feedback and unwanted noise that may result from the “pulled-off” open ‘D’ note.

Concluding Remarks

In closing, this piece can help one easily transition into the other Grade 6 level songs. It can also be used to help determine whether one will be ready to try and learn songs (specifically the solos) from other more challenging pieces from the Grade 6 syllabus. In other words, this song is an effective “tester” and “starter" piece that can be used to identify one’s skill level specifically with regard to playing the following special “Rock” and “Metal” techniques:

• “Palm-muting.”
• “Economy picking.”
• “Pull-offs” and “hammer-ons.”
• Pick scraping.

This piece can also be used as a “warmup exercise/study” while learning songs from the higher Grades (Grade 7 and Grade 8).

Here is my take (with added “frills”):