Musicians Institute - Guitar Licktionary

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rff"3n3: PRIUATETESSO'VS

THEGUIMR ICK.TIONARY BYDAVEHILL

I S B N 0 - E 3 q - E 1 q 7-tq

7f,HAL.LeoruARD@ a r - c o F l p o F l A - I - I o N 7777

W. BLVEMOUND

RD. PO.BOX

I38I9

MILWAUKEE. WI 532,3

Copyright@ 2002 by HAL LEONARDCORPORATTON International CopyrightSecured All RightsReserved No part of this publicationmay be reproducedin anv form or by any meanswithoutthe priorwrittenpermissionof the pubtisher

INTRODUCTION H:j:":

'T::1n"",:::_"inlans,uage hasits ownvocabutary. whetheryou,respeakins ePEo^lttg

o' prayins brues, rock,country, or jazz,the,icne, youJ

,?,.".-,-:i:I:::.:":::l1nl vocabulary, the morecreativeyou can be in expressing yourthoughtsand ideas.This book vocaburary andprovide someinsishtintothevastvarietyof

:.^il:: ;:^*,i^]:::)li.:._LliTr:,: phrases (ticks)thatmakeup different styles.

of course'learningvocabularyalone doesn'tteachyou the grammarof a language.The skill of developingand connectingphrasesin a spontaneous and inspiredway requiresa studyof the music. No "one-stopshoppinglick book"can substitute for a lot of listening,a lot of transcribing, and a lot of playing'This book' however,car be great a resource,openingyour ears to the styristictricks and techniques thatcan sometimesbe elusive. The GuitarLicktionarywill expandyour appreciation of musicand styleswhile inspiringnew ideas thatwillultimatery becomeyourown uniquelanguage.Goodruck, and enjoythejourney!

HOW TO USETHIS BOOK ach lickis describedand notatedalphabetically, and recordedon the accompanying cD, so you can hear and understandthe conceptsbehindit. Throughoutthis book,the numbersin the rrrvet0

::::: :ry:i:

lnhahalinall., L- :-rlicksaalphabeticaily, or userthe indexto find ricksin a specificstyre. linke

ilt

ttlli

indicate thetrackwhereeachrickwiilbe foundon thecD. (Because of Io)

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TABLEOF CONTENTS Index of Licks by Style

.....8

12 .17

.26 .27

. .. .. . . 4 2

0 R

T

.....52 .....60 62

x.. Y Guitar Notation Legend

64

I

II\L,EX Ut.LTCKS BY STYLE Rock Lick

lazz Page

Track

BachRock ........g 4 Blues-Rock ......10 B BritishBlues. .....11 10 Clapton-esque .........13 14 C l a s s i c M e t. a l ....j4 15 DoubledPentatonic ......1g 23 EarlyRock'n'Roll .......2O 25 E l e c t r i c R o. c k .....: ....20 25 FastRockRiff ....23 29 FlashyBtues .....25 30 FoursinThrees .........24 31 FusionRock. .....25 33 FusionRock. .....25 33 Giganticsound .........26 34 Goin'Off .........26 34 HardRock .......27 35 HeavyRock. .....27 36 HeavyRock. .....2g 37 H e n d r i x - e s.q. .u e .......2g 37 H i g h - T eR c ho c k. . ...... .28 38 InsanePentatonic .......30 39 I n t e r vl ad le a . .....31 40 Korn-Like ........A4 44 LatinRock .......35 44 Metal .. .. .g7 48 ModernRock. ....39 51 Pentatonicshifting .......4g 5B PositionShifter ....44 59 ProgressiveRock. .......45 60 Psychedelic ......45 60 QuirkyRock. .....47 63 R a p i d B e n.d. .s ........48 64 RhythmicRock. .........49 65 RhythmicRock. .........49 66 Riffs . . .49_50 67 Surf ......56 78 TechnicalRock .........57 79 TripletRock. .....58 81 Two-HandTapping ......59 B3 V a n H a f e n - e s. q u e . . . . . . . 6 2 86 VintageRock. ....63 B8 Yardbirds ........69 96 Y2KRock ........69 97 ZoneDoubles ....70 98 ZZTop . . ..70 99

Lick

Page

Altered .....6 AlteredTriads ......7 Bebop .....8 ChromaticJazz .........13 Dorian . . ..1g Dorian ....18 Dorianlnterval ....1g ExtendedArpeggio ......2O ExtendedDominant ......21 EndingLick ......21 lonianArp .......31 JazzAltered ......g2 J a z z - B l u e s T u r n a r o. u. .n.d. . . . . g 2 J a z z - B f u e s T u r n a r o. u. .n.d. . . . . g 2 JazzSweep ......33 Legato ....35 Majorii-V-t .......96 Martino-Like ......36 MelodicMinor. ....36 MelodicMinor. ....g7 M e t h e n y - L. i. k. .e .......g7 Minorii-V-l .......3g M i n o r S e v e .n. t h ........3g PatternforDorian .......4g SaxSounds ......52 Swing .....56 UtilityJazz .......60 Wes-Like ........64 W e s - L i k e i i -. V - t . . . . . . . . . 6 4 WestCoastBlues .......64 W e s t C o a s t C o. o l .......65 WholeTone. .....65 WholeTone. .....65 WholeToneRiff .........66 X-TendedMajor7th ......67

Track 1 2 5 13 22 22 23 26 26 27 41 41 42 42 43 45 46 47 47 48 49 49 50 57 70 7B 85 89 89 90 90 91 92 92 94

Fusion AcidJazz .........6 AlteredSequence ........6 AlteredTrick. ......7 AscendingLydian ........7 BluesMixotydian. .......10 ChromaticAltered .......13 ControlledBends ........14 DiminishedRock. .......17 DiminishedSymmetry ....17 FunkyBlues. ....24

l z 3 3 8 13 15 20 ZO 31

Fuslon

....24

JZ

. . . . . 2 4 32-33 FusionRock. 35 GroupsofFives .........26 ........27 36 H a r m o n i c M i.n o r ....29 38 Holdsworthian ....29 39 H y b r iP d icking ....30 40 InsideOutside 46 LydianArpeggio .........35 .....40 53 NearlyDorian 55 . un .......41 Ninth-ChordR ....42 56 OutsideLoop. 58 Phrygian .... .....44 62 .....47 QuirkyBlues ......t2 70 ScoSounds 74 SmoothandFast ........54 77 ......55 StringSlider 77 ....56 SuspendedDom.Arp 79 ........56 Symmetry . . ..58 82 Tritonal .......59 84 TwoTriads 84 FlyingFingers . . . . . .60 Unidentified ........63 88 V e r y S m o o. t. h. 91 WideOpenSpaces ......65 94 X-TendedDominant ......67 95 X-Tending ScaleShapes . . . . .67-68

Blues ..........8 B.B.-ish Below{he-BoxBlues ......9 .....9 Blues. ......10 BluesBreak . . .....11 BluesTurnaround ....11 BouncyBlues. . . ...11 BritishBlues. .........12 C h i c a g o B l u. e s . es ......19 DownHomeBlu ......19 . es DownHomeBlu .....22 FancyBlooze FastandFunky .........22 ......33 JumpBlues L o u i s i a n a B l.u e s . . . . . . . . 3 5 ....39 ModernBlues. .....4O NearlyBlues Q u e s t i o&nA n s w e r l i c k .. . . . . . . . 4 6 .......46 Quicklick . ... .49 Retro .......51 RockBlues .....51 RootsyRock .......53 SlickBlues SoulfulBending .........55 .....57 TexasBlues. .....58 TripletBlues. UnusualBending ........60 Vaughan-Like... ........62 V a u g h aSn t, e v iR e a y. . . . . . . . . . . 6 3

4 5 7 7 9 I 10 11 24 24 27 28 43 45 51 52 61 62 65 69 69 71 75 BO 81 85 87 87

Country Bluegrass ChickenPickin' ClassicCountry Country Country Country CountryEnding CountryRock. CountryRock. FastOountry FingersandPick M i x o l y d i a n .M. i x PedalSteel Rockabilly . ck SouthernRo Tri-ToneTwang TwangyThirds

.........9 .........12 .........14 .........15 .........15 .........15 .........15 ....16 ....16 .....22 ........23 ........38 ......43 .......50 .........55 .........58 ....59

6 12 14 16 16 17 17 18 18 28 29 50 57 68 76 82 83

Rhythm Guitar ChordPunches .........13 ......16 Cropper-ish ....17 Dance D o mC . h o r ldn v e r s i o n. .s. . . . . . . 1 8 MotownRhythm .........39 .....44 PowerPop.. QuartalChordLick.. .....46 .........48 Reggae Rock'n'RollRhythm .....50 .....52 Ska. ......66 WorldBeat.

't2 19 19 21 52 59 61 64 68 71 93

AcousticA{ew Ag" ....12 C e l t i c. ........23 FolkRock ........40 NewAge ........4'l NewAge NewAgeAcoustic .......41 OpenSounds... ........42 OpenStringEnding ......42 .........48 Ragtime .....57 TravisPicking

11 30 53 54 54 55 56 63 80

Slide ........53 ........53 ........55

72 72 73

. e ........9 B e n s o n - e s .q. u . .g. . . . . . . 5 4 S l i d i n g a n d B e n. d. i n .....54 SmoothJazz ....54 SmoothSlides .....55 S o u l fR u l& B . .......61 UtilityR&B

6 73 74 75 76 B6

S l i d e M e l o d. .y. S l i d e M e l o .d. y. S l i d e M e l o .d. y.

Pop

Q e . cid1azz This line adds colorto a dominantchord.lt startsoff with an obvious c majortriad,then impliesa D majortriad.

O er. tered

(Cont'd)

This lick uses notesfrom the E alteredscaleand combinesit with chromaticnotesfor an interesting sequence.

E?(13)

I

AmaT or AmiT

ef . teredSe. quence This V-to-llick makesuse of the diminishedscale.lt's a sequence that climbsup the neckon the top two strings'Try to makeit as legatoas possible.lt couldalsobe played on the secondand thirdstrings. G l:119;

Cmi9

r ^ A A A ^ , r

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af . teredTri. ads Thislickcombines Bb and G triadswithnotesfromthe diminished scalefor an extended altereddominant sound.

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af . teredTiick Here'sa trickyou can play with your pentatonicblues licks:insteadof playingmajorpentatonicoff the rootof the chord,playit off the b9 (up a halfstepfrom the root).This makesthat basicblueslicksound likea sophisticated altereddominantsound.comparethe notesand you end up with a Lg, +g, rr,li, andbt.

c7(*e1 nrt\

a A A A

TAA AAa

e . s c e n d .i n g L y . d i . a n Q tonto'

Thi' is a neatideathat connectsthe patternsof G majorwithsmoothshifts.Althoughit worksweilas a Lydianphrase,experiment withotherchordsin the key of G. Try AmiTand D7. CmajT(n 11; /\

4t ^A

A

A^lt'l

.^.

Q

ttach Kock

Jf v

B.8.. ish

Here'sa littletip of the hat to the classicalrockplayerswho owe so muchto the greatJ.S. Bach.This fingeringinvolvesthe entireneckand doesso withefficientuse of the lefthand.Startslowwiththis one and graduallyworkuPthe temPo.

(cont'd) 6"'.s's one from the bluesmasterhimself.Althoughyou couldplay this lick in one position,it sounds betterwhenkepton the top threestrings.Makesureyou slideoff the G octavesat the end.Thinkof this lickas startingon the fifthmeasureof a shufflebluesin G.

9 e". bop

ThisBeboplineis greaton the lastsix measuresof a jazz blues.The chordtonesare wellplacedon the downbeats,lendinga clear outlineto the changes.The lick finishesoff with a bluesywalk-upto the tonic. AmiT

D7(n9)

D7

GmiT

trml /

C7

M

g

Be . low. the . Box Blues Thereare manymelodicpossibilities in the positionbelowthe "box"pattern.As withmostrockand blueslicks,hammer-ons andpull-offs makethiscleaner-andeasierto play.

6 T A B

Ben. son o esque For sheerchopsand soul,GeorgeBensonhas few equals.This homageto the man drawson his R&B roots.lt's blues-based, with a flurryof sextupletsthat resolveto the downbeatperfectly.Practicethis one at a slowtempoto get the timingright.

6 O

Blue. grass Try this on a steel-string acousticfor a real bluegrasssound.lt's basedaroundC majorpentatonic, but a minor3rd is addedfor extraaddedcolor.Strivefor a cleanattackand workthisone up to a fasttempo for the rightfeel.

Q nl.r", Try this phraseout overa V-lV blueschange.Use pull-offsfor smoothness and speed.Thisworkswell "straight-eighths" in a medium feel. G7 a

O

BluesBreak

(cont'd) lick couldbe greatfor stop-timebreaksin blues.Try usingthe fingerson your picking This double-stop hand insteadof a pick. A9

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Blues Mix. o. lyd o i o an mode.lt's Noticehow this lickstartsoff in the typicalbox position,then addsnotesfromthe Mixolydian a goodway to get morevariationfromthe five box patterns. A7 + l

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ntnesoRock This blues-rocklick startswith a bend and combinesboth majorand minor3rds on a dominant7th to a shuffle. chord.The tripletrhythmmakesit well-suited

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BluesTurn. a. round A classicopen-string bluesturnaround: Everyguitarplayershouldbe armedwitha vocabulary of these. Useyourpickfor the bassnotesand pluckthe descending melodywithyoursecondfinger. E7

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E7IGfr

A1

A$.7 3

E7

B1

n"nn o cy Blues Thislickhasa greatrhythmicfeelto it. Any triplet-based motiflikethisworkswell in a shufflefeel.Using it overa straight-eighth groovecreatesan interesting dualityas well.

@ Brit. ish Blues The rhythmicgroupingof this lick is interesting. lf you accentthe G note,the feel of the grouping displacesoverthe beat.That meansthe G note keepspoppingup in a differentplaceas you loopthe pnrase. - J -

t.l .l=J .ll A7

n.i,. ish Blues @ '-"

D7

A7

Thissimple-but-elegant lickcomesfromthe Creamera. lt couldfit overa shuffleor a straighteight.

@ c"lr. i.

pull-offto the openG stringwhilemaintaining Here'sa way to createa 6/8 lrishjig feel.Use a repetitive with the notesand you can start improvising a melodyat the same time. Once you get the 6/8 feel, the motiffurther.Keepit going!(That'swhy thereare repeatsaroundthisone.) developing

o @ Ct i. ca go Blues

Thisblueslickhas a greatrhythmicand melodicfeelto it and it extendsthe box patternin an interesting way. lt's bestplayedovera shuffle.Try movingit to anotherpositionfor morevariation.

@ Cnick. en Pick. in'

techniqueusingyour pickand fingers.The Thisfast countrylick is bestplayedwith a hybridright-hand secondfingerpicksthe noteson the high E string,whilethe pick grabsthe noteson the secondand thirdstrings. C7 bt

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ICft"rd Punch. es @ contb)

Smoothvoiceconnectionsmakethis a nice chordmove.The Bb remainson top as the chordsmove underneath. Try endingthe phrasewith a ii-V-l in Bb. (Cmi-F7-Bbma7). This couldbe a niceway to end a jazz standard. EmiT(b5;

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Eb9

DmiT(rJ)

Dbl3

Chro . mat. ic Al. tered Chromaticnotesaddedto the diminished scalecan helpcolora V-l change.Workthis one up slowlythefingering is tricky. B7(19)

Chro o mat . ic Jazz O ::^:'d)

This motifslipsand slidesin and out of the altereddominant7th chord.Pay attentionto the fingeringplayingsmoothlyis vitalto the phrasing. - 3 -

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C7(t9;

FmaT '^)ew

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@ cup o ton. esque The fast littletripletpull-offsgivethis lick its classicClaptonsound.This phrasecouldalso work in the box patternat the twelfthfret. F7 ,,/\

TA^A^AAAAAAA'IAA/T

13

d-f Ctur. sicCoun. try

@ (contb) Descending 6th intervalsmakeup this countryrick.you can movethesedownthe E and G you end up in first position'Another stringsuntil optionis to make a stringchange on the Bh lmeasure2) to the foudhstringand stayin the fifthposition. Try bothfingerings "nJlgur" out whichone feetsthe best. C7

@ Ct"r . sicMet. al Hit the distortion and makefull useof yourlegatotechnique for thisshred-styre metarrick.Makinguse of threenotesper string'combinedwith hammer-ons and puil-offs,it'seasyto makethisfast and furious. Emi

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@ C"". trolledBends

(contd) Th's lick is just what the name implies. The bendsin this case are minor and majorthirds.They are harmonicintervals'and care needs to be takento makesure they are absorutery in tune.The position shiftsare trickyas well'As you make the movesdown' the - " - 'neck, r v v ' \ ' "make 'qr\e o sure u r E you controrthe string w i t h l e f t - a n d r i g h t _ h a n dm u t i n g . i noise

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hold bend

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14

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Couno try Here'sa modern countrylickthatspreads outthefingersof thelefthandin a not-so-conventional way.lf youstartwithyourfourthfingeronthehighD,thefingersendupfallirlgintoplaceratherwell.

Coun otry Thiscountrylickmixesmajorand minorpentatonic notes.The blendof the majorand minor3rd (E- Eb) is as commonin countryas it is in rockand blues.

C".tn. try Thismajorpentatonic countrylickcouldbe playedwith pickand fingersfor a snappysound.Makesure the bendis perfectlyin tune.The samenotescouldalsoworkin cf minor.

g

Coun o try End. ing

::^t'd)This country-flavored lick uses open-string pull-offs.Try usingyour right-hand fingersfor a snappy attack!

15

@ Co"n. try Rock

Here'sa great-sounding llck looselybasedoff the soundof two major triads:c and D. The rhythmic phrasingaddsmusicarity. Thisone worksgreatin bruestoo!

O

Coun. try Rock

O

Cropper.ish

'tonto) Alongthe samelinesas the lickabove,these triadideasgiveyourmerodies a wide-openintervar feer.

Thisdouble-stop riffdefinesa styleassociated withmuchof the classicstax and MotownR&B records. Thesepartial-chord licksimplythe harmonyand add melody. G

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C

Dance O t"n''o)

Here'sa funkylittlegroovethat feelsgood to play.Go for a clean,sharp attackwith this rhythm-it,s betterto makethe notesshortthanlong.Knowingall yourdominant7th chord inversions on the top four stringsis a mustfor comingup withon-the-spot grooves.Try thisone witha wah-wah.

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Di. min. ishedRock This dominantlick impliesalteredsounds.Aftersweepingup the 87 arpeggio, a 4th intervalmovesin minor3rdsto createan interesting tension. B7(19;

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nt. min . ishedSy* . me o try A diminishedscaleis madeup of consecutive half stepsand wholesteps.The symmetrical featureof this scaleprovidesmanyinteresting patternsfor improvising. This lickstartswith major3rds movingup in minor3rds.ln measure2, it ouilinesan AZ(bg,fg) arpeggioand finishes off comingdownanother pattern.

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Dom. i. nantChordIn. ver. sions Thesefour measuresof dominantinversionsform a melodicand rhythmic hook.Thereare many v a r i a t i o n st h a t y o u c a n m a k e u p w i t h t h e m ( a s o n t h e C D track).Try llnkingtogetherdifferent combinations to formrhythmguitargrooves.

@

Dor. i. an Here'san interesting Doriansequencewitha passingnote.Try it on G7 and BmiT(b5).pull_offs helpthe phrasingtoo. DmiT

9

Dor. i. an

(tonto) Noticethe use of Diatonicarpeggiosthat makeup this rine.The arpeggiosare fromthe key of C, which makesthisa Dorian-mode lick. _ 3 _

t; I =J .l) DmiT

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Dor.i.anIn.ter.val Like the title implies,this lick uses Sthsfrom the D Dorianmode. lt's pretty comfortablein the fiftn positionas well.To makeit smooth,pulloff to the indicatednotes.Try putting thisideain anotherposition of D Dorian.Couldalsoworkover FmaZ(ft t ). DmiT

tO Dou. bledPen. ta. ton o

ic 'tonto' Thit lickis all aboutthe positioning of the slides.pay

attentionto the tablaturefor the fingering. r ^ ^ ^ ^ ^

Ami or A7

O

Down. HomeBlues Here'sone to prayon the frontporchwith the acoustic. This is one of those licksthat alwayssounds great,becauseit perfecflyouilinesthe V-rV-r changeat the end of the brues. O J=) ,l)

L I

D7

A7

Down. Home Blues @ t""'o)

Thisis a goodexampleof what'scalleda "greasy"lick. check out howthe bendfromthe pf, up to the A catchesthe G stringunderneath withthe samefinger;thisway,you havea reverse bendreadyto go. lf you do it right,you will releasethe E backdown to the D on the G string.lt's a neateffectthatgivesyou that"down-home,'.sound.

19

'n' @ nu.. ly Rock Roll Rightout of the ChuckBerryschool:4th doublestopsfromthe pentatonic scalereallycapturethe sound of the earlydaysof Rock'n' Roll.Try it withall downstrokes.

o @ Elec tric Rock

(contd) $12;1ing with repeatbends,then climbingdown the pentatonicscale,this lick is adaptableto many styles.Try it as a bluesphrase,or bouncethe rhythmand playit as a shuffle.

N'

6o

rA^A^

TA^AA'IA

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Ex. tend. ed Ar. pego gio H e r e ' ss o m e t h i n gI l e a r n e df r o m W e s M o n t g o m e r yC . o m b i n i n gs m a l l a r p e g g i o s( A b m a j o r ,D diminished, and G major),he createsa beautifulextendedtypeof minorseventhsound. In thiscase,it,s an Fmi13(b5). rmr/

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Ex. tend. ed Dom. i . nant Here'san arpeggioideathat adds upperextensions to a domininantchord.By spreadingout the major and minor3rd (#9)acrossthe arpeggio,it conveysthe soundof a Vz(#9)moreclearly.Try thisone with a b9aswell.

End. ing Lick This is what I meanby "endinglick:"Whenthe bandplaysthe lastchordof a tune and it is stillringing, this is a goodspot for an improvisedline.In this case,the chordshouldhave a dominant7th soundalthoughthe lickhas f,11 extensionin it, a greatnotefor addedcolor.Try this at the end of a blues,with thebandholdingan A7. - i -

I J J = i) t A 131{11.1

21

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Fan. cy Blooze Thistrickyblueslick involvesa quickpull-off riff with an extendedmerodymoving up the high E string. Practicethis one at a slowtempo. Eventually, you'llbe ableto turn up the speed whenthe executionis clean. C] 5. 1

C

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Fastand Funk. v

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,@ Fast Coun. try (tonto)

has trickv rhvthmic phrasins rakethetime torearn it-astrons

Here'sa double-stoplick that could serveas an endingbreakon an uptempocountrysong. rt works bestwhenplayedwitha hybridpicking approach.praywitha staccatoattack for a crispsound.

22

II

.O FastRock Riff Here'sa lick that needsto burn' lt's easy to get it up to speed if you use hammer-onsand pu1-offs. Beginslow with just the first measure.Measure 2 is just a variationof the first.once you get the riff down,it'snot as difficurt to mix up the patternwithvariations.

fin o gers and pick @ ::^:d)

Thiscountrypickin'lick soundsgreatwhenyou use the fingersof the righthandwith the pick to get a snappysound-unless,of course,you,releft_handed!

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Fhsh. y Blues Thisone soundsgreatwhenit's playedfast and clean.startingoff witha half-stepbend,it movesdown the scaleto end on the minor3rd.You can give the lastnotea litilebendfor extraattitudel

@"' r"u.. Rock

Thereare plentyof acousticplayerswho don'tjust strumopen G chords.check out this neat picking idea that adds some nice color.Think of the F# and D notesas a C chord shape,up a whole step (withoutthe root).Thanksto JamesTayrorfor great songsand greatguitarpraying. A

Al3sus

A

Dmil l/A

a)

23

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Fours in Threes Makingup sequencescan be a creativeadventure.Here'sone that combinesa groupof four in a pentatonic effect.SeealsoGroupsof Fives. scaleplayedas triplets,creatingan interesting Emi or E7

@ fnnk. y Blues

A backwardsrake intothe first Bb is essentialto makingthis lickfeel funky.The pull-offssmoothit out too.Youcan usethisoverEb7as well. E>mtj

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Fu. sion

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f" o sion Rock

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A^A^AAltAt'i

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This line startsout with two majortriads,then finisheswith a Mixolydianscalerun. Althoughit moves fromtwelfthto seventhposition,the fingeringis actuallyeasiestthisway.

(tonto) lickwithmajorand minor3rdsin it. lt soundsbestplayedfastl Here'sa goodpentatonic-based

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Fu. sionRock This lick,in the styleof RobbenFord,staftsoff in a Mixolydianmode,then mutatesinto straightminor pentatonic. BbIC

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f". sionRock A rock-driven lick is givenaddeddimensionwith the use of two majortriads(Bband A) for chromatic tension.Thesenotesadd an outside-inside effect. .Bmi or 87

25

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Qi o gan. tic Sound One of the keys to a big sound is low end. That'swhy this heavyrock lick requiresthe low E to be droppeddown a step to D. By doingthis, powerchordscan be playedwith one finger!Changingthe pitchof a stringor two can openthe doorto newcreativepossibilities. Warmup the Marshall!

@ c". in' off

This rock-blues lickcan be playedalmostentirelywiththe firstand fourthfingersof the fret hand.Using bothmajorand minor3rdsgivesit a dominant7(f,911ss|. C7

@

Groups of Fives Here'sa trickto makeyour pentatonics soundcool.Playa five-notesequencein a four-notegrouping possibilities. (sixteenthnotes).Thinkof other Try a four-notesequencein triplets.(See also "Foursin Threes.") Bmi or 87

c

{ C o n td )

Hard Rock Here'sa pentatonic-based lickthat movesup the neckwithslidesand triplets.The hammer-ons willhelp you get it up to speed.Tweakthe highA with a slightbend and givethe final E somevibratofor extra feel.Rockon! EmiTor El

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FIar. mon. ic Min . or Here'sa scalethat you may be lackingin yourvocabulary. The harmonicminorsoundcomesin handy in a varietyof minor-keysituations.This lick fits greatover a dominant chordthat has an impliedkey centerof E minor.

p (Cont'd) '

Heav. y Rock Thislickstartsoff witha pull-offin the sixthpositionand worksdownto the thirdposition.Sometimesit,s betterto breaklicksup intosmallerbitswhenlearningthem.In thiscase, workon the phraseup to beat 4, then practicethe restas a secondphrase.Afterdoingthis,you should find it easierto connectboth phrasestogether.

27

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Heav. y Rock Crankup the Marshalland rock!This lick,in the styleof late-eighties hard rock,fits over a varietyof E tonalities:E7, Emi, E7(#9;,etc. lt can be playedover a straight-eighth rockgrooveor a shufflefeel as well.Try it up an octavetoo.

@ H"". drix. ish

(contd) Dressingup the pentatonicscalewith doublestopsis one of manycoolthingsJimi did. Reachup with your fourthfingerto get the B to ringwiththe C note.This kindof trickworksgreatfor rhythmpartsas well.Thinkof "LittleWing." AmiT

O

High. TechRock This modern-sounding rock lick has some wide intervaljumpsthat make it unique.The shapeand soundof theseintervalsimplythe dominantdiminishedscale.To come up with moreof theselicks,try studyingthe way the minorpentatonic scalefits in a diminished scaleand add thesecolornotesto your rocklicks.

28

uotds. worth. i. an @ contd)

A trulyoriginalplayer,Allan Holdsworthis definedby his brilliantchromaticism and legatotechnique. Here'sone to get you going. Emi9

O

Hy. brid pick. inB This is a lickwith a lot of potentialfor otherideas.lt utilizeshybridpicking,combiningthe fingersof the pickinghandwiththe pick.Useyoursecond,third,and fourthfingersto pluckthe noteson the B, G, and E strings.Thistechniquetakestimeto master.Go slowlyat firstand work up yourcoordination. Thanks to the amazingBrettGarsed.

@

m. sanePent o a o lsn o ls spread.The noteslay this way to help ThiscrazylittleE minorlickstartsoff withan unusualpentatonic smoothout the pickingfor the righthand.Use economypickingwhenpossible.lt finishesoff withthree quickpositionshiftsas it climaxeswitha highB pulledoff to a G.

@

In. sideOut. side Here'sa neatlinethat goeson a littlemelodyadventure.lt startsoff witha blueslick,then movesdown slides lick.Then,to createan outsidesound,the B minorpentatonic to B minorand playsa box-position and mixesin someDorian Finally,it slipsbackdownto A minorpentatonic downto Bb minorpentatonic. pull-offs are in the rightspots. and notesfor extracolor.Makesurethe hammer-ons

O

I n . t e r . v a lI . d e . a Here' an s idea that reallymakesyou move around the neck.Althoughit stayscompletelydiatonic,it soundsuniquedue to the combination of wide interualsand traditionalscalesteps.Make up some of yourown!

O

I . o n . i . a nA r p lf you don'tknowwhatto playovera majorseventh sound,here'sa greatphrase.lt comesrightout of a majorseventharpeggio.Usingit overDmiTwillcreate a beautifulminor9th soundtoo. FmaT or DmiT

O

lazz Al. tered

(contd) 4 niceuseof intervalsand rhythmmakethisa clevermotif. -rl-

t i J = Jl t D13(t9)

@

Jazz.BluesTurno a. round This is a double{imephrasethat utilizesthe melodicminorsound:Bb melodicminoron the A7 chord and Ab on the G7 chord.This createstensionnotesthat tend to pull intothe nextchord.Thanksto the lategreatJoe Pass. C7

@

Jazz.Blues Turn. a . round

(contd) This turnaroundmelodyhas a nice shapeto it. The descendingmotifalso ouflinesthe chordtones. Experiment withdifferentfingerings too-you haveto do thisto findout how a melody"lays"the best. tl I =j .l't C7

A7

DmiT

@ JazzSweep The beginningof this linestartswitha downwardsweep-make surethe tripletis cleanand in time.The rest of the lick is standardalternatepicking.This is a nice line for an outside-to-inside resolutionon a minorchord. AmiT

Jn.p Blues @ cont'd)

Here'sa neatchordalmotifthat workswell in a lot of bluessituations.In the firsttwo measures,let the notesspillintoeachotherfor a cascadeeffect.Then,moveup to the tenthpositionto finishoff the rest of the melody.Thinkof tattoosand BrianSetzerwhenyou playthis. tJ J =j .l't G6

O

Korn. like Here'sa cool one that soundsgreatwith distortion. First,dropthe low E to D. lt may be easier to read the tab here,as all noteson the E stringwill be downa step. v' vt/'check v"vw^ vut out where vvrrurethe slidesare-using l them makes the groove riff

along better.

Drop D Tuning: (low to high) D-A-D-G-B_E

N.C. (D5) F5 D5 F5 G5

34

F5 Ds Fs /l<

\r ^ (D5) /n.\ N.C.

O

La. tin Rock start witha downwardsweepto playthe D minortriad,then bendthe firstnoteof eachhalf-note triplet. Thisone has a lot of Santanain it. DmiT

g

N

-^.

A*:

Le.gaoto Checkout the heavyuse of chromaticnotesin this lick.The neat thing is how you can still hear the soundof the A Dorianmodein the line.pay carefulattentionto the slurs!

0

@

Lou. is. i. an. a Blues The key of E is madefor the guitar,and this lickexemplifies that.Droningthe highE stringwhileplaying a melodyon the B stringgivesthis lick an authenticold bluesflavor.Thereare manyvariations in the openE position.

ft.di.anAr.pegogioo Thisis a fun littleshapethatclimbsup the neckwitha Lydiansound.lt includesthe use of the major7th arpeggiowiththe added#11spreadout overtwo octaves. Ama71*11;

,^.

aAA/tAA

4IAA'i'AAA

'f

@ Ma. jorii. V. I This linestartsout with an FmaTarpeggiooverthe Dmi7.On the V chord,you havea nicedescending linethatcapturesthe colorof a bg, f g, and f,5. -3-

ti .l=i)t DmiT

O

G7*9

C.ma:. CmalT

MarotionooLike This is a double-timeii-V-llick. lt startswith a smoothminor7th lick,then walksdown the D and G strings.Onceyourlefthandis in fifthposition,the restof the linefallsintoplace. CmiT

Bbmaj

o

( cont d)

Me. lod. ic Mi. nor This jazzy altereddominantline extendsthe naturaltensionin a V7 dominantby usingthe melodic minorup a halfstepfromthe chord.lt alsodoesso in a melodicway-with interesting intervals.

c?(f3)

36

O

Me. lod. ic Mi. nor Thisveryusefulmelodycomesstraight outof theEbmelodic minorscale.A melodic minorscaleplayed upa halfstepfromthedominant chordcreates thesoundwealsocallthealtered scate. D71il9;

@ M"t. ul

'tonto) This rippinglicktakesadvantageof the "box-position extension"-yyfisp you extendthe four-fretspanto a six-fretspan on the top string.Findingnew ways to lay your handsover the same old patternsis a goodway to comeup withnew stuff.playthisone witha lot pull-offs. of Emi,E7, or E5

O

Metheny.Like Here'sa chromaticjazz lickthat useshammer-ons and slides.This kindof picking,very mucha partof the Methenystyle,can increaseyourspeedand legatofeel.

@ Minor ii. V. I

Here,san elegantdouble-timelick, in the styleof Mike Stern,that fits a minorcadence.lt startswith lt thenmovesdownthe E stringwitha smoothchromatic arpeggiosof AbmaTand DmiZ(b5). one-octave line that colorsthe dominantchord-check out the fingeringon this part. Finally,it finishesup with a scaleand resolvesto the 9th of the i chord' diminished Dmi71b5;

@

G7

Cmi9

Mi. nor Sev. enth A shortlick likethis is possiblein many This jazzyminorideahas addedinterestdue to the chromatics. sound. Thisis a goodstartingpointfor a Metheny-type differentpositions. - 3 -

\) )=)

i'l

AmiT

@

Mix. o. lyd o i o an Mix to an E7 sound.A strongdownbeat Noticehow this line smoothlyconnectsthe soundof D Mixolydian on the E helpsthe connection. resolution chord-tone

O

Mod o ern Blues This eighth-position lick startswith a fourth{ingerbend.The secondnote is the same pitch.Makesure yourbendis a perfectwholestep.Pull-offshelp smooththe phrasingon the way backdown. G7 b ; l

i ^ A ^ ' t ' t

a A ^ ^ ^ a

g

Mod. ern Rock This rock lick startsbelowthe box positionand moves down one more.Try workingout a few different fingerings'Movingthroughpositionscan be tricky,so start slowlybeforetryingit up to speed. Gmi

@

Mo. town Rhyth. m Thanksto steve cropperfor this greatfunky E7 groove. This kind of part worksbest when the bass groovehas openholesin it' Thatway,the low end-heavy rhythmfilrsin the spaceswithoutgettingin the way.Checkout the original,,,Knock on Wood.,,

@ N"ur. ly Blues

(contd) okay, this lick doesn'tsoundlike somethingB.B.wouldplay,but you can still use it over a blues.The wide-openintervalsgivethis phrasea modernsound.Couldalsofit over Emiz(bs;.

o @ N"ar ly Dor. i. an

A modallick doesn'thaveto stay completelydiatonicto fit in that mode. Examinethis line to see how the use of chromaticpassingtonesaddedto arpeggioscan enhancethe Doriansound.The secretis the placementof the chromaticnotes;avoidplayingthem on downbeats. This lick is reminiscent of a RobbenFordidea.

O

New Age

(tonto) Here'sone borrowedfromthe classiccomposers. The conceptstartswitha pedal(in thiscasec). Then the melodyworksdownthe scalewhilepedalingthe highc. lt finisheswith a simpleresolution to the l. DmiT

40

C2

@ New Age

Thiscouldsoundreallynicewithsomedelayand chorus.Makesureyou stayout of the way of the low E as it's ringing.lt supportsthe keycenteras you playthe melodyon the top threestrings. Ema71b5;

o -:^:c

e

New Age A. cous . tic Thisjangly-sounding chordriff makesa nice endingfor an acousticpiecein E. Allowthe notesto ring togetheras muchas possible,and pay attentionto the openstrings-the low E shouldringthroughthe firstmeasure.Thislickis bestplayedwitha fingerpicking approach.

Ninth ChordRun This lick can be used on any non-functioning dominantchord.Althoughit uses chromaticnotesfor addedcolorand melody,noticehow the chordtoneslandon the downbeats,makingthe line retainthe soundof the harmonyclearly.

@ Oop¤osounds

(cont'd) The term "open"in musiccan referto many things-in this case,the spacingof intervals.Thereare manywide intervalsutilizedin this phrase.Noticethe use of 5ths in the beginningand octavejumpsat the end.

@

Q o pen String End. ing Watchthe tab on this one. The idea here is to use open stringsin a descendingmelodyto createa cascadingharp-likeeffect.Thisone couldsoundgoodas an endingto an acousticpiece. Cma7

@

CmaT(tll1

Out. side Loop Try loopingthis lick over and over,and note how the phrasingturnsaround.You can moveit in minor 3rdsas well,becauseall the notesfit in the diminishedscale.(Shapesin this scalecan movein minor 3rdsand remaindiatonic.)

@

n"t o tern for Dor . i . an Playingthis line smoothlytakesa littlepractice.lt helpsto incorporate legatofingering.To completely masterthis,try startingthe patternfrom any note in the C Dorianscale.Use your ear to negotiatethe chromaticnotes. CmiT

O

Ped. al steel watch your intonation on thesebends.Holdthe G with the highcf and add a litilevibratofor a pedalsteeleffect.

@

Pen. ta o ton. ic Shift. inB Here'sa speedyrock lick that movesthroughthe A minorpentatonicpatternswith a rhythmicfigure. Payattentionto the legatofingerings and the placementof the slides. Ami or A7

43

,r''/ 9

Phry. gian

,toi'o'

@

Placethis in the seventhposition Th" enrygianmodealwaysgivesan exoticflavorto a minorchord. bz scale(in this and pull-offsfor a legatosound.The emphasisis on the of the and utilizehammer-ons case,Bb).

P". si. tion Shift o er

givesyou lick connectsthe neck with slides.using this technique Noticehow this pentatonic-based feel' thanstayingin the box pattern.Slidingalsogivesyourphrasinga different morepossibilities TA'IAAA"'I

I

Pow. er Pop

(coit'd) of the tricks to composinga part is catchy guitar hooks are the basis of many a pop hit. one it and createsa melodic a melodyin a chordalriff.This lick has a cool rhythmicfeel to incorporating hookwiththenotesontopofthechords.Makeupsomeofyourown. F2lA SbZ n

@ n.o o gres. sive Rock Thislickstartswitha four-note phrase, movesuponeoctaveandthenonemorewitha variation. Onthe secondhighD, pre-bend it froma c#, so youcanrelease it to thec#. mis is a coolwayto implya sus4 dominant sound. A7

Emi

a AA ^ AA ^

iA,vrA,i

#1'I

O

: l^t'd)

Psy. cheo del. ic This is a greatstylisticlick if you'retryingto capturethe feel of a sitar.By usingopenstringsin the first position,you can createa cascadingeffect.Makesure the notesrun togetheras a chord.This could alsoworkovera C#mi7 chord(asa ii chord).Farout!

45

@ Qn"r. tal Chord Lick The idea behindthis chord movementis quite interesting. The melodyon top is movingdown an E minorpentatonic scale.The notesunderneath thatfallon the downbeats ol 1,2,3, and 4 formG, F, Eb, and C triads.However,the noteson the upbeatsare a halfstep beloweachtriad,forming perfect a 4th stack.Althoughit may seema littleatonalat first,it soundsgreatover EmiTor E7(fgy.This is a classic MilesDavistrick. Emi or E9

O

Ques . tion and An o swer Lick

(tonto) This one is rightout of the call-and-response styleof greatbluesplaying.Try ptayingit on the firstfour measuresof a blues.Think"slowhand.,' C7

vo;L ,'

G7 .'iAA'iAAAA T

t/1

3 r^

^A

A A ,a

@ Q,".k Lick This lick is simple,but it sure feelsgoodto play.The rhythmicmotiffits pe;fec1yin a shuffle. This one willworkgreaton the lasttwo measuresof an A blues. A7

E7

<3--

L J J

@ Quirk. y Blues

The hammer-ons and slidesin this phrasehelpsmoothout the melodicjumps.This couldwork in rock, blues,or fusion.lf it'stoo longto workwith,try just usingthe firstsevennotes.

@ Quirk. y Rock

Here'sa cool rocldblueslick that startswith an open kind of angularshapeand movesit up a whole it has a uniquesound. step.Althoughit'sbasedon minorand majorpentatonics,

47

@ nu*. time

(cont'd) Ragtimefeel.Try it with hybrid The 6th and 3rd intervalscombinedgivethis phrasea ScottJoplin-esque pickingor just plainfingers.lt soundsgreaton an acoustic!

O

Rap. id Bends One of the greatthingsaboutthe guitaris the many differentways you can play a note.This lick two approaches.By rapidlyalternatingbetweena frettedand bent D, releasedto a Cf,, demonstrates you createan interesting effect.And becauseit's a three-notepattern,it createsan odd-against-even (sixteennotesto a beat)effect. A7 or ATsus

o

( Cont'd)

Reg. gae Dial in a bright,clean tone for this rhythmgroove.Noticehow a simplemelodyis implied.Creating melodiesin rhythmpartsis importantin all styles,especiallyreggae.Makesure you swingthe rhythm. Yaman!! \))))=) )) )t

@ Ret. ro

Here'sa neatdouble-stop bluesriff.Thiscouldworkas an endingbreakin a blues.The notesin parenthesesare ghostnoes,to be playedverylighfly.

e

( cont d)

Rhyth o mic Rock Thissimplebendingblueslickhasa greatrhythmicfeelto it. Try transposing it to otherpatternstoo.

@ nnrth. mic Rock The timingon this is tricky.Sometimesthe differencebetweena typicallick and an exceptionally cool one is the rhythm.The delayedfeel of the bends,mixedwiththe sixteenthnotesand the triplets,make this licklesspredictable and moreinteresting.

@ nirr' Every rocl
49

R;iff #z This riff createsa cool accentwhen looped.Use pull-offsfor fasterexecution. C7 or Cmi

--3-

--3-

TAAAAAT

--.:_/ aaa^

a,t

Riff #3 Thisonehasa flashyrhythmfeel.lt'sgoodfora soloclimaxbuilder. C7 or Cmi

@

Rockoaofil[.y Go for a twangysoundand crankup the reverbon this lick. lt's a good exampleof Carl Perkins-style countryswing-the backboneof rockabilly. t J ; = Jl l C6

4 t

@

Rock and Roll Rhyth. m Workingfrom a fifth-position C majorpentatonicshapeallowsfor a varietyof classicrock 'n' roll rhythms.Underneath the four-fretspan are the majorand minor3rds,plus the 6th and bZthdegrees. Beginning withthe rootand mixingup the notesin a melodicway capturesthe essenceof earlyrock'n' roll.I callthisposition the "StonesBox."

@ Rock Blues This is a good lick for a shuffleor straight-eighth feel. lt fits that positionrightabovethe familiarbox pattern. G7 or Gmi

@ Roots . y Rock

(contd)

Doublestops give this phrasea countryflavor.Noticehow the thirds stay diatonicto the dominant seventhchords.lt mayfeelthe bestplayedon the top two stringsas longas possible.

51

a

.^,

n

d

I

t{,2 Jax Jounos This linecomesrightfromthe vocabularyof classicsaxophonemotifs.The conceptat work hereis the chordtonesby notesaboveor below).lt can workovera targetapproachto the chordtones(preceding dominantchord(G7)as well. GmaT

@ S." Sounds

(coitd) jazz-fusionline has a lot goingon. lt startsoff implyinga Bb dominantdiminished 161, contemporary scale up to the F. Then, to add tension,the line seemsto implyan F7 alteredchord (the V of Bb), Thanksto John resolvingback to Bb on the final F. This is a commondevicein the iazz vocabulary. Scofieldfor thisone.

O ska

Likeits reggaecousin,ska musicoriginatedin Jamaica.Wherea reggaegrooveis morelaid back,ska is usuallymore upbeat.Play the eighthupbeatsas sharp,clean upstrokesand go for a crisp,clear sound.Rememberthe EnglishBeat? Dmi

Amt

Bb bt

Iil O shckBrues Thisone has a lot of greasebehindit. To get the rightslickfeel,try a backwards,,rake,,down to the first lowA note-right out of RobbenFord,sbag of blues.

@ shdeMer.o. dy Thisis a simpre merody, butgetting theintonation rightis arways tricky. E

o

( c o n td )

.O

SlideMel.oodv Thisone has that "down-home" feel to it' Goodintonationis alwaysa must withslidephrases.play the frettednotesa few timesto get the melodyin your ear,then incorporate the slide.Disconnect someof the notesfor a moredistinctiverhythm.

SlideMel. o o dy This one takespracticeto get smoothand clean.Noticethe use of the open G stringthroughout the phrase'You mustdevelopa delicatetouch whenbringingthe slideon and off the strings;you don,twant extrafreustringnoise.lt's best to use tnl tingers on the right hand for precisemuting [ffi:::ny

53

O

SUd.ing andBend. ing The major6th in the melodyindicatesthat it's This linecombinesslidesand bendsto connectpositions. lick.Efficientuse of yourfingersis importantin this lick.Startthe A withyourthirdfinger. a Dorian-mode Whenyou move up to the high D, use your firstfinger.Finally,bendthe E up to the D with your third finger.

O

O

Smooth and Fast The fist four notesare This one is spreadout acrosstwo stringsto maximizespeedand smoothness. pickedonce,then the B on the B stringis pluckedwith the middlefinger.Look for otherways to the fingersof yourpickinghandfor extraspeedin yourlines. incorporate

SmoothJazz

(contd) What do you call jazz with all the roughedgespolishedoff? Smooth!lt's a styletypifiedby nice easy Thislickcouldworkperfectlywhenyou havea lV chordmoving melodiesovermellowinsideharmonies. it witha cleantone. downto a iii. Practicemakingthe legatolineconnectseamlessly.Try T)ma7

@

Crrr,i7

Smooth Slides This lick is madeup of diatonic3rdsslidingthroughthreepositionson adjacentstrings.You can let the last3rdsringtogetherwiththe highD to forma chord. Gmi or CTsus

@

Soul. ful Bend. ing

'tonto) He'e'sa neatbending lickthatgivesyoua newsranton a brues-rock sound.Thepositioning of the reft handis important' Bending thefinalAupto B is difficult ontheD string-makesureyou,reupto pitch! Ami

@ S o u l .f u l R . & . B

This lick repeatsin two octaves,then finishes off with a blueskind of phrase.Thinkof this in the lazzlR&Bstyleof the greatGeorgeBenson.

O

South. ern Rock

{contd) 16;t one comesrightout of the DickeyBetts school.lt startswith a whole-stepbend and stays in c majorpentatonic. sridesare thrownin to herpkeepit interesting.

@ String Slid. er

This lick startsoff in a typicalposition,then uses slidesto bridgeto the next position.The chromatic notesadd tension. - , J :

())=) lt Bb13

@

S.tr o pend. ed Dom . i. nant Ar. peg. gi . o Takingan arpeggioand modifyingone notecan makea remarkable differencein the sound.Here,we start otf with an A7 arpeggioin seventhpositionand suspendthe major3rds of the arpeggio.This createsa muchmore"open"feel. ATsus

@ S,'.f

Dial in a brighttone with a lot of reverbfor this surf-inspired lick.Pickthe noteshardand closeto the bridgefor a true DickDalefeel. E

m

. i

i

G

D

C

.

=

@ Swing Here'sa bebopiazz lick that just feels greatover a ii-V-l progression. This is what you mightcall a

(contd)

classiciazz motiti la SonnyRollins. G1

@

Sy-ometory Here'sanotherone from the diminishedscale,takingfull advantageof the symmetry.In this case,we have minor3rds ascendingin major3rds. lt's interesting to note how this line seemsto fit over three minorchords.Althoughusingthe diminishedscaleover these minorchordscreateschromaticnotes, "colors"thatsoundgood. theyare acceptable AmiT (also FmiT or CfmiT)

56

@ f".n. nic. al Rock This hot rocklick fits in the bluesbox and makesuse of repeatedbendsto the root. As you workyour way downthe pattern,you pickup extra notesfor color-in thiscase,the major 6th and tne bsth.watch the timingon the sextuplets. The lastG shouldbe landingjust before the downbeat ot 4. E5 orEmi a

I

.|..

. F

l

@ t"as Blues Playthisone withrotsof rexas attitude. Try rakingintothe firstnote. (J J =l .l\) C 7 ^ / \

b + ? .!!$^^

t

^

.

A^

A'!$^.

^ryt^^

^^,|

t"ulr. is Pick. ing

.9 (ton'o) Pickup the acousticfor this one.There are manyvariationsof this fingerpicking style.Notethe way the bass alternatesbetweenthe root and the Sth. once you masterthese patternsin a varietyof chord forms,it becomeseasyto chainthemtogether intoa song.

57

ilI

O

T"ip. let Blues Digthewaythisonemovesfromthe lV chordto the I chordof a bluesprogression. Threeconsecutive triplets makeit perfect fora shuffle. Tryusingthefingers your picking of handfora bright, snappy sound. F7

O

ra

T"ip. let Rock

(contd) Here'sa greatlickthat makesuse of triplets.Startingoff withan in-your{acedouble stop,it movesinto a seriesof triplets(sextuplets) in the familiarbox pattern.Afterclimbingup the pattern,it extendsup to the sus4(G) beforeresolving to the b7.Anotherlickin the styleof the greatRobbenFord. D7

It

I

2f)

a l

T T

@ Tri. ton. al Lookingfor a lickthat soundsa littledifferent?Checkout this diminishedidea.The four majortriadsin thisscale(E, G, Bb,and gb; are hookedtogetherto forman intervallic altereddominantlick.Try themin differentcombinations. Thiscan be movedin minor3rdsand stillfit the chord.

@

58

Tii. tone Twang This country-flavored lick is looselybasedon the ideaof combiningtriadsa bsth apart.The triadsare not literallyplayed,they are implied.In this case,G and Db are used.This coutdwork well in an uptempoblues-based countrytune.

@ Twang. y Thirds

This double-stoplick could work well in countryor blues.Make sure you watchthe bends,and pay carefulattentionto the intonation. -.?-

tJ J =J .ft

@

C7

Two. Fland Thpping Thistappinglickmaytakea whileto workout,so startslowly.lt beginswitha bendfromthe D up to the E. Thenyou tap the fourteenth fretwithyour righthand.Afteryou releasethe tap, releasethe bendback to D and whileit's still ringing,bend rightback up to E. This patterncontinuesas you tap downthe G string.lt endswitha seriesof tapped16th-note triplets.

O

Two Tri. ads The idea in this line is the use of a G augmentedtriadand an A majortriad.This twotriad approach createsan upper-structure soundto an A7 chord-Ag(f,S). A7

#4-:

59

@

U". i. dent. i. fied Fly. ing Fin o g¤rS Breakingup the box positionwith some leapingfingerjumps is the main purposeof this lick. Use downstrokes untilyou come backto the A on the B string.Wheneveryou fall preyto that consecutive "sameold lick"syndrome,try incorporating widerintervalsin your licksfor somefresh ideas.You'llbe you can invent. amazedat what B7 TTAAAAI

tAAAat't

@

LJn. us o u. al Bend. inB Althoughthis lick may look simpleat first,pay carefulattentionto the fingersyou use to bend.When releasing to the Bb from B withyourfourthfinger,catchthe A withyourthirdfinger.Thenyou'rereadyto bendthe G withyourfirstfinger.Thanksto SonnyLandreth.

e

U. til . i. ty Jazz notes.Makesure you get the hammer-ons Noticethe use of arpeggiosmixedin withthe Dorian-mode and slide: in the rightplaces.

II

.@ U. til. i. ty R&B Here'sa classicstapleof R&8, sout,and funk.Doublestopsin diatonic4thscan be an interesting to add melodyto a rhythmpart' way The intervalstend to soundambiguous and thereforecan fit over many chordsin the diatonicscale'Experiment l withthis rickoverotherchordsin the key of E major. EmaT

61

aO Van Hal o en. esque Here'sa classicfrom tappingmasterEddieVan Halen. Afterworkingyour way downthe B string,you haveto jump downto the G stringto continue.Thenyou keephoppingdownuntilyou get to the low E. lt takespracticeto makethissmooth.Try breakingthis lick up intotwo sections,thencombiningthem.

a

e

+--.-.

2

2 '

+

- a

Vaughan.like This blueslick dripswith heartache.Startoff with a whole-step bendfrom the E to the Ff. Then,with yourfirstfinger,bendthe D up to the E for more anguish.(Thisis a toughbend,especiallywith heavy strings')Afterthe bends,movedownto seventhposition and finishit off witha box-pattern phrase.This man had a feel! B7

:b

I

aA A ,iA'r

rA,|aAA,$rtAAa

-

O

Vaughan, Stev. ie Rav

(tonto) This is one soulfulblueslick.The timingmay lookweird--once you learnthe fingering,copythe rhythm with your ear. lt worksgreatin a slow 12lg blues,d la ,,Texas Flood.,, G1 a--\

r A ' t ^ ^ a

J_ I

f\

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f

^

,@ Ver. y Smooth check out the fingeringon this dominant-7th lick.lt's importantto starton the Bbwith your thirdfinger. on the doubleF, useyourthirrdfingeras weilto makeit smooth. C7

Vin. tageRock

O (cont'd) A variationof the ,,flashyblues,,lick on track30. To give this rickextraattitude,hit the rowc hardanct slideintoit. Gmi

63

.O Wes.Like This gracefulii-V-l lick is in the styleof the greatWes Montgomery. Noticethe smoothway it resolves to the 6th of the Eb chord.Masteringnoteresolution is one of the secretsof jazz. FmiT

B b + l f9 )

pb8

@ W e s .L i k e i i . V . I Here'sanotherneatlickinspiredby Wes Montgomery. The ideais to use a b5 sub overthe BbZchordin otherwords,playingan Ebl soundas a substitute for the Bb7. sbl

@

EbmaT EbmaT

West. CoastBlues Noticehowthe secondmeasureof this blues-based lickis nearlyidenticalto the first;this is a technique you can useto makeup yourown licks. _,i 1. . =. .')

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This jazz phrasestartswith a gracefursweep,then moves down the D stringchromatically. Whenyou hit the A note,you'ilmix in chromaticsfrom the A string as weil. Finally,you reachfourthpositionand implyan E9 for a resolution. Thisone is veryBenson_esque. -3, F?'f 1 ) J a J = )) ) ) )

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Wide e o pen Spac. es

The "open"soundof this lick is due to the largeintervals at work.rt also incorporates F and G triadsto createa G9sussound.lt couldalsofit an Fmaj7. F m a T ( rl ) o r G 7 l"?

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whole Tone what do you get when you play six consecutivewhole steps?The apily-namedwhole fone scale. lts specialsoundis best usedover dominantchordsthat have a flattedor sharpSthand a natural9th. ln this whole-tonelick, the four-notegroupingsof eighth notes make the three-notephraseof the lick displacein an interesting way.

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whole Tone Here'sa three-note sequencewhole-tone lickthatascendsin major3rds.

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65

@ Whole Tone Riff sounds.Here'sone that startsoff witha double-stop The wholetone scalecan providesomeinteresting This lickcouldfit over any dominantchord lick,then movesit up a stepand downa step,respectively. builtoff any noteof the scale(A7,87, C*7, D47,F7, or G7). A7(i;)

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World Beat guitarparts,usuallybasedaroundmajor Thisbright,happyrhythmtypifiesthe feel of a lot of world-beat pentatonicmelodiesand playedwith a clean tone. Often,a mutingtechniqueis employed.The harmoniesare typicallysimple,as in thisexample,movingfroma I chordto a V chord.

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X. tend. edDom. i. nant This lick seemsto be playablealmostexclusively with the first and thirdfingers.Makesure you slide whereindicated. Thanksto LarryCarltonfor thisone. BbIC

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X. tend. edMajor Zth Everwonderwhatto playon a major7th witha #sz Nowyou havea phrase.Thisideacamefromusing i a melodicminorscaledowna minor3rd fromthe chord. Ama/(,))

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X . tend. ing ScaleShapes# I

This line beginswitha "shape"from a second-position c scaleand walksverticallyup the neck. Noticehowthe ideakeepsa similarcontouras it moves.

67

X. tend. ing ScaleShapes#2 Thisphraseliterallytakesone shapeand maintainsit as it walksdown the neck.All the notes,however, stillremaindiatonic.

X. tend. ing ScaleShapes#3 ThisLydianlinehas a niceopenfeel,startingoff withsomeextended major9ths.pay carefulat-tention to the slidesin thisone. ia ^ltA^ ^a

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,@ Yard. birds Thisneatlickcan be foundon an old Yardbirdsrecord. Jeff Beckhasa way of comingup withextremely cool pull-otflicks'Herehe takesa seventh-position pattern box and incorporates an open B stringfor a greatintervallic jumpingidea.Thereis a pull-offfrom the E on the seventhfret,but the open G is used moreas a deadnote.Whenyou hit the low D on the fifthfret,giveit a litflebendto add someattitude.

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y.2. K Rock This modernrock lick is definitelyreadyfor the new century.lt startsoff with a wide-opensoundusing 5th intervalsand combinesslidesand fingerstretches to moveup the neck.To negotiatepositionshifts, pay attentionto the tablature'Thisconceptof movingthroughpositionswithslideshas a lot of potential. Try makingup somelinesof yourown in thisstyle. Gmi

69

@@ZoneDoub.les Here'sa neat lick that utilizesdoublednotes.lt fits in the typicalbox position,but the fingeringis importantto get the rightfeel.Alternating the G betweenthe secondand thirdstringscreatesthe effect. Pay attentionto the tab and pull-offs.Afteryou get the left handsyncedwiththe right,you can pick up the tempoand reallystartto shredl C7.CmiorC5

z.zrop O Are there guys

any with long beardswho rock harderthanZZ Top? ldoubt it... Here'sone of their classicriffs.Playit lighfly,thenbuildit to a heavyshufflewithdistortion. - 1 -

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Book 57.95,CD $10.00= PkS $17.95 Partsnot sold separately rsBN 0-b3q-01q?1-q

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