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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)

;;r";,ffi';".;

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

t1--a

a^

^A

't

A^a

EI O

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

err:(f?)

I

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

!l't.^^.r J let nn? tt'tAAAA't

g

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

Q

^_.

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

g

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

t l

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;

O

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 -

( JJ = J . l t

C7(t9;

FmaT '^)ew

W

@ 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

n

/'>

a{^

ia^A

^ A^.wt^^^

^^

A^AAar^A^

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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

I 1

hold bend

a^ ^^A^'tCr^^a

14

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O

Q

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

) t ; \

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.

O

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

@

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.

O

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

O

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

@

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/

\

a'tAAA^'tA

-

! / /

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^^.

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-' '"'

O

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

q

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

.-:

I

+)

!!l^

r^

@

^^^/r^.

AA^^,!rA^

a

Fastand Funk. v

ffif:1[""'il5"ffi11ffi"1il:"^'

,@ 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!

O

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

t

TAAAAAAA'

.A'IA

e

Fu. sion

@

f" o sion Rock

n,--

A

A^A^AAltAt'i

AA.!

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

g

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

I

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

O

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

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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

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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.

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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.

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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

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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!

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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

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lazz Al. tered

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

t i J = Jl t D13(t9)

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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

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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

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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

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F5 Ds Fs /l<

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

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

g

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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!

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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;

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@ 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

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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

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( 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)

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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

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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;

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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 -

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AmiT

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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

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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

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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

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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.

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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;

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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.

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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.)

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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

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

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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

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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

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: 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

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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

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G7 .'iAA'iAAAA T

t/1

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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