arff"3n3:PRIUATE TESSO'VS

ICK.TIONARYBYDAVE HILL

THEGUIMR

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

7f ,HAL.LeoruARD@a r - c o F l p o F l A - I - I o N7 7 7 7 W . B L V E M O U N D R D . P O . B O X I 3 8 I 9 M I L W A U K E E . W I 5 3 2 , 3

Copyright @ 2002 by HAL LEONARD CORPORATTONInternational Copyright Secured All Rights Reserved

No part of this publication may be reproduced in anv formor by any means without the prior written permission of the pubtisher

INTRODUCTION

H:j:": 'T::1n"",:::_"inlans,uage has its own vocabutary. whether you,re speakinsePEo^ l t tg

,?,.".-,-:i:I:::.:":::l1nl o' prayins brues, rock, country, or jazz, the,icne, youJvocabulary, the more creative you can be in expressing your thoughts and ideas. This book:.^il:: ;:^*,i^]:::)li.:._LliTr:,: vocaburary and provide some insisht into the vast variety ofphrases (ticks) that make up different styles.

of course' learning vocabulary alone doesn't teach you the grammar of a language. The skill ofdeveloping and connecting phrases in a spontaneous and inspired way requires a study of the music.No "one-stop shopping lick book" can substitute for a lot of listening, a lot of transcribing, and a lot ofplaying' This book' however, car be a great resource, opening your ears to the styristic tricks andtechniques that can sometimes be elusive.The Guitar Licktionary will expand your appreciation of music and styles while inspiring new ideasthat will ultimatery become your own unique language. Good ruck, and enjoy the journey!

HOW TO USE THIS BOOKach lick is described and notated alphabetically, and recorded on the accompanying cD, so youcan hear and understand the concepts behind it. Throughout this book, the numbers in ther r r v e t 0 i l t t t l l i

::::: :ry:i: Io) indicate the track where each rick wiil be found on the cD. (Because of;;r";,ffi';".;l i n k e a l n h a h a l i n a l l . , r L - : - r -l icks alphabeticaily, or use the index to find ricks in a specific styre.

TABLE OF CONTENTSIndex of Licks by Style

. . . . . 81 2

. 1 7

.26

.27

. . . . . . . 4 2

0R

T . . . . . 5 2

. . . . . 6 06264x . .

Y

Guitar Notation Legend

I I I \L,EX Ut.LTCKS BY STYLElazzLick

B a c h R o c k . . . . . . . . gB l u e s - R o c k . . . . . . 1 0B r i t i s h B l u e s . . . . . . 1 1C l a p t o n - e s q u e . . . . . . . . . 1 3C l a s s i c M e t a l . . . . . j 4D o u b l e d P e n t a t o n i c . . . . . . 1 gE a r l y R o c k ' n ' R o l l . . . . . . . 2 OE l e c t r i c R o c k . . . . . . : . . . . 2 0F a s t R o c k R i f f . . . . 2 3F l a s h y B t u e s . . . . . 2 5F o u r s i n T h r e e s . . . . . . . . . 2 4F u s i o n R o c k . . . . . . 2 5F u s i o n R o c k . . . . . . 2 5G i g a n t i c s o u n d . . . . . . . . . 2 6G o i n ' O f f . . . . . . . . . 2 6H a r d R o c k . . . . . . . 2 7H e a v y R o c k . . . . . . 2 7H e a v y R o c k . . . . . . 2 gH e n d r i x - e s q u e . . . . . . . . . . 2 gH i g h - T e c h R o c k . . . . . . . . . 2 8I n s a n e P e n t a t o n i c . . . . . . . 3 0I n t e r v a l l d e a . . . . . . 3 1K o r n - L i k e . . . . . . . . A 4L a t i n R o c k . . . . . . . 3 5M e t a l . . . . . g 7M o d e r n R o c k . . . . . 3 9P e n t a t o n i c s h i f t i n g . . . . . . . 4 gPos i t i onSh i f t e r . . . . 44P r o g r e s s i v e R o c k . . . . . . . . 4 5P s y c h e d e l i c . . . . . . 4 5Q u i r k y R o c k . . . . . . 4 7R a p i d B e n d s . . . . . . . . . . . 4 8R h y t h m i c R o c k . . . . . . . . . . 4 9R h y t h m i c R o c k . . . . . . . . . . 4 9Riffs . . .49_50S u r f . . . . . . 5 6T e c h n i c a l R o c k . . . . . . . . . 5 7T r i p l e t R o c k . . . . . . 5 8T w o - H a n d T a p p i n g . . . . . . 5 9V a n H a f e n - e s q u e . . . . . . . . 6 2V i n t a g e R o c k . . . . . 6 3Y a r d b i r d s . . . . . . . . 6 9Y 2 K R o c k . . . . . . . . 6 9Z o n e D o u b l e s . . . . 7 0ZZTop . . . . 70

4B

1 01 41 52325252930313333343435363737383940444448515B5960606364656667787981B386B896979899

RockLick Page Track Page Track

125

1 32222232626274141424243454647474849495057707B85898990909 1929294

A l t e r e d . . . . . 6A l t e r e d T r i a d s . . . . . . 7B e b o p . . . . . 8C h r o m a t i c J a z z . . . . . . . . . 1 3Dor ian . . . . 1gD o r i a n . . . . 1 8D o r i a n l n t e r v a l . . . . 1 gE x t e n d e d A r p e g g i o . . . . . . 2 OE x t e n d e d D o m i n a n t . . . . . . 2 1E n d i n g L i c k . . . . . . 2 1l o n i a n A r p . . . . . . . 3 1J a z z A l t e r e d . . . . . . g 2Jazz -B luesTurna round . . . . . . . . . g2Jazz -B fuesTurna round . . . . . . . . . g2J a z z S w e e p . . . . . . 3 3L e g a t o . . . . 3 5M a j o r i i - V - t . . . . . . . 9 6M a r t i n o - L i k e . . . . . . 3 6M e l o d i c M i n o r . . . . . 3 6M e l o d i c M i n o r . . . . . g 7M e t h e n y - L i k e . . . . . . . . . . . g 7M i n o r i i - V - l . . . . . . . 3 gM i n o r S e v e n t h . . . . . . . . . . 3 gP a t t e r n f o r D o r i a n . . . . . . . 4 gS a x S o u n d s . . . . . . 5 2S w i n g . . . . . 5 6U t i l i t y J a z z . . . . . . . 6 0W e s - L i k e . . . . . . . . 6 4W e s - L i k e i i - V - t . . . . . . . . . . 6 4W e s t C o a s t B l u e s . . . . . . . 6 4W e s t C o a s t C o o l . . . . . . . . 6 5W h o l e T o n e . . . . . . 6 5W h o l e T o n e . . . . . . 6 5W h o l e T o n e R i f f . . . . . . . . . 6 6X - T e n d e d M a j o r 7 t h . . . . . . 6 7

FusionA c i d J a z z . . . . . . . . . 6 lA l t e r e d S e q u e n c e . . . . . . . . 6 zA l t e r e d T r i c k . . . . . . . 7 3A s c e n d i n g L y d i a n . . . . . . . . 7 3B l u e s M i x o t y d i a n . . . . . . . . 1 0 8C h r o m a t i c A l t e r e d . . . . . . . 1 3 1 3C o n t r o l l e d B e n d s . . . . . . . . 1 4 1 5D i m i n i s h e d R o c k . . . . . . . . 1 7 2 0D im in i shedSymmet ry . . . . 17 ZOF u n k y B l u e s . . . . . 2 4 3 1

F u s l o n . . . . 2 4F u s i o n R o c k . . . . . . 2 4G r o u p s o f F i v e s . . . . . . . . . 2 6H a r m o n i c M i n o r . . . . . . . . . 2 7Ho ldswor th ian . . . . 29Hybr id P i ck ing . . . . 29I n s i d e O u t s i d e . . . . 3 0L y d i a n A r p e g g i o . . . . . . . . . 3 5N e a r l y D o r i a n . . . . . 4 0N i n t h - C h o r d R u n . . . . . . . . 4 1O u t s i d e L o o p . . . . . 4 2P h r y g i a n . . . . . . . . . 4 4Q u i r k y B l u e s . . . . . 4 7S c o S o u n d s . . . . . . t 2S m o o t h a n d F a s t . . . . . . . . 5 4S t r i n g S l i d e r . . . . . . 5 5S u s p e n d e d D o m . A r p . . . . 5 6S y m m e t r y . . . . . . . . 5 6Tritonal . . . .58T w o T r i a d s . . . . . . . 5 9Unidentified Flying Fingers . . . . . .60V e r y S m o o t h . . . . . . . . . . . 6 3W i d e O p e n S p a c e s . . . . . . 6 5X - T e n d e d D o m i n a n t . . . . . . 6 7X-Tending Scale Shapes . . . . .67-68

BluesB . B . - i s h . . . . . . . . . . 8B e l o w { h e - B o x B l u e s . . . . . . 9B l u e s . . . . . . 9B l u e s B r e a k . . . . . . 1 0B l u e s T u r n a r o u n d . . . . . . . 1 1B o u n c y B l u e s . . . . . 1 1B r i t i s h B l u e s . . . . . . 1 1C h i c a g o B l u e s . . . . . . . . . . 1 2D o w n H o m e B l u e s . . . . . . . 1 9D o w n H o m e B l u e s . . . . . . . 1 9F a n c y B l o o z e . . . . . 2 2F a s t a n d F u n k y . . . . . . . . . 2 2J u m p B l u e s . . . . . . 3 3L o u i s i a n a B l u e s . . . . . . . . . 3 5M o d e r n B l u e s . . . . . 3 9N e a r l y B l u e s . . . . . 4 OQuest ion &Answer l ick . . . . . . . . .46Q u i c k l i c k . . . . . . . 4 6R e t r o . . . . . 4 9R o c k B l u e s . . . . . . . 5 1R o o t s y R o c k . . . . . 5 1S l i c k B l u e s . . . . . . . 5 3S o u l f u l B e n d i n g . . . . . . . . . 5 5T e x a s B l u e s . . . . . . 5 7T r i p l e t B l u e s . . . . . . 5 8U n u s u a l B e n d i n g . . . . . . . . 6 0V a u g h a n - L i k e . . . . . . . . . . . 6 2V a u g h a n , S t e v i e R a y . . . . . . . . . . . 6 3

CountryB l u e g r a s s . . . . . . . . . 9C h i c k e n P i c k i n ' . . . . . . . . . 1 2C l a s s i c C o u n t r y . . . . . . . . . 1 4C o u n t r y . . . . . . . . . 1 5C o u n t r y . . . . . . . . . 1 5C o u n t r y . . . . . . . . . 1 5C o u n t r y E n d i n g . . . . . . . . . 1 5C o u n t r y R o c k . . . . . 1 6C o u n t r y R o c k . . . . . 1 6F a s t O o u n t r y . . . . . 2 2F i n g e r s a n d P i c k . . . . . . . . 2 3M i x o l y d i a n M i x . . . . . . . . . . 3 8P e d a l S t e e l . . . . . . 4 3R o c k a b i l l y . . . . . . . 5 0S o u t h e r n R o c k . . . . . . . . . . 5 5T r i - T o n e T w a n g . . . . . . . . . 5 8TwangyTh i rds . . . . 59

Rhythm GuitarC h o r d P u n c h e s . . . . . . . . . 1 3C r o p p e r - i s h . . . . . . 1 6D a n c e . . . . 1 7D o m . C h o r d l n v e r s i o n s . . . . . . . . . 1 8M o t o w n R h y t h m . . . . . . . . . 3 9P o w e r P o p . . . . . . . 4 4Q u a r t a l C h o r d L i c k . . . . . . . 4 6R e g g a e . . . . . . . . . 4 8R o c k ' n ' R o l l R h y t h m . . . . . 5 0S k a . . . . . . . 5 2W o r l d B e a t . . . . . . . 6 6

AcousticA{ew Ag"C e l t i c . . . . . 1 2F o l k R o c k . . . . . . . . 2 3N e w A g e . . . . . . . . 4 0N e w A g e . . . . . . . . 4 ' lN e w A g e A c o u s t i c . . . . . . . 4 1O p e n S o u n d s . . . . . . . . . . . 4 2O p e n S t r i n g E n d i n g . . . . . . 4 2R a g t i m e . . . . . . . . . 4 8T r a v i s P i c k i n g . . . . . 5 7

SlideS l i d e M e l o d y . . . . . . . . . . . 5 3S l i d e M e l o d y . . . . . . . . . . . 5 3S l i d e M e l o d y . . . . . . . . . . . 5 5

PopB e n s o n - e s q u e . . . . . . . . . . . 9S l i d i n g a n d B e n d i n g . . . . . . . . . . . 5 4S m o o t h J a z z . . . . . 5 4S m o o t h S l i d e s . . . . 5 4S o u l f u l R & B . . . . . . 5 5U t i l i t y R & B . . . . . . . 6 1

JZ32-33

3536383940465355565862707477777982848488919495

61 21 41 61 61 71 71 81 82829505768768283

't21 91 92152596164687193

1 13053545455566380

45779I

1 01 12424272843455 1526 1626569697 175BO8 1858787

727273

673747576B6

Q e . cid1azzThis line adds color to a dominant chord. lt starts off with an obvious cmajor triad.

I ef . tered Se . quenceThis V-to-l lick makes use of the diminished scale. lt's a sequence that climbs up the neck on the toptwo strings' Try to make it as legato as possible. lt could also be played on the second and third strings.

G l : 119 ; Cmi9 r ^ A A A ^ , rt1--a

E altered scale and combines it with chromatic notes for an interesting

major triad, then implies a D

O er. tered(Cont'd)

This lick uses notes from thesequence.

E ?(13) AmaT or AmiT

a^ ^A 't A^a

O af . tered Tri. adsThis l ick combines Bb and G triads with notes from the diminished scale for an extended altered-dominant sound.

err:(f?)

EI

I af . tered Tiick

c7(*e1

Here's a trick you can play with your pentatonic blues licks: instead of playing major pentatonic off theroot of the chord, play it off the b9 (up a half step from the root). This makes that basic blues lick soundlike a sophisticated altered dominant sound. compare the notes and you end up with a Lg, +g, rr,li,andbt.

nrt\ a A A A

TAA AAa

Q e. scend. ing Ly. d i . antonto' Thi' is a neat idea that connects the patterns of G major with smooth shifts. Although it works weil as aLydian phrase, experiment with other chords in the key of G. Try AmiT and D7.CmajT(n 11;

/\ 4t ^A A A^lt'l

9 e". bop

.^.Q ttach Kock

Here's a little tip of the hat to the classical rock players who owe so much to the great J.S. Bach. Thisfingering involves the entire neck and does so with efficient use of the left hand. Start slow with this oneand gradually work uP the temPo.

Jf B.8.. ishv(cont'd) 6"'.s's one from the blues master himself. Although you could play this lick in one position, it soundsbetter when kept on the top three strings. Make sure you slide off the G octaves at the end. Think of thislick as starting on the fifth measure of a shuffle blues in G.

This Bebop line is great on the last six measures of a jazz blues. The chord tones are well placed on thedownbeats, lending a clear outline to the changes. The lick finishes off with a bluesy walk-up to thetonic.

AmiT D7 GmiT C 7

D7(n9) trml /

M

g Be . low. the . Box BluesThere are many melodic possibilities in the position below the "box" pattern. As with most rock andblues licks, hammer-ons and pull-offs make this cleaner-and easier to play.

Ben. son o esqueFor sheer chops and soul, George Benson has few equals. This homage to the man draws on his R&Broots. lt's blues-based, with a flurry of sextuplets that resolve to the downbeat perfectly. Practice thisone at a slow tempo to get the timing right.

6TAB

6

O Blue. grassTry this on a steel-string acoustic for a real bluegrass sound. lt's based around C major pentatonic, buta minor 3rd is added for extra added color. Strive for a clean attack and work this one up to a fast tempofor the right feel.

Q nl.r",Try this phrase out over a V-lV blues change. Use pull-offs for smoothness and speed. This works wellin a medium "straight-eighths" feel.

G 7a

O Blues Break(cont'd) This double-stop lick could be great for stop-time breaks in blues. Try using the fingers on your picking

hand instead of a pick.

A9

Jle t nn?

tt'tAAAA't

!l't.^^.r

g Blues Mix. o. lyd o i o anNotice how this lick starts off in the typical box position, then adds notes from the Mixolydian mode. lt'sa good way to get more variation from the five box patterns.

^ _ .A7

+ l

Q ntnes o RockThis blues-rock lick starts with a bend and combines both major and minor 3rds on a dominant 7thchord. The triplet rhythm makes it well-suited to a shuffle.

1 0

g Blues Turn. a. roundA classic open-string blues turnaround: Every guitar player should be armed with a vocabulary of these.Use your pick for the bass notes and pluck the descending melody with your second finger.

E7 E7IGfr A1 E 7A$ .7 3 B 1

Q n"nn o cy BluesThis lick has a great rhythmic feel to it. Any triplet-based motif like this works well in a shuffle feel. Usingit over a straight-eighth groove creates an interesting duality as well.

@ Brit. ish BluesThe rhythmic grouping of this l ick is interesting. l f you accent the G note, the feel of the groupingdisplaces over the beat. That means the G note keeps popping up in a different place as you loop thepnrase.

- J -

t . l . l =J . l lA 7 D 7 A 7

@ n.i,. ish Blues'-" This simple-but-elegant lick comes from the Cream era. lt could fit over a shuffle or a straight eight.

@ c"lr. i.Here's a way to create a 6/8 lrish jig feel. Use a repetitive pull-off to the open G string while maintaininga melody at the same time. Once you get the 6/8 feel, you can start improvising with the notes anddeveloping the motif further. Keep it going! (That's why there are repeats around this one.)

@ Ct i. ca o go BluesThis blues lick has a great rhythmic and melodic feel to it and it extends the box pattern in an interestingway. lt's best played over a shuffle. Try moving it to another position for more variation.

@ Cnick. en Pick. in'This fast country lick is best played with a hybrid right-hand technique using your pick and fingers. Thesecond finger picks the notes on the high E string, while the pick grabs the notes on the second andthird strings.

t l7Cbt

@ Cft"rd Punch. escontb) Smooth voice connections make this a nice chord move. The Bb remains on top as the chords move

underneath. Try ending the phrase with a ii-V-l in Bb. (Cmi-F7-Bbma7). This could be a nice way toend a jazz standard.

EmiT(b5; Eb9 DmiT(rJ) Dbl3

@ cup o ton. esqueThe fast little triplet pull-offs give this lick its classic Clapton sound. This phrase could also work in thebox pattern at the twelfth fret.

F7 ,,/\

I-

O Chro . mat. ic Al. teredChromatic notes added to the diminished scale can help color a V-l change. Work this one up slowly-the f ingering is tr icky.

B7(19)

O Chro o mat . ic Jazz::^:'d) This motif slips and slides in and out of the altered dominant 7th chord.

playing smoothly is vital to the phrasing.- 3 -

(J J =J . l tC7(t9;

Pay attention to the fingering-

FmaT'^)ew

W

TA^A^AAAAAAA'IAA/T

1 3

d-f

@ Ctur. sic Coun. try(contb) Descending 6th intervals make up this country rick. you can move these down the E and G strings untilyou end up in first position' Another option is to make a string change on the Bh lmeasure 2) to thefoudh string and stay in the fifth position. Try both fingerings "nJlgur" out which one feets the best.C 7

@ Ct"r . sic Met. alHit the distortion and make full use of your legato technique for this shred-styre metar rick. Making use ofthree notes per string' combined with hammer-ons and puil-offs, it's easy to make this fast and furious.

Emi

@ C"". trolled Bends(contd) Th's lick is just what the name implies. The bends in this case are minor and major thirds. They areharmonic intervals' and care needs to be taken to make sure they are absorutery in tune. The positionshifts are tricky as well' As you make the moves down the neck, make sure you contror the string noisewith le f t - and r ight_hand mut ing. ' - " - ' rvv ' \ ' " 'qr \e ourE i

n /'> a{^ ^ A^.wt^^^ ^^

ia^A A^AAar^A^ ^a

hold bendI1

1 4

a^ ^^A^'tCr^^a

O Coun o tryHere's a modern country lick that spreads out the fingers of the left hand in a not-so-conventional way. lfyou start with your fourth finger on the high D, the fingers end up fallirlg into place rather well.

O Coun o tryThis country lick mixes major and minor pentatonic notes. The blend of the major and minor 3rd (E- Eb )is as common in country as it is in rock and blues.

Q C".tn. tryThis major pentatonic country lick could be played with pick and fingers for a snappy sound. Make surethe bend is perfectly in tune. The same notes could also work in cf minor.

g Coun o try End. ing::^t 'd) This country-f lavored l ick uses open-str ing pull-offs. Try using your r ight-hand f ingers for a snappy

attack!

1 5

@ Co"n. try RockHere's a great-sounding llck loosely based off the sound of two major triads: c and D.phrasing adds musicarity. This one works great in brues too!

The rhythmic

O Coun. try Rock'tonto) Along the same lines as the lick above, these triad ideas give your merodies a wide-open intervar feer.

O Cropper. ish

G) t ; \

This double-stop riff defines a style associated with much of the classic stax and Motown R&B records.These partial-chord licks imply the harmony and add melody.

C

O Dancet"n''o) Here's a funky little groove that feels good to play. Go for a clean, sharp attack with this rhythm-it,s

better to make the notes short than long. Knowing all your dominant 7th chord inversions on the top fourstrings is a must for coming up with on-the-spot grooves. Try this one with a wah-wah.

O Di. min. ished RockThis dominant lick implies altered sounds. After sweeping up the 87 arpeggio, a 4th interval moves inminor 3rds to create an interesting tension.

B 7(19;

@ nt. min . ished Sy* . me o tryA diminished scale is made up of consecutive half steps and whole steps. The symmetrical feature ofthis scale provides many interesting patterns for improvising. This lick starts with major 3rds moving upin minor 3rds. ln measure 2, i t oui l ines an AZ(bg,f g) arpeggio and f inishes off coming down anotherpattern.

O Dom. i. nant Chord In. ver. sionsThese four measures of dominant inversionsvar ia t ions that you can make up wi th themcombinations to form rhythm guitar grooves.

form a melodic(as on the CD

@ Dor . i . anHere's an interesting Dorianphrasing too.

DmiT

9 Do r . i . an(tonto) Notice the use of Diatonic arpeggios that make up this rine. The

makes this a Dorian-mode lick._ 3 _

t ; I = J . l )DmiT

sequence with a passing note. Try it on G7 and BmiT(b5). pull_offs help the

and rhythmic hook. There are manytrack). Try l lnking together different

arpeggios are from the key of C, which

O D o r . i . a n I n . t e r . v a lLike the title implies, this lick uses Sths from the D Dorian mode. lt's pretty comfortable in the fiftnposition as well. To make it smooth, pull off to the indicated notes. Try putting this idea in another positionof D Dorian. Could also work over FmaZ(f t t ).

DmiT

tO Dou. bled Pen. ta. ton o ic'tonto' Thit lick is all about the positioning of the slides. pay attention to the tablature for the fingering.

Ami or A7 r ^ ^ ^ ^ ^

O Down. Home BluesHere's one to pray on the front porch with the acoustic. This is one of thosegreat, because it perfecfly ouilines the V-rV-r change at the end of the brues.

licks that always sounds

O J = ) , l )L I A 7

@ Down. Home Bluest""'o) This is a good example of what's called a "greasy" lick. check out how the bend from the pf, up to the Acatches the G string underneath with the same finger; this way, you have a reverse bend ready to go. lfyou do it right, you will release the E back down to the D on the G string. lt's a neat effect that gives youthat "down-home,'.sound.

D 7

1 9

@ nu.. ly Rock 'n' Roll

6 o

Right out of the Chuck Berry school: 4th double stops from the pentatonic scale really capture the soundof the early days of Rock'n' Roll. Try it with all downstrokes.

@ Elec o tric Rock(contd) $12;1ing with repeat bends, then climbing down the pentatonic scale, this lick is adaptable to manystyles. Try it as a blues phrase, or bounce the rhythm and play it as a shuffle.

N'

@ Ex. tend. ed Ar. peg o gio

r m r /

Here 's someth ing I learned f rom Wes Montgomery. Combin ing smal l arpeggios (Ab major , Ddiminished, and G major), he creates a beautiful extended type of minor seventh sound. In this case, it,san Fmi13(b5) .

r A ^ A ^

TA^AA'IA

a ' t A A A ^ ' t A\! / /-

^ a ^ A ^ ' t A ' . a

^^.I Ex. tend. ed Dom. i . nant-' '"' Here's an arpeggio idea that adds upper extensions to a domininant chord. By spreading out the major

and minor 3rd (#9) across the arpeggio, it conveys the sound of a Vz(#9) more clearly. Try this one witha b9 as wel l .

O End. ing LickThis is what I mean by "ending lick:" When the band plays the last chord of a tune and it is still ringing,this is a good spot for an improvised line. In this case, the chord should have a dominant 7th sound-although the lick has f, 1 1 extension in it, a great note for added color. Try this at the end of a blues, withthe band holding an A7.

- i -

I J J = i ) tA 131{11.1

21

q Fan. cy BloozeThis tricky blues lick involves a quick pull-off riff with an extended merody moving up the high E string.Practice this one at a slow tempo. Eventually, you'll be able to turn up the speed when the execution isclean.

C ]5 . 1 C I.-: +)

@ Fast and Funk. v

ffif:1[""'il5"ffi11ffi"1il:"^' has trickv rhvthmic phrasins rake the time to rearn it-a strons

,@ Fast Coun. try(tonto) Here's a double-stop lick that could serve as an ending break on an uptempo country song. rt worksbest when played with a hybrid picking approach. pray with a staccato attack for a crisp sound.

!!l^ ^^^/r^.

r^ AA^^,!rA^ a

22

.O Fast Rock RiffHere's a lick that needs to burn' lt's easy to get it up to speed if you use hammer-ons and pu1-offs.Begin slow with just the first measure. Measure 2 is just a variation of the first. once you get the riffdown, it's not as difficurt to mix up the pattern with variations.

@ fin o gers and pick::^:d) This country pickin' lick sounds great when you use the fingers of the right hand with the pick to get asnappy sound-unless, of course, you,re left_handed!

@ r"u.. Rock"' There are plenty of acoustic players who don't just strum open G chords. check out this neat pickingidea that adds some nice color. Think of the F# and D notes as a C chord shape, up a whole step(without the root). Thanks to James Tayror for great songs and great guitar praying.

A Al3sus A Dmi l l /A a)

II

O Fhsh. y BluesThis one sounds great when it's played fast and clean. starting off with a half-step bend, it moves downthe scale to end on the minor 3rd. You can give the last note a litile bend for extra attitudel

23

O Fours in ThreesMaking up sequences can be a creative adventure. Here's one that combines a group of four in apentatonic scale played as triplets, creating an interesting effect. See also Groups of Fives.

Emi or E7

@ fnnk. y BluesA backwards rake into the first Bb is essential to making this lick feel funky. The pull-offs smooth it outtoo. You can use this over Eb7 as well.

E>mtjTAAAAAAA'

t A A^A^AAltAt'in , - -

.A'IA AA.!

e Fu. sionThis line starts out with two major triads, then finishes with a Mixolydian scale run. Although it movesfrom twelfth to seventh position, the fingering is actually easiest this way.

@ f" o sion Rock(tonto) Here's a good pentatonic-based lick with major and minor 3rds in it. lt sounds best played fastl

g Fu. sion RockThis lick, in the style of Robben Ford, stafts off in a Mixolydian mode, then mutates into straight minorpentatonic.

BbIC

I f". sion RockA rock-driven lick is given added dimension with the use of two major triads (Bb and A) for chromatictension. These notes add an outside-inside effect.

.Bmi or 87

25

O Qi o gan. tic SoundOne of the keys to a big sound is low end. That's why this heavy rock lick requires the low E to bedropped down a step to D. By doing this, power chords can be played with one finger! Changing thepitch of a string or two can open the door to new creative possibilities. Warm up the Marshall!

@ c". in' offThis rock-blues lick can be played almost entirely with the first and fourth fingers of the fret hand. Usingboth major and minor 3rds gives it a dominant 7(f,91 1ss|.

C 7

@ Groups of FivesHere's a trick to make your pentatonics sound cool. Play a five-note sequence in a four-note grouping(sixteenth notes). Think of other possibilities. Try a four-note sequence in triplets. (See also "Fours inThrees.")

Bmi or 87

c{Cont d)

Hard RockHere's a pentatonic-based lick that moves up the neck with slides and triplets. The hammer-ons will helpyou get it up to speed. Tweak the high A with a slight bend and give the final E some vibrato for extrafeel. Rock on!

EmiT or El

O FIar. mon. ic Min . orHere's a scale that you may be lacking in your vocabulary. The harmonic minor sound comes in handyin a variety of minor-key situations. This lick fits great over a dominant chord that has an implied keycenter of E minor.

p Heav. y Rock(Cont'd)' This lick starts off with a pull-off in the sixth position and works down to the third position. Sometimes it,sbetter to break licks up into smaller bits when learning them. In this case, work on the phrase up to beat4, then practice the rest as a second phrase. After doing this, you should find it easier to connect bothphrases together.

27

g Heav. y RockCrank up the Marshall and rock! This lick, in the style of late-eighties hard rock, fits over a variety of Etonalities: E7, Emi, E7(#9;, etc. lt can be played over a straight-eighth rock groove or a shuffle feel aswell. Try it up an octave too.

@ H"". drix. ish(contd) Dressing up the pentatonic scale with double stops is one of many cool things Jimi did. Reach up with

your fourth finger to get the B to ring with the C note. This kind of trick works great for rhythm parts aswell. Think of "Litt le Wing."

AmiT

O High. Tech RockThis modern-sounding rock l ick has some wide interval jumps that make it unique. The shape andsound of these intervals imply the dominant diminished scale. To come up with more of these licks, trystudying the way the minor pentatonic scale fits in a diminished scale and add these color notes to yourrock licks.

28

@ uotds. worth. i . ancontd) A truly original player, Allan Holdsworth is defined by his brilliant chromaticism and

Here's one to get you going.legato technique.

Emi9

O Hy. brid pick. inBThis is a lick with a lot of potential for other ideas. lt utilizes hybrid picking, combining the fingers of thepicking hand with the pick. Use your second, third, and fourth fingers to pluck the notes on the G, B, andE strings. This technique takes time to master. Go slowly at first and work up your coordination. Thanksto the amazing Brett Garsed.

@ m. sane Pent o a o lsn o lsThis crazy little E minor lick starts off with an unusual pentatonic spread. The notes lay this way to helpsmooth out the picking for the right hand. Use economy picking when possible. lt finishes off with threequick position shifts as it climaxes with a high B pulled off to a G.

@ In. side Out. sideHere's a neat line that goes on a little melody adventure. lt starts off with a blues lick, then moves downto B minor and plays a box-position lick. Then, to create an outside sound, the B minor pentatonic slidesdown to Bb minor pentatonic. Finally, it slips back down to A minor pentatonic and mixes in some Doriannotes for extra color. Make sure the hammer-ons and pull-offs are in the right spots.

O In. ter . va l I . de. aHere'�s an idea that really makes you move around the neck. Although it stays completely diatonic, itsounds unique due to the combination of wide interuals and traditional scale steps. Make up some ofyour own!

O I . on. i . an Arplf you don't know what to play over a major seventh sound, here's a great phrase. lt comes right out of amajor seventh arpeggio. Using it over DmiT will create a beautiful minor 9th sound too.

FmaT or DmiT

O lazz Al. tered(contd) 4 nice use of intervals and rhythm make this a clever motif.

- r l -

t i J = J l tD13(t9)

@ Jazz.Blues Turno a. roundThis is a double{ime phrase that utilizes the melodic minor sound: Bb melodic minor on the A7 chordand Ab on the G7 chord. This creates tension notes that tend to pull into the next chord. Thanks to thelate great Joe Pass.

@ Jazz. Blues Turn. a . round(contd) This turnaround melody has a nice shape to it. The descending motif also ouflines the chord tones.

Experiment with different fingerings too-you have to do this to find out how a melody "lays" the best.

t l I =j . l ' tC 7 A 7

C 7

DmiT

@ Jazz SweepThe beginning of this line starts with a downward sweep-make sure the triplet is clean and in time. Therest of the lick is standard alternate picking. This is a nice line for an outside-to-inside resolution on aminor chord.

@ Jn.p Bluescont'd) Here's a neat chordal motif that works well in a lot of blues situations. In the first two measures, let the

notes spill into each other for a cascade effect. Then, move up to the tenth position to finish off the restof the melody. Think of tattoos and Brian Setzer when you play this.

tJ J =j . l ' tG6

AmiT

O Korn. likeHere's a cool one that sounds great with distortion. First, drop the low E to D. lt may be easier to readthe tab here, as all notes on the E string will be down a step. check out where the slides are-usingthem makes the riff groove along better.

v'�vt/ ' v"vw^ vut vvrrure l

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

N.C. (D5) F5 D5 F5 G5 F5 Ds Fs /l< \r ^ /n.\N.C. (D5)

34

O La. tin Rockstart with a downward sweep to play the D minor triad, then bend the first note of each half-note triplet.This one has a lot of Santana in it.

D m i T N - ^ . A * :

g L e . g a o t oCheck out the heavy use of chromatic notes in this lick. The neat thing is how you can still hear thesound of the A Dorian mode in the line. pay careful attention to the slurs!

Lou . i s . i . an . a B luesThe key of E is made for the guitar, and this lick exemplifies that. Droning the high E string while playinga melody on the B string gives this lick an authentic old blues flavor. There are many variations in theopen E position.

0

@ f t . d i . a n A r . p e g o g i o oThis is a fun little shape that climbs up the neck with a Lydian sound. lt includes the use of the major 7tharpeggio with the added #11 spread out over two octaves.

,^. aAA/tAA 'fAma71*11;

4IAA'i'AAA

@ Ma. jo r i i . V . IThis line starts out with an FmaT arpeggio over the Dmi7. On the V chord, you have a nice descendingline that captures the color of a b g, f g, and f, 5.

- 3 -

t i . l = i ) tDmiT G7*9 C.ma:.CmalT

O M a r o t i o n o o L i k eThis is a double-time ii-V-l lick. lt starts with a smooth minor 7th lick, then walks down the D and Gstrings. Once your left hand is in fifth position, the rest of the line falls into place.

Me. lod. ic Mi . norThis jazzy altered dominant line extends the natural tension in a V7 dominant by using the melodicminor up a half step from the chord. lt also does so in a melodic way-with interesting intervals.

CmiT

Bbmaj

o(cont d)

36

c?(f3)

O Me. lod. ic Mi. norThis very useful melody comes straight out of the Eb melodic minor scale. A melodic minor scale playedup a half step from the dominant chord creates the sound we also call the altered scate.

@ M"t. ul'tonto) This ripping lick takes advantage of the "box-position extension"-yyfisp you extend the four-fret span toa six-fret span on the top string. Finding new ways to lay your hands over the same old patterns is agood way to come up with new stuff. play this one with a lot of pull-offs.

Emi, E7, or E5

D71il9;

O Metheny. LikeHere's a chromatic jazz lick that uses hammer-ons and slides. This kind of picking, very much a part ofthe Metheny style, can increase your speed and legato feel.

37

@ Minor i i. V. IHere,s an elegant double-time lick, in the style of Mike Stern, that fits a minor cadence. lt starts withone-octave arpeggios of AbmaT and DmiZ(b5). lt then moves down the E string with a smooth chromaticline that colors the dominant chord-check out the fingering on this part. Finally, it finishes up with adiminished scale and resolves to the 9th of the i chord'

Cmi9

@ Mi. nor Sev. enthThis jazzy minor idea has added interest due to the chromatics. A short lick like this is possible in manydifferent positions. This is a good starting point for a Metheny-type sound.

- 3 -

\ ) ) = ) i ' lAmiT

Dmi71b5 ; G7

@ Mix. o. lyd o i o an MixNotice how this line smoothly connects the sound of D Mixolydian to an E7 sound. A strong downbeatchord-tone resolution on the E helps the connection.

O Mod o ern BluesThis eighth-position lick starts with a fourth{inger bend. The second note is the same pitch. Make sureyour bend is a perfect whole step. Pull-offs help smooth the phrasing on the way back down.

7Gb ; l i ^ A ^ ' t ' t

a A ^ ^ ^ a

g Mod. ern RockThis rock lick starts below the box position and moves down one more. Try working out a few differentfingerings' Moving through positions can be tricky, so start slowly before trying it up to speed.

Gmi

@ Mo. town Rhyth. mThanks to steve cropper for this great funky E7 groove. This kind of part works best when the bassgroove has open holes in it' That way, the low end-heavy rhythm filrs in the spaces without getting in theway. Check out the original, ,,Knock on Wood.,,

@ N"ur. ly Blues(contd) okay, this lick doesn't sound like something B.B. would play, but you can still use it over a blues. Thewide-open intervals give this phrase a modern sound. Could also fit over Emiz(bs;.

@ N"ar o ly Dor. i . anA modal lick doesn't have to stay completely diatonic to fit in that mode.the use of chromatic passing tones added to arpeggios can enhance thethe placement of the chromatic notes; avoid playing them on downbeats.Robben Ford idea.

O New Age(tonto) Here's one borrowed from the classic composers. The concept starts with a pedal (in this case c). Thenthe melody works down the scale while pedaling the high c. lt finishes with a simple resolution to the l.

C2

Examine this line to see howDorian sound. The secret isThis lick is reminiscent of a

DmiT

40

@ New AgeThis could sound really nice with some delay and chorus. Make sure you stay out of the way of the lowE as it's ringing. lt supports the key center as you play the melody on the top three strings.

Ema71b5;

New Age A. cous . ticThis jangly-sounding chord riff makes a nice ending for an acoustic piece in E. Allow the notes to ringtogether as much as possible, and pay attention to the open strings-the low E should ring through thefirst measure. This lick is best played with a fingerpicking approach.

o- : ^ : c

e Ninth Chord RunThis lick can be used on any non-functioning dominant chord. Although it uses chromatic notes foradded color and melody, notice how the chord tones land on the downbeats, making the line retain thesound of the harmony clearly.

@ Oop¤osounds(cont'd) The term "open" in music can refer to many things-in this case, the spacing of intervals. There are

many wide intervals utilized in this phrase. Notice the use of 5ths in the beginning and octave jumps atthe end.

@ Q o pen String End. ingWatch the tab on this one. The idea here is to use open strings in a descending melody to create acascading harp-like effect. This one could sound good as an ending to an acoustic piece.

Cma7 CmaT(tl l1

@ Out. side LoopTry looping this lick over and over, and note how the phrasing turns around. You can move it in minor3rds as well, because all the notes fit in the diminished scale. (Shapes in this scale can move in minor3rds and remain diatonic.)

@ n"t o tern for Dor . i . anPlaying this line smoothly takes a little practice. lt helps to incorporate legato fingering. To completelymaster this, try starting the pattern from any note in the C Dorian scale. Use your ear to negotiate thechromatic notes.

CmiT

O Ped. al steelwatch your intonation on these bends. Hold the G with the high cf and add a litile vibrato for a pedal-steel effect.

@ Pen. ta o ton. ic Shift. inBHere's a speedy rock lick that moves through the A minor pentatonic patterns with aPay attention to the legato fingerings and the placement of the slides.

Ami or A7

rhythmic figure.

43

,r''/

9 Phry. gian,toi'o' Th" enrygian mode always gives an exotic flavor to a minor chord. Place this in the seventh position

and utilize hammer-ons and pull-offs for a legato sound. The emphasis is on the bz of the scale (in this

case, Bb).

@ P". si. tion Shift o erNotice how this pentatonic-based lick connects the neck with slides. using this technique gives you

more possibilities than staying in the box pattern. Sliding also gives your phrasing a different feel'

I Pow. er Pop(coit 'd)

catchy guitar hooks are the basis of many a pop hit. one of the tr icks to composing a part is

incorporating a melody in a chordal riff. This lick has a cool rhythmic feel to it and creates a melodic

hookw i th theno teson topo f thechords .Makeupsomeo fyou rown .n SbZ F2lA

TA'IAAA"'I

@ n.o o gres . sive Rock

A 7 Emi# 1 ' I

O Psy. che o del. ic: l^ t 'd )

This is a great stylistic lick if you're trying to capture the feel of a sitar. By using open strings in the firstposition, you can create a cascading effect. Make sure the notes run together as a chord. This couldalso work over a C# mi7 chord (as a ii chord). Far out!

This lick starts with a four-note phrase, moves up one octave and then one more with a variation. On thesecond high D, pre-bend it from a c#, so you can release it to the c#. mis is a cool way to imply a sus4dominant sound.

a AA ^ AA ^ iA,vrA,i

45

@ Qn"r. tal Chord Lick

t/1

The idea behind this chord movement is quite interesting. The melody on top is moving down an Eminor pentatonic scale. The notes underneath that fal l on the downbeats ol 1,2,3, and 4 form G, F, Eb,and C triads. However, the notes on the upbeats are a half step below each triad, forming a perfect 4thstack. Although it may seem a little atonal at first, it sounds great over EmiT or E7(f gy. This is a classicMiles Davis trick.

O Ques . tion and An o swer Lick(tonto) This one is right out of the call-and-response style of great blues playing. Try ptaying it on the first fourmeasures of a blues. Think "slowhand.,'

vo;L ,'

3

G 7.'iAA'iAAAA�T

C 7

r^ ^A A A ,a

A7 E 7

Emi or E9

@ Q,".k LickThis lick is simple, but it sure feels good to play. The rhythmic motif fits pe;fec1y in a shuffle. This onewill work great on the last two measures of an A blues.

<3- - L J J

@ Quirk. y BluesThe hammer-ons and slides in this phrase help smooth out the melodic jumps. This could work in rock,blues, or fusion. lf it's too long to work with, try just using the first seven notes.

@ Quirk. y RockHere's a cool rocldblues lick that starts with an open kind of angular shape and moves it up a wholestep. Although it's based on minor and major pentatonics, it has a unique sound.

47

@ nu*. time(cont'd) The 6th and 3rd intervals combined give this phrase a Scott Joplin-esque Ragtime feel. Try it with hybrid

picking or just plain fingers. lt sounds great on an acoustic!

O Rap. id BendsOne of the great things about the guitar is the many different ways you can play a note. This l ickdemonstrates two approaches. By rapidly alternating between a fretted and bent D, released to a Cf,,you create an interesting effect. And because it's a three-note pattern, it creates an odd-against-even(sixteen notes to a beat) effect.

Reg. gaeDial in a bright, clean tone for this rhythm groove. Notice how a simple melody is implied. Creatingmelodies in rhythm parts is important in all styles, especially reggae. Make sure you swing the rhythm.Ya man! !

A7 or ATsus

o(Cont'd)

\ ) ) ) ) = ) ) ) ) t

@ Ret. roHere's a neat double-stop blues riff. This could work as an ending break in a blues. The notes in paren-theses are ghost noes, to be played very lighfly.

Rhyth o mic RockThis simple bending blues lick has a great rhythmic feel to it. Try transposing it to other patterns too.

e(cont d)

@ nnrth. mic RockThe timing on this is tricky. Sometimes the difference between a typical lick and an exceptionally coolone is the rhythm. The delayed feel of the bends, mixed with the sixteenth notes and the triplets, makethis lick less predictable and more interesting.

@ nirr'Every rocl</blues player needs to have a basic vocabulary of riffs at his/her command. A riff is a motif,usually three to seven notes long, played in a series of repetitions. The following three riffs are great foradding intensity to any solo-especially when played uptempo.Riff #1

C7 or Cmi

49

R;iff #zThis riff creates a cool accent when looped. Use pull-offs for faster execution.

C7 or Cmi - -3- - -3 -

--.:_/

Riff #3This one has a flashy rhythm feel. lt's good for a solo climax builder.

TAAAAAT

aaa^ a,t

C7 or Cmi

@ R o c k o a o f i l [ . yGo for a twangy sound and crank up the reverb on this lick. lt's a good example of Carl Perkins-stylecountry swing-the backbone of rockabilly.

t J ; = J l lC 64 t

@ Rock and Roll Rhyth. mWorking from a f i f th-posit ion C major pentatonic shape al lows for a variety of classic rock 'n' rol lrhythms. Underneath the four-fret span are the major and minor 3rds, plus the 6th and bZth degrees.Beginning with the root and mixing up the notes in a melodic way captures the essence of early rock'n'rol l . I cal l this posit ion the "Stones Box."

@ Rock BluesThis is a good lick for a shuffle or straight-eighth feel. lt fits that position right above the familiar boxpattern.

Roots . y RockDouble stops give this phrase a country flavor. Notice how the thirds stay diatonic to the dominantseventh chords. lt may feel the best played on the top two strings as long as possible.

G7 or Gmi

@(cont d)

51

GmaT

.^,a n d I

t{,2 Jax JounosThis line comes right from the vocabulary of classic saxophone motifs. The concept at work here is thetarget approach to the chord tones (preceding chord tones by notes above or below). lt can work over adominant chord (G7) as well.

@ S." Sounds(coitd) 161, contemporary jazz-fusion line has a lot going on. lt starts off implying a Bb dominant diminished

scale up to the F. Then, to add tension, the line seems to imply an F7 altered chord (the V of Bb),resolving back to Bb on the final F. This is a common device in the iazz vocabulary. Thanks to JohnScofield for this one.

Like its reggae cousin, ska music originated in Jamaica. Where a reggae groove is more laid back, skais usually more upbeat. Play the eighth upbeats as sharp, clean upstrokes and go for a crisp, clearsound. Remember the English Beat?

O ska

bBbt

AmtDmi

O shck BruesThis one has a lot of grease behind it. To get the right slick feel, try a backwards ,,rake,,down to the firstlow A note-right out of Robben Ford,s bag of blues.

Iil

@ shde Mer. o. dyThis is a simpre merody, but getting the intonation right is arways tricky.

E

o(cont d)

S l i d e M e l . o o d vThis one has that "down-home" feel to it' Good intonation is always a must with slide phrases. play thefretted notes a few times to get the melody in your ear, then incorporate the slide. Disconnect some ofthe notes for a more distinctive rhythm.

.O Slide Mel. o o dyThis one takes practice to get smooth and clean. Notice the use of the open G string throughout thephrase' You must develop a delicate touch when bringing the slide on and off the strings; you don,t want[ffi:::ny

extra freustring noise. lt's best to use tnl tingers on the right hand for precise muting

53

O SUd. ing and Bend. ingThis line combines slides and bends to connect positions. The major 6th in the melody indicates that it'sa Dorian-mode lick. Efficient use of your fingers is important in this lick. Start the A with your third finger.When you move up to the high D, use your first finger. Finally, bend the E up to the D with your thirdfinger.

O Smooth and FastThis one is spread out across two strings to maximize speed and smoothness. The fist four notes arepicked once, then the B on the B str ing is plucked with the middle f inger. Look for other ways toincorporate the fingers of your picking hand for extra speed in your lines.

O Smooth Jazz(contd) What do you call jazz with all the rough edges polished off? Smooth! lt's a style typified by nice easymelodies over mellow inside harmonies. This lick could work perfectly when you have a lV chord movingdown to a iii. Practice making the legato line connect seamlessly.Try it with a clean tone.

T)ma7 Crrr,i7

@ Smooth SlidesThis lick is made up of diatonic 3rds sliding through three positions on adjacent strings. You can let thelast 3rds ring together with the high D to form a chord.

Gmi or CTsus

@ Soul. ful Bend. ing'tonto) He'e's a neat bending lick that gives you a new srant on a brues-rock sound. The positioning of the refthand is important' Bending the finalA up to B is difficult on the D string-make sure you,re up to pitch!Ami

@ Soul . fu l R. &. BThis l ick repeats in two octaves, then f inishes off with a blues kind of phrase. Think of this in thelazzlR&B style of the great George Benson.

O South. ern Rock{contd) 16;t one comes right out of the Dickey Betts school. lt starts with a whole-step bend and stays in cmajor pentatonic. srides are thrown in to herp keep it interesting.

@ String Slid. erThis lick starts off in a typical position, then uses slides to bridge to the next position. The chromaticnotes add tension.

- , J :( ) ) = ) l tBb13

@ S.tr o pend . ed Dom . i. nant Ar. peg. gi . oTaking an arpeggio and modifying one note can make a remarkable difference in the sound. Here, westart otf with an A7 arpeggio in seventh position and suspend the major 3rds of the arpeggio. Thiscreates a much more "open" feel.

. i =

@(cont d)

ATsus

@ S,'.fDial in a bright tone with a lot of reverb for this surf-inspired lick. Pick the notes hard and close to thebridge for a true Dick Dale feel.

E m i G D C .

SwingHere's a bebop iazz lick that just feels great over a ii-V-l progression. This is what you might call aclassic iazz motit i la Sonny Rollins.

G 1

@ S y - o m e t o r yHere's another one from the diminished scale, taking full advantage of the symmetry. In this case, wehave minor 3rds ascending in major 3rds. lt's interesting to note how this line seems to fit over threeminor chords. Although using the diminished scale over these minor chords creates chromatic notes,they are acceptable "colors" that sound good.

AmiT (also FmiT or CfmiT)

56

@ f".n. nic. al Rock

E5 orEmia

This hot rock lick fits in the blues box and makes use of repeated bends to the root. As you work yourway down the pattern, you pick up extra notes for color-in this case, the major 6th and tne bsth. watchthe timing on the sextuplets. The last G should be landing just before the downbe at ot 4.

l.|... FI

@ t"as BluesPlay this one with rots of rexas attitude. Try raking into the first note.

(J J =l .l\)C 7 ^/ \b + ?

.!!$^^ . A'!$^.

t ^ A^ ^ryt^^ ^^,|

.9 t"ulr. is Pick. ing(ton'o) Pick up the acoustic for this one. There are many variations of this fingerpicking style. Note the way thebass alternates between the root and the Sth. once you master these patterns in a variety of chordforms, it becomes easy to chain them together into a song.

57

a lTT

I

ilI

O T"ip. let Rock(contd) Here's a great lick that makes use of triplets. Starting off with an in-your{ace double stop, it moves into

a series of triplets (sextuplets) in the familiar box pattern. After climbing up the pattern, it extends up tothe sus4 (G) before resolving to the b7. Another lick in the style of the great Robben Ford.

O T"ip. let BluesDig the way this one moves from the lV chord to the I chord of a blues progression. Three consecutivetriplets make it perfect for a shuffle. Try using the fingers of your picking hand for a bright, snappy sound.

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@ Tri. ton. alLooking for a lick that sounds a little different? Check out this diminished idea. The four major triads inthis scale (E, G, Bb, and gb; are hooked together to form an intervallic altered dominant lick. Try them indifferent combinations. This can be moved in minor 3rds and still fit the chord.

@ Tii. tone TwangThis country-flavored lick is loosely based on the idea of combining triads a bsth apart. The triads arenot l i teral ly played, they are implied. In this case, G and Db are used. This coutd work well in anuptempo blues-based country tune.

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@ Twang. y ThirdsThis double-stop lick could work well in country or blues. Make sure you watch the bends, and paycareful attention to the intonation.

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@ Two. Fland ThppingThis tapping lick may take a while to work out, so start slowly. lt begins with a bend from the D up to theE. Then you tap the fourteenth fret with your right hand. After you release the tap, release the bend backto D and while it's still ringing, bend right back up to E. This pattern continues as you tap down the Gstring. lt ends with a series of tapped 16th-note triplets.

O Two Tri. adsThe idea in this line is the use of a G augmented triad and an A major triad. This twotriad approachcreates an upper-structure sound to an A7 chord-Ag(f,S).

A 7#4-:

59

@ U". i . dent. i . f ied Fly. ing Fin o g¤rSBreaking up the box posit ion with some leaping f inger jumps is the main purpose of this l ick. Useconsecutive downstrokes until you come back to the A on the B string. Whenever you fall prey to that"same old lick" syndrome, try incorporating wider intervals in your licks for some fresh ideas. You'll beamazed at what you can invent.

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@ LJn. us o u. al Bend. inBAlthough this lick may look simple at first, pay careful attention to the fingers you use to bend. Whenreleasing to the Bb from B with your fourth finger, catch the A with your third finger. Then you're ready tobend the G with your first finger. Thanks to Sonny Landreth.

e U. ti l . i. ty JazzNotice the use of arpeggios mixed in with the Dorian-mode notes. Make sure you get the hammer-onsand slide: in the right places.

II.@ U. t i l . i . ty R&B

Here's a classic staple of R&8, sout, and funk. Double stops in diatonic 4ths can be an interesting wayto add melody to a rhythm part' The intervals tend to sound ambiguous and therefore can fit over manychords in the diatonic scale' Experiment with this rick over other chords in the key of E major. l

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aO Van Hal o en. esqueHere's a classic from tapping master Eddie Van Halen. After working your way down the B string, youhave to jump down to the G string to continue. Then you keep hopping down until you get to the low E. lttakes practice to make this smooth. Try breaking this lick up into two sections, then combining them.

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e Vaughan. like

I

This blues lick drips with heartache. Start off with a whole-step bend from the E to the Ff. Then, withyour first finger, bend the D up to the E for more anguish. (This is a tough bend, especially with heavystrings') After the bends, move down to seventh position and finish it off with a box-pattern phrase. Thisman had a feel!B 7: b

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O Vaughan, Stev. ie Rav(tonto) This is one soulful blues lick. The timing may look weird--once you learn the fingering, copy the rhythmwith your ear. lt works great in a slow 12lg blues, d la ,,Texas Flood.,,G1

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O Vin. tage Rock(cont'd) A variation of the ,,flashy blues,, lick on

slide into it.

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track 30. To give this rick extra attitude, hit the row c hard anct

,@ Ver. y Smoothcheck out the fingering on this dominant-7th lick. lt's important to start on the Bb with your third finger.on the double F, use your thirrd finger as weil to make it smooth.

C7

63

.O Wes. LikeThis graceful ii-V-l lick is in the style of the great Wes Montgomery. Notice the smooth way it resolvesto the 6th of the Eb chord. Mastering note resolution is one of the secrets of jazz.

FmiT Bb+ l f 9 ) pb8

@ Wes. L ike i i . V. IHere's another neat lick inspired by Wesin other words, playing an Ebl sound as

Montgomery. The idea is to use a b5 sub over the BbZ chord-a substitute for the Bb 7.

sbl EbmaT

to the first; this is a technique@ West. Coast Blues

Notice how the second measure of this blues-based lick is nearly identicalyou can use to make up your own licks.

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@ W"rt Coast CoolThis jazz phrase starts with a gracefur sweep, then moves downhit the A note, you'il mix in chromatics from the A string as weil.imply an E9 for a resolution. This one is very Benson_esque.

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g Wide e o pen Spac. esThe "open" sound of this lick is due to the large intervals at work. rt also incorporates F and G triads tocreate a G9sus sound. lt could also fit an Fmaj7.

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the D string chromatically. When youFinally, you reach fourth position and

O whole Tonewhat do you get when you play six consecutive whole steps? The apily-named whole fone scale. ltsspecial sound is best used over dominant chords that have a flatted or sharp Sth and a natural 9th. lnthis whole-tone lick, the four-note groupings of eighth notes make the three-note phrase of the lickdisplace in an interesting way.

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@ whole ToneHere's a three-note sequence whole-tone lick that ascends in major 3rds.

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65

@ Whole Tone RiffThe whole tone scale can provide some interesting sounds. Here's one that starts off with a double-stoplick, then moves it up a step and down a step, respectively. This lick could fit over any dominant chordbuilt off any note of the scale (A7, 87, C*7, D47, F7, or G7).

A7( i ; )

@ World BeatThis bright, happy rhythm typifies the feel of a lot of world-beat guitar parts, usually based around majorpentatonic melodies and played with a clean tone. Often, a muting technique is employed. Theharmonies are typically simple, as in this example, moving from a I chord to a V chord.

@ X. tend. ed Dom. i . nantThis lick seemswhere indicated.

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to be playable almost exclusively with the first andThanks to Larry Carlton for this one.

C X. tend. ed Major ZthEver wonder what to play on a major 7th with a # sz Now you have a phrase. This idea came from usinga melodic minor scale down a minor 3rd from the chord. i

third fingers. Make sure you slide

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e X . tend . ing Scale Shapes # IThis line begins with a "shape" from a second-position c scale and walks vertically up the neck.Notice how the idea keeps a similar contour as it moves.

67

X. tend. ing Scale Shapes #2This phrase literally takes one shape and maintains it as it walks down the neck. All the notes, however,still remain diatonic.

X. tend. ing Scale Shapes #3This Lydian line has a nice open feel, starting off with some extended major 9ths. pay careful at-tentionto the slides in this one.

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,@ Yard. birdsThis neat lick can be found on an old Yardbirds record. Jeff Beck has a way of coming up with extremelycool pull-otf licks' Here he takes a seventh-position box pattern and incorporates an open B string for agreat intervallic jumping idea. There is a pull-off from the E on the seventh fret, but the open G is usedmore as a dead note. When you hit the low D on the fifth fret, give it a litfle bend to add some attitude.

g y . 2 . K R o c kThis modern rock lick is definitely ready for the new century. lt starts off with a wide-open sound using5th intervals and combines slides and finger stretches to move up the neck. To negotiate position shifts,pay attention to the tablature' This concept of moving through positions with slides has a lot of potential.Try making up some lines of your own in this style.

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69

@@ Zone Doub.lesHere's a neat l ick that uti l izes doubled notes. l t f i ts in the typical box posit ion, but the f ingering isimportant to get the right feel. Alternating the G between the second and third strings creates the effect.Pay attention to the tab and pull-offs. After you get the left hand synced with the right, you can pick upthe tempo and really start to shredl

C 7 . C m i o r C 5

O z . z ropAre there any guys with long beards who rock harder thanZZ Top? ldoubt i t . . . Here's one of theirclassic riffs. Play it lighfly, then build it to a heavy shuffle with distortion.

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