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Lethal_T

a
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

the morecreativeyou can be in expressing yourthoughtsand ideas.". ePEo^lttg rock. and The GuitarLicktionarywill expandyour appreciation of musicand styleswhile inspiringnew ideas thatwillultimaterybecomeyourown uniquelanguage.ffi'.country. and recordedon the accompanying cD.uage hasits ownvocabutary. youJ .i^]:::)li.. so you can hear and understandthe conceptsbehindit.This book vocaburary andprovide someinsishtintothevastvarietyof :.a lot of transcribing.:^*.Goodruck. and enjoythejourney! HOW TO USETHIS BOOK ach lickis describedand notatedalphabetically. and a lot of playing'This book' however. .:.-:i:I:::. or userthe L.:":::l1nl vocabulary._LliTr:. (Because ::::: :ry:i: Io) of licksaalphabeticaily. of course'learningvocabularyalone doesn'tteachyou the grammarof a language. INTRODUCTION 'T::1n"". .:-r- indexto find ricksin a specificstyre.respeakins H:j:": o' prayins brues. No "one-stopshoppinglick book"can substitute for a lot of listening. Throughoutthis book.: phrases (ticks)thatmakeup differentstyles.:::_"inlans.icne.. linke lnhahalinall..".-.The skill of developingand connectingphrasesin a spontaneous and inspiredway requiresa studyof the music..^il:: .the.r". whetheryou.openingyour ears to the styristictricks techniques thatcan sometimesbe elusive.?. or jazz.car be great a resource.the numbersin the rrrvet0 ilt ttlli indicate thetrackwhereeachrickwiilbe foundon thecD..

60 62 x. . .TABLEOF CONTENTS Index of Licks by Style ....... .. 4 2 0 R .52 T .27 . 64 Y Guitar Notation Legend ... .26 .8 12 .......17 .

.........52 70 ModernRock...... .......... ......... ........63 B8 AscendingLydian ......26 34 J a z z ..13 13 C l a s s i c M e t... ...20 25 ExtendedArpeggio .....T eR c ho c k............70 98 ControlledBends . ..27 36 Majorii-V-t ..24 31 lonianArp ... ... .. ..........g2 41 FusionRock...59 B3 AlteredSequence ..s .........33 43 HardRock .... . ..........39 Swing .d.........66 92 66 Riffs X-TendedMajor7th .. .....2O 26 FastRockRiff ....3g 50 LatinRock ......e ......17 20 DiminishedSymmetry . .. ... ..n........ .45 WestCoastBlues .. .31 40 Minorii-V-l . u.......31 41 FusionRock. .... . ... 6 2 86 AlteredTrick.. .21 26 FlashyBtues .......2g 37 Martino-Like .I II\L. .. ...45 W e s ...e s.10 B AlteredTriads ..11 10 Bebop .10 8 Y2KRock ..96 46 HeavyRock..... . ..58 81 AcidJazz ..7 3 Yardbirds .. .........56 78 TechnicalRock . . .7 3 VintageRock...30 39 M e t h e n y ..36 47 H i g h .21 27 FoursinThrees ..... o l ...35 45 HeavyRock..1g 23 Dorian . V .j4 15 Dorian . t h ... ...g 4 Altered ...EX Ut.....B l u e s T u r n a r o..67 94 .13 13 ZoneDoubles ..36 47 H e n d r i x ........64 90 60 QuirkyRock.. g 2 42 Goin'Off .65 92 65 RhythmicRock....... .4g 57 Metal ...: .. .2O 25 Dorianlnterval ...... c k ... ..... .17 ZO FunkyBlues...n..35 44 PatternforDorian ..B f u e s T u r n a r o. ...d..... . .... g 2 42 Giganticsound . i.....2g 37 MelodicMinor........g7 48 SaxSounds .......13 14 ChromaticJazz ..e s..4g UtilityJazz . .L i k e i i -.49 WholeToneRiff ..47 W e s t C o a s t C o.60 85 5B PositionShifter .....23 29 ExtendedDominant ......g7 49 I n t e r vl ad le a ..3g 49 Korn-Like .d...57 79 Fusion TripletRock.49_50 67 Surf ..65 90 63 R a p i d B e n.... .49 WholeTone.1g 23 E l e c t r i c R o.......65 91 64 RhythmicRock. . . 6 4 89 60 Psychedelic .. ..8 5 Clapton-esque .....48 WholeTone..69 96 BluesMixotydian..... .56 7B 51 Pentatonicshifting .. .. .6 z V a n H a f e n ..... ...70 99 DiminishedRock.....u e ... ....... .LTCKS BY STYLE Rock lazz Lick Page Track Lick Page Track BachRock ...........26 34 JazzSweep .... k.18 22 EarlyRock'n'Roll .........25 33 JazzAltered ........... . ... q u e ............ .... ........28 38 MelodicMinor...14 15 ZZTop .1g 22 DoubledPentatonic . ... ... . ....6 l Two-HandTapping ..27 35 Legato ....q...g7 48 InsanePentatonic ...25 33 J a z z . ..n...A4 44 M i n o r S e v e ...........44 Wes-Like ..... ..t ... ....24 31 .....6 1 Blues-Rock .69 97 ChromaticAltered ... u..25 30 EndingLick . .64 89 59 ProgressiveRock...... ..........L. a l .7 2 BritishBlues..............

......g..15 16 H y b r iP d icking .. ..9 7 Ska.19 24 NewAge ..... ck ..... ...44 58 FingersandPick ..14 14 Holdsworthian ..10 7 WorldBeat.56 79 ....60 85 SmoothSlides .44 59 Blues QuartalChordLick.. . .... ...... . 3 5 45 Ragtime ....62 87 S o u l fR u l& B ...48 63 ModernBlues...........26 35 ChickenPickin' .23 29 QuirkyBlues .e s .................. y.......54 74 UnusualBending ...57 BO S l i d i n g a n d B e n..50 68 StringSlider .22 28 OpenSounds. 4 6 61 Slide Quicklick . i x .4'l 54 FancyBlooze .16 18 OutsideLoop..35 46 CountryEnding ..... ...54 75 Vaughan-Like.24 JZ Country FusionRock.. .56 77 ... ..15 17 LydianArpeggio ... t. ....29 38 Country ....42 56 FastOountry . ...11 I AcousticA{ew Ag" BritishBlues.d............. . ..55 76 e a y..... ......43 57 SmoothandFast .....38 50 ScoSounds .... .. . ...... u ...... .55 73 RootsyRock .. ....27 36 ClassicCountry . y..9 6 TexasBlues.....11 9 BouncyBlues....22 28 Phrygian .u e s .....53 72 RockBlues ....... d.53 71 Pop SoulfulBending ..49 65 S l i d e M e l o ........ . ... ..15 16 InsideOutside . ....46 61 B....s. ...57 80 NearlyBlues .....55 75 B e n s o n . 5 4 73 TripletBlues......55 77 76 SouthernRo . ... ..... ...9 6 GroupsofFives .. ..... .. .52 71 BluesBreak .....41 55 CountryRock.....9 5 Rock'n'RollRhythm .. ..33 43 OpenStringEnding . . e s ...11 10 C e l t i c.....Arp .16 19 WideOpenSpaces . ......53 72 Retro ...29 39 Country ..... . e v iR 87 UtilityR&B . ...... . ..19 24 NewAge ....63 88 Cropper-ish .... .. ... ..............59 83 TwangyThirds Tritonal .. ........-ish ...41 54 FastandFunky ...51 69 SlickBlues ...30 40 Country .....d..42 56 L o u i s i a n a B l.....58 82 TwoTriads .... .. ...12 11 FolkRock ...23 30 DownHomeBlu ..B. .... ... ..... . es ..........67-68 95 MotownRhythm ............. ..........Fuslon .54 74 Rockabilly ...... 1 8 D o mC 21 X-Tending ScaleShapes ... ...55 SuspendedDom..........39 52 PowerPop........ .16 18 Ninth-ChordR .12 12 H a r m o n i c M i. . . .. h o r ldn v e r s i o n...... .....48 64 Below{he-BoxBlues . ...40 53 CountryRock..................65 91 .47 62 M i x o l y d i a n ...... ..58 82 Tri-ToneTwang Symmetry .46 62 S l i d e M e l o d.t2 70 PedalSteel ...... .... .... .. . . .. .M.50 68 Blues........ .42 55 JumpBlues ... .....q... h...12 11 C h i c a g o B l u... e .39 51 TravisPicking .. ... un ....60 84 't2 ChordPunches . i n ...4O 52 Q u e s t i o&nA n s w e r l i c k .... .......51 69 S l i d e M e l o ...15 17 NearlyDorian . ..67 94 ...... es ......13 V e r y S m o o. . .66 93 BluesTurnaround .....40 53 DownHomeBlu .......n o r ... ......... 2 4 32-33 Bluegrass . .. .22 27 NewAgeAcoustic .59 84 Rhythm Guitar Unidentified FlyingFingers .8 4 Reggae ........61 B6 . ... .... .y.... . ..17 19 Dance X-TendedDominant . 6 3 V a u g h aSn t... ..... ....58 81 SmoothJazz . ........... . .....

Cmi9 r ^ A A A ^ .lt couldalsobe played on the secondand thirdstrings. quence This V-to-llick makesuse of the diminishedscale.then impliesa D majortriad. G l:119.lt's a sequence that climbsup the neckon the top two strings'Try to makeit as legatoas possible.lt startsoff with an obvious c majortriad. tered (Cont'd) This lick uses notesfrom the E alteredscaleand combinesit with chromaticnotesfor an interesting sequence. r t1--a a^ ^A 't A^a . Q e . teredSe. cid1azz This line adds colorto a dominantchord. E?(13) AmaT or AmiT I ef . O er.

teredTiick Here'sa trickyou can play with your pentatonicblues licks:insteadof playingmajorpentatonicoff the rootof the chord. s c e n d . CmajT(n 11.li. c7(*e1 nrt\ a A A A TAA AAa Q e . a n tonto' Thi' is a neatideathat connectsthe patternsof G majorwithsmoothshifts. andbt. d i . err:(f?) I af . rr.Althoughit worksweilas Lydianphrase. /\ 4t ^A A A^lt'l . teredTri.This makesthat basicblueslicksound likea sophisticatedaltereddominantsound.i n g L y . +g. Try AmiTand D7.comparethe notesand you end up with a Lg. ads Thislickcombines Bb and G triadswithnotesfromthe diminished scalefor an extended altered- dominantsound.playit off the b9 (up a halfstepfrom the root). EI O af .experiment a withotherchordsin the key of G.

bop ThisBeboplineis greaton the lastsix measuresof a jazz blues.Thinkof this lickas startingon the fifthmeasureof a shufflebluesin G.. ish (cont'd) 6"'. Jf v B..8.Makesureyou slideoff the G octavesat the end.The chordtonesare wellplacedon the downbeats.s's one from the bluesmasterhimself.lendinga clear outlineto the changes.Althoughyou couldplay this lick in one position.S.it sounds betterwhenkepton the top threestrings.^. Bach.The lick finishesoff with a bluesywalk-upto the tonic. Q ttach Kock Here'sa littletip of the hat to the classicalrockplayerswho owe so muchto the greatJ. AmiT D7 GmiT C7 D7(n9) trml / .This fingeringinvolvesthe entireneckand doesso withefficientuse of the lefthand. 9 e".Startslowwiththis one and graduallyworkuPthe temPo.

son o esque For sheerchopsand soul. Q nl.lt's basedaroundC majorpentatonic.As withmostrockand Thereare manymelodicpossibilities andpull-offs blueslicks. 6 T A B Ben.Practicethis one at a slowtempoto get the timingright.GeorgeBensonhas few equals. Box Blues in the positionbelowthe "box"pattern. grass Try this on a steel-string acousticfor a real bluegrasssound. Try this phraseout overa V-lV blueschange.lt's blues-based.r".This homageto the man drawson his R&B roots.hammer-ons makethiscleaner-andeasierto play. with a flurryof sextupletsthat resolveto the downbeatperfectly.Use pull-offsfor smoothness and speed. G7 a . the . M g Be .Strivefor a cleanattackand workthisone up to a fasttempo for the rightfeel. 6 O Blue.Thisworkswell in a medium "straight-eighths" feel. but a minor3rd is addedfor extraaddedcolor. low.

A9 !l't.O BluesBreak (cont'd) lick couldbe greatfor stop-timebreaksin blues. lyd o i o an mode. Q ntnesoRock This blues-rocklick startswith a bend and combinesboth majorand minor3rds on a dominant7th chord.r J let nn? tt'tAAAA't g Blues Mix.The tripletrhythmmakesit well-suitedto a shuffle.^^. .then addsnotesfromthe Mixolydian a goodway to get morevariationfromthe five box patterns.Try usingthe fingerson your picking This double-stop hand insteadof a pick. A7 + l ^_.lt's Noticehow this lickstartsoff in the typicalbox position. o.

a. Useyourpickfor the bassnotesand pluckthe descending melodywithyoursecondfinger. ish Blues '-" Thissimple-but-elegant lickcomesfromthe Creamera. round A classicopen-string Everyguitarplayershouldbe armedwitha vocabulary bluesturnaround: of these. lf you accentthe G note.l .l=J .That meansthe G note keepspoppingup in a differentplaceas you loopthe pnrase. . lt couldfit overa shuffleor a straighteight. ish Blues The rhythmicgroupingof this lick is interesting. Any triplet-based motiflikethisworkswell in a shufflefeel.7 3 E7 B1 Q n"nn o cy Blues Thislickhasa greatrhythmicfeelto it.ll A7 D7 A7 @ n.J - t. E7 E7IGfr A1 A$.Using it overa straight-eighth groovecreatesan interesting dualityas well.g BluesTurn.i.the feel of the grouping displacesoverthe beat.. . @ Brit.

whilethe pick grabsthe noteson the secondand thirdstrings.The Thisfast countrylick is bestplayedwith a hybridright-hand secondfingerpicksthe noteson the high E string. C7 t l bt . you can start improvisingwith the notesand the motiffurther. lt's bestplayedovera shuffle.Use a repetitive a melodyat the same time.Keepit going!(That'swhy thereare repeatsaroundthisone. @ Cnick. pull-offto the openG stringwhilemaintaining Here'sa way to createa 6/8 lrishjig feel. en Pick.) developing o @ Ct i.Try movingit to anotherpositionfor morevariation.@ c"lr. in' techniqueusingyour pickand fingers. Once you get the 6/8 feel. i. ca go Blues Thisblueslickhas a greatrhythmicand melodicfeelto it and it extendsthe box patternin an interesting way.

This couldbe a niceway to end a jazz standard. esque The fast littletripletpull-offsgivethis lick its classicClaptonsound. ic Al.. Eb9 DmiT(rJ) Dbl3 O Chro . B7(19) O Chro o mat . (Cmi-F7-Bbma7). mat./\ TA^A^AAAAAAA'IAA/T 13 . EmiT(b5.This phrasecouldalso work in the box patternat the twelfthfret. ic Jazz ::^:'d) This motifslipsand slidesin and out of the altereddominant7th chord.The Bb remainson top as the chordsmove underneath. I- @ Cft"rd Punch.Workthis one up slowly- thefingering is tricky. es contb) Smoothvoiceconnectionsmakethis a nice chordmove.3 - ( JJ = J . tered Chromaticnotesaddedto the diminished scalecan helpcolora V-l change.Pay attentionto the fingering- playingsmoothlyis vitalto the phrasing. Try endingthe phrasewith a ii-V-l in Bb. l t C7(t9. . F7 . FmaT '^)ew W @ cup o ton.

trolledBends (contd) Th's lick is just what the name implies. C7 @ Ct"r .a n d r i g h t _ h a n dm u t i n g . Emi n /'> a{^ ^ A^. The bendsin this case are minor harmonicintervals'and care needs and majorthirds. sicCoun.The position the movesdown' the .wt^^^ ^^ ia^A A^AAar^A^ ^a @ C"".They are to be takento makesure they are shiftsare trickyas well'As you make absorutery in tune. sicMet.Makinguse of threenotesper string'combinedwith hammer-ons and puil-offs. u r E controrthe string i noise I hold bend 1 a^ ^^A^'tCr^^a 14 .'neck.d-f @ Ctur.it'seasyto makethisfast and furious. on the Bh lmeasure2) to the Try bothfingerings "nJlgur" out whichone feetsthe best.you can movethesedownthe E and G you end up in first position'Another stringsuntil optionis to make a stringchange foudhstringand stayin the fifthposition." . al Hit the distortion and makefull useof yourlegatotechnique for thisshred-styre metarrick. try (contb) Descending 6th intervalsmakeup this countryrick. r v v ' \ ' "make sure 'qr\e o you w i t h l e f t .

Try usingyour right-hand fingersfor a snappy attack! 15 .The blendof the majorand minor3rd (E.Eb) is as commonin countryas it is in rockand blues.thefingersendupfallirlgintoplaceratherwell.Makesure the bendis perfectlyin tune. try Thismajorpentatonic countrylickcouldbe playedwith pickand fingersfor a snappysound. O Coun otry Thiscountrylickmixesmajorand minorpentatonic notes.lf youstartwithyourfourthfingeronthehighD. ing ::^t'd)This country-flavored lick uses open-string pull-offs.The samenotescouldalsoworkin cf minor.tn. g Coun o try End.O Couno try Here'sa moderncountrylickthatspreadsoutthefingersof thelefthandin a not-so-conventional way. Q C".

ish Thisdouble-stopriffdefinesa styleassociated withmuchof the classicstax and MotownR&B Thesepartial-chord records. The rhythmic phrasingaddsmusicarity. @ Co"n. Thisone worksgreatin bruestoo! O Coun. try Rock 'tonto) Alongthe samelinesas the lickabove. try Rock Here'sa great-sounding llck looselybasedoff the soundof two major triads:c and D. licksimplythe harmonyand add melody. G C ) t . \ .these triadideasgiveyourmerodies a wide-openintervar feer. O Cropper.

Try thisone witha wah-wah.Aftersweepingup the 87 arpeggio.The symmetrical featureof this scaleprovidesmanyinterestingpatternsfor improvising.Knowingall yourdominant7th chord inversions on the top four stringsis a mustfor comingup withon-the-spot grooves.sharp attackwith this rhythm-it. ishedSy* .ln measure2. @ nt. a 4th intervalmovesin minor3rdsto createan interestingtension. me o try A diminishedscaleis madeup of consecutive half stepsand wholesteps. it ouilinesan AZ(bg. min . .O Dance t"n''o) Here'sa funkylittlegroovethat feelsgood to play.fg) arpeggioand finishes off comingdownanother pattern. ishedRock This dominantlick impliesalteredsounds. min. This lickstartswith major3rds movingup in minor3rds. O Di.s betterto makethe notesshortthanlong. B7(19.Go for a clean.

i.The arpeggiosare fromthe key of C. DmiT 9 Dor.Couldalsoworkover FmaZ(ft t ). I =J .val Like the title implies.To makeit smooth.i. @ Dor.pulloff to the indicatednotes.pull_offs helpthe phrasingtoo.this lick uses Sthsfrom the D Dorianmode. nantChordIn. i.Try putting thisideain anotherposition of D Dorian. _ 3 _ t. lt's pretty comfortablein the fiftn positionas well. DmiT .anIn. O Dom. ver. an Here'san interesting Doriansequencewitha passingnote. sions Thesefour measuresof dominantinversionsform a melodicand rhythmic hook.Try llnkingtogetherdifferent combinations to formrhythmguitargrooves.l) DmiT O Dor. i. which makesthisa Dorian-mode lick.Try it on G7 and BmiT(b5).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). an (tonto) Noticethe use of Diatonicarpeggiosthat makeup this rine.ter.

bledPen. O J=) .you will releasethe E backdown to the D on the G string.lt's a neateffectthatgivesyou that"down-home. tO Dou. ton o ic Thit lickis all aboutthe positioning of the slides. 'tonto' ta. Home Blues t""'o) Thisis a goodexampleof what'scalleda "greasy"lick. check out howthe bendfromthe pf.sound. lf you do it right. up to the A catchesthe G stringunderneath withthe samefinger.l) L I D7 A7 @ Down. HomeBlues Here'sone to prayon the frontporchwith the acoustic.becauseit perfecflyouilinesthe V-rV-r changeat the end of the brues.you havea reverse bendreadyto go. 19 .'.thisway. Ami or A7 r ^ ^ ^ ^ ^ O Down.pay attentionto the tablaturefor the fingering. This is one of those licksthat alwayssounds great.

Try it as a bluesphrase.it. a'tAAA^'tA rmr/ \ ! / / - ^a^A^'tA'.1ingwith repeatbends.then climbingdown the pentatonicscale.he createsa beautifulextendedtypeof minorseventhsound.or bouncethe rhythmand playit as a shuffle. and G major)..Try it withall downstrokes. o @ Elec tric Rock (contd) $12. tend. 'n' @ nu.a . In thiscase. ly Rock Roll Rightout of the ChuckBerryschool:4th doublestopsfromthe pentatonic scalereallycapturethe sound of the earlydaysof Rock'n' Roll. 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.this lick is adaptableto many styles. 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 . ed Ar. 6o N' rA^A^ TA^AA'IA @ Ex.s an Fmi13(b5).

^^.
I 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.

O 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 sound-
althoughthe 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
Practicethis one at a slowtempo. up the high E string.
Eventually, you'llbe ableto turn up the speed
clean. whenthe executionis

C]
5. 1
I ^^^/r^.
C .-: +)
!!l^

r^ AA^^,!rA^ a

@ Fastand Funk. v
has
trickv
rhvthmic
phrasins
rakethetime
torearn
it-astrons
ffif:1[""'il5"ffi11ffi"1il:"^'

,@ Fast Coun. try
(tonto)
Here'sa double-stoplick that could
serveas an endingbreakon an
bestwhenplayedwitha hybridpicking uptempocountrysong. rt works
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
down,it'snot as difficurt the riff
to mix up the patternwithvariations.

@ fin o gers and pick
::^:d)
Thiscountrypickin'lick soundsgreatwhenyou
use the fingersof the righthandwith the pick
snappysound-unless,of course,you,releft_handed! to get a

O Fhsh. y Blues
Thisone soundsgreatwhenit's playedfast
and clean.startingoff witha half-stepbend,it
the scaleto end on the minor3rd.You can give movesdown
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
(withoutthe root).Thanksto JamesTayrorfor great step
songsand greatguitarpraying.
A Al3sus A Dmil l/A a)

23

SeealsoGroupsof Fives.Here'sone that combinesa groupof four in a scaleplayedas triplets.A'IA AA.the fingeringis actuallyeasiestthisway.Youcan usethisoverEb7as well.creatingan interesting pentatonic effect. @ f" o sion Rock (tonto) lickwithmajorand minor3rdsin it.The pull-offssmoothit out too.O Fours in Threes Makingup sequencescan be a creativeadventure. y Blues A backwardsrake intothe first Bb is essentialto makingthis lickfeel funky.then finisheswith a Mixolydianscalerun. Althoughit moves fromtwelfthto seventhposition. sion This line startsout with two majortriads.! e Fu. E>mtj t A A^A^AAltAt'i TAAAAAAA' n. Emi or E7 @ fnnk.-- . lt soundsbestplayedfastl Here'sa goodpentatonic-based .

Bmi or 87 25 .g Fu. sionRock A rock-driven lick is givenaddeddimensionwith the use of two majortriads(Bband A) for chromatic tension.Thesenotesadd an outside-inside effect.staftsoff in a Mixolydianmode.then mutatesinto straightminor pentatonic. . BbIC I f". sionRock This lick.in the styleof RobbenFord.

") Bmi or 87 .Playa five-notesequencein a four-notegrouping (sixteenthnotes). in' off lickcan be playedalmostentirelywiththe firstand fourthfingersof the fret hand. C7 @ Groups of Fives Here'sa trickto makeyour pentatonics soundcool.(See also "Foursin possibilities. Warmup the Marshall! @ c". By doingthis.O Qi o gan.911ss|. Threes.Using This rock-blues bothmajorand minor3rdsgivesit a dominant7(f.Thinkof other Try a four-notesequencein triplets. That'swhy this heavyrock lick requiresthe low E to be droppeddown a step to D. tic Sound One of the keys to a big sound is low end. powerchordscan be playedwith one finger!Changingthe pitchof a stringor two can openthe doorto newcreativepossibilities.

c { C o n td ) Hard Rock Here'sa pentatonic-based lickthat movesup the neckwithslidesand triplets.Afterdoingthis.This lick fits greatover a dominant chordthat has an impliedkey centerof E minor.The hammer-ons willhelp you get it up to speed.you should find it easierto connectboth phrasestogether. mon.Tweakthe highA with a slightbend and givethe final E somevibratofor extra feel. or Here'sa scalethat you may be lackingin yourvocabulary.s betterto breaklicksup intosmallerbitswhenlearningthem. 27 . workon the phraseup to beat 4.Rockon! EmiTor El O FIar. p Heav. The harmonicminorsoundcomesin handy in a varietyof minor-keysituations. y Rock ' (Cont'd) Thislickstartsoff witha pull-offin the sixthpositionand worksdownto the thirdposition.Sometimesit.In thiscase. then practicethe restas a secondphrase. ic Min .

etc.The shapeand soundof theseintervalsimplythe dominantdiminishedscale." AmiT O High.Thinkof "LittleWing.in the styleof late-eightieshard rock.try studyingthe way the minorpentatonic scalefits in a diminished scaleand add thesecolornotesto your rocklicks. TechRock This modern-sounding rock lick has some wide intervaljumpsthat make it unique. drix.g Heav.To come up with moreof theselicks. 28 .This kindof trickworksgreatfor rhythmpartsas well. y Rock Crankup the Marshalland rock!This lick. lt can be playedover a straight-eighth rockgrooveor a shufflefeel as well. Reachup with your fourthfingerto get the B to ringwiththe C note. @ H"". Emi. E7(#9.Try it up an octavetoo. ish (contd) Dressingup the pentatonicscalewith doublestopsis one of manycoolthingsJimi did..fits over a varietyof E tonalities:E7.

Allan Holdsworthis definedby his brilliantchromaticism and legatotechnique. and E strings. brid pick.@ uotds. inB This is a lickwith a lot of potentialfor otherideas.third.combiningthe fingersof the pickinghandwiththe pick.and fourthfingersto pluckthe noteson the B. . i. G. Here'sone to get you going.Useyoursecond. Thanks to the amazingBrettGarsed.Thistechniquetakestimeto master.Go slowlyat firstand work up yourcoordination. an contd) A trulyoriginalplayer. Emi9 O Hy.lt utilizeshybridpicking. worth.

Then.Makesurethe hammer-ons and pull-offs are in the rightspots.it slipsbackdownto A minorpentatonic and mixesin someDorian notesfor extracolor. .@ m.the B minorpentatonic slides downto Bb minorpentatonic.Use economypickingwhenpossible.Finally.lt startsoff witha blueslick.lt finishesoff withthree quickpositionshiftsas it climaxeswitha highB pulledoff to a G.The noteslay this way to help smoothout the pickingfor the righthand.to createan outsidesound. sideOut.then movesdown to B minorand playsa box-positionlick. @ In. side Here'sa neatlinethat goeson a littlemelodyadventure. sanePent o a o lsn o ls ThiscrazylittleE minorlickstartsoff withan unusualpentatonic spread.

t e r .Usingit overDmiTwillcreate a beautifulminor9th soundtoo. a nA r p lf you don'tknowwhatto playovera majorseventh sound. a Here' an s idea that reallymakesyou move around the neck. o n .Make yourown! up some of O I .here'sa greatphrase. d e . v a lI .lt comesrightout of a majorseventharpeggio. i .Althoughit stayscompletelydiatonic.O I n . FmaT or DmiT .it soundsuniquedue to the combinationof wide interualsand traditionalscalesteps.

This createstensionnotesthat tend to pull intothe nextchord.l't C7 A7 DmiT .Blues Turn.BluesTurno a. Experiment too-you haveto do thisto findout how a melody"lays"the best. a .O lazz Al. The descendingmotifalso ouflinesthe chordtones. -rl- t i J = Jl t D13(t9) @ Jazz.Thanksto the lategreatJoe Pass. round This is a double{imephrasethat utilizesthe melodicminorsound:Bb melodicminoron the A7 chord and Ab on the G7 chord. tered (contd) 4 niceuseof intervalsand rhythmmakethisa clevermotif. round (contd) This turnaroundmelodyhas a nice shapeto it. withdifferentfingerings tl I =j . C7 @ Jazz.

let the notesspillintoeachotherfor a cascadeeffect. AmiT @ Jn.Then.This is a nice line for an outside-to-inside resolutionon a minorchord.Thinkof tattoosand BrianSetzerwhenyou playthis. tJ J =j .moveup to the tenthpositionto finishoff the rest of the melody.p Blues cont'd) Here'sa neatchordalmotifthat workswell in a lot of bluessituations.In the firsttwo measures.The rest of the lick is standardalternatepicking.l't G6 .@ JazzSweep The beginningof this linestartswitha downwardsweep-make surethe tripletis cleanand in time.

\ N. lt may be easier the tab here. 34 . v' vt/'check out where v"vw^ vut vvrrurethe slidesare-using them makes the groove riff along better. First.dropthe low E to D.C. like Here'sa cool one that soundsgreatwith distortion.as all noteson the E stringwill to read be downa step. O Korn. (D5) F5 D5 F5 G5 F5 Ds Fs /l< \r ^ (D5) /n.C. l Drop D Tuning: (low to high) D-A-D-G-B_E N.

Thereare manyvariations in the openE position. A*: g Le. . tin Rock start witha downwardsweepto playthe D minortriad. Thisone has a lot of Santanain it.pay carefulattentionto the slurs! 0 Lou.then bendthe firstnoteof eachhalf-note triplet.lt includesthe use of the major7th arpeggiowiththe added#11spreadout overtwo octaves. DmiT N -^.di. an.and this lickexemplifies that.anAr. Ama71*11. aAA/tAA 'f 4IAA'i'AAA . i.^. is. @ ft.pegogioo Thisis a fun littleshapethatclimbsup the neckwitha Lydiansound.The neat thing is how you can still hear the soundof the A Dorianmodein the line.Droningthe highE stringwhileplaying a melodyon the B stringgivesthis lick an authenticold bluesflavor.gaoto Checkout the heavyuse of chromaticnotesin this lick.O La. a Blues The key of E is madefor the guitar.

V. jorii. lt startswith a smoothminor7th lick.then walksdown the D and G strings.ma:. CmalT O MarotionooLike This is a double-timeii-V-llick. ic Mi.5. @ Ma. and f.lt alsodoesso in a melodicway-with interesting intervals. I This linestartsout with an FmaTarpeggiooverthe Dmi7. -3- ti . CmiT Bbmaj o ( cont d) Me. nor This jazzy altereddominantline extendsthe naturaltensionin a V7 dominantby usingthe melodic minorup a halfstepfromthe chord.l=i)t DmiT G7*9 C.On the V chord.the restof the linefallsintoplace. f g.you havea nicedescending linethatcapturesthe colorof a bg.Onceyourlefthandis in fifthposition. lod. c?(f3) 36 .

. ic Mi. of Emi.O Me.E7. or E5 O Metheny.very mucha partof the Methenystyle.This kindof picking. @ M"t.A melodicminorscaleplayed upa halfstepfromthedominant chordcreates thesoundwealsocallthealtered scate. D71il9.Findingnew ways to lay your handsover the same old patternsis a goodway to comeup withnew stuff. ul 'tonto) This rippinglicktakesadvantageof the "box-positionextension"-yyfisp you extendthe four-fretspanto a six-fretspan on the top string.Like Here'sa chromaticjazz lickthat useshammer-onsand slides.can increaseyourspeedand legatofeel. nor Thisveryusefulmelodycomesstraight outof theEbmelodic minorscale.playthisone witha lot pull-offs. lod.

V. I Here. lyd o i o an Mix to an E7 sound. o.A shortlick likethis is possiblein many sound. Thisis a goodstartingpointfor a Metheny-type differentpositions. lt thenmovesdownthe E stringwitha smoothchromatic line that colorsthe dominantchord-check out the fingeringon this part. G7 Cmi9 @ Mi.it finishesup with a diminished scaleand resolvesto the 9th of the i chord' Dmi71b5. .that fits a minorcadence.lt startswith one-octave arpeggiosof AbmaTand DmiZ(b5). enth This jazzyminorideahas addedinterestdue to the chromatics. nor Sev.A strongdownbeat Noticehow this line smoothlyconnectsthe soundof D Mixolydian resolution chord-tone on the E helpsthe connection.@ Minor ii. . Finally.3 - \) )=) i'l AmiT @ Mix. in the styleof Mike Stern.san elegantdouble-timelick.

..the low end-heavy rhythmfilrsin the spaceswithoutgettingin the way..Try workingout a few different fingerings'Movingthroughpositionscan be tricky.Pull-offshelp smooththe phrasingon the way backdown. l i ^ A ^ ' t ' t a A ^ ^ ^ a g Mod.Makesure yourbendis a perfectwholestep. This kind of part worksbest when the bass groovehas openholesin it' Thatway.Knock on Wood.O Mod o ern Blues This eighth-position lick startswith a fourth{ingerbend. Gmi @ Mo.. G7 b .The secondnote is the same pitch.. town Rhyth.so start slowlybeforetryingit up to speed.Checkout the original. m Thanksto steve cropperfor this greatfunky E7 groove. ern Rock This rock lick startsbelowthe box positionand moves down one more.

i. Examinethis line to see how the use of chromaticpassingtonesaddedto arpeggioscan enhancethe Doriansound. an A modallick doesn'thaveto stay completelydiatonicto fit in that mode. lt finisheswith a simpleresolution to the l. this lick doesn'tsoundlike somethingB. This lick is reminiscent of a RobbenFordidea.avoidplayingthem on downbeats.but you can still use it over a blues. Then the melodyworksdownthe scalewhilepedalingthe highc.Couldalsofit over Emiz(bs. DmiT C2 40 .B. ly Blues (contd) okay.wouldplay. o @ N"ar ly Dor.The conceptstartswitha pedal(in thiscasec). @ N"ur.The wide-openintervalsgivethis phrasea modernsound. O New Age (tonto) Here'sone borrowedfromthe classiccomposers.The secretis the placementof the chromaticnotes..

Thislickis bestplayedwitha fingerpicking approach.Althoughit uses chromaticnotesfor addedcolorand melody.@ New Age Thiscouldsoundreallynicewithsomedelayand chorus. Ema71b5.noticehow the chordtoneslandon the downbeats. cous . e Ninth ChordRun This lick can be used on any non-functioning dominantchord. .makingthe line retainthe soundof the harmonyclearly. o -:^:c New Age A.Makesureyou stayout of the way of the low E as it's ringing.and pay attentionto the openstrings-the low E shouldringthroughthe firstmeasure. Allowthe notesto ring togetheras muchas possible. tic Thisjangly-sounding chordriff makesa nice endingfor an acousticpiecein E.lt supportsthe keycenteras you playthe melodyon the top threestrings.

Noticethe use of 5ths in the beginningand octavejumpsat the end.(Shapesin this scalecan movein minor 3rdsand remaindiatonic.You can moveit in minor 3rdsas well. The idea here is to use open stringsin a descendingmelodyto createa cascadingharp-likeeffect.@ Oop¤osounds (cont'd) The term "open"in musiccan referto many things-in this case. ing Watchthe tab on this one.Thisone couldsoundgoodas an endingto an acousticpiece.becauseall the notesfit in the diminishedscale.and note how the phrasingturnsaround.) . Cma7 CmaT(tll1 @ Out. side Loop Try loopingthis lick over and over.Thereare manywide intervalsutilizedin this phrase. @ Q o pen String End.the spacingof intervals.

ta o ton. Payattentionto the legatofingerings and the placementof the slides. inB Here'sa speedyrock lick that movesthroughthe A minorpentatonicpatternswith a rhythmicfigure.try startingthe patternfrom any note in the C Dorianscale.To completely masterthis. @ Pen.lt helpsto incorporate legatofingering.@ n"t o tern for Dor . al steel watch your intonation on thesebends. an Playingthis line smoothlytakesa littlepractice. ic Shift. i . Ami or A7 43 . CmiT O Ped.Use your ear to negotiatethe chromaticnotes.Holdthe G with the highcf and add a litilevibratofor a pedal- steeleffect.

Slidingalsogivesyourphrasinga different morepossibilities TA'IAAA"'I I Pow.toi'o' Placethis in the seventhposition Th" enrygianmodealwaysgivesan exoticflavorto a minorchord.Bb). si. er Pop (coit'd) of the tricks to composinga part is catchy guitar hooks are the basis of many a pop hit. . tion Shift o er givesyou Noticehow this pentatonic-based lick connectsthe neck with slides. one it and createsa melodic a melodyin a chordalriff. @ P".r''/ 9 Phry.Makeupsomeofyourown. gian .using this technique feel' thanstayingin the box pattern.This lick has a cool rhythmicfeel to incorporating hookwiththenotesontopofthechords. n SbZ F2lA .The emphasisis on the of the and utilizehammer-ons case. bz scale(in this and pull-offsfor a legatosound.

Farout! 45 . cheo del.Makesure the notesrun togetheras a chord.This could alsoworkovera C#mi7 chord(asa ii chord). ic : l^t'd) This is a greatstylisticlick if you'retryingto capturethe feel of a sitar. @ n. Onthe secondhighD. A7 Emi a AA ^ AA ^ iA. pre-bend it froma c#.vrA. movesuponeoctaveandthenonemorewitha variation.By usingopenstringsin the first position. sive Rock Thislickstartswitha four-notephrase.you can createa cascadingeffect. so youcanrelease it to thec#.i #1'I O Psy.o o gres. mis is a coolwayto implya sus4 dominant sound.

it soundsgreatover EmiTor E7(fgy. A7 E7 <3-.Try ptayingit on the firstfour measuresof a blues. tion and An o swer Lick (tonto) This one is rightout of the call-and-response styleof greatbluesplaying.. Emi or E9 O Ques .Think"slowhand.Althoughit may seema littleatonalat first.forming perfect a 4th stack. F.a @ Q.3. and C triads. The melodyon top is movingdown an E minorpentatonic scale.the noteson the upbeatsare a halfstep beloweachtriad.The notesunderneath thatfallon the downbeatsol 1.' .' C7 G7 vo.This is a classic MilesDavistrick. Eb. and 4 formG.'iAA'iAAAA T 3 t/1 r^ ^A A A .".L . L J J .However. This one willworkgreaton the lasttwo measuresof an A blues.2.fec1yin a shuffle. tal Chord Lick The idea behindthis chord movementis quite interesting.k Lick This lick is simple.but it sure feelsgoodto play. @ Qn"r.The rhythmicmotiffits pe.

47 .Althoughit'sbasedon minorand majorpentatonics. y Blues The hammer-ons and slidesin this phrasehelpsmoothout the melodicjumps. y Rock Here'sa cool rocldblueslick that startswith an open kind of angularshapeand movesit up a whole step.@ Quirk.This couldwork in rock. it has a uniquesound.or fusion.lf it'stoo longto workwith.try just usingthe firstsevennotes. blues. @ Quirk.

clean tone for this rhythmgroove.And becauseit's a three-notepattern.@ nu*. id Bends One of the greatthingsaboutthe guitaris the many differentways you can play a note.Noticehow a simplemelodyis implied.Creating melodiesin rhythmpartsis importantin all styles. time (cont'd) Ragtimefeel. Yaman!! \))))=) )) )t . you createan interestingeffect.lt soundsgreaton an acoustic! O Rap.especiallyreggae.By rapidlyalternatingbetweena frettedand bent D.This lick demonstrates two approaches. releasedto a Cf.Makesure you swingthe rhythm.Try it with hybrid The 6th and 3rd intervalscombinedgivethis phrasea ScottJoplin-esque pickingor just plainfingers. A7 or ATsus o ( Cont'd) Reg..it createsan odd-against-even (sixteennotesto a beat)effect. gae Dial in a bright.

playedin a seriesof repetitions. @ Ret. @ nirr' Every rocl</blues playerneedsto have a basicvocabularyof riffs at his/hercommand.to be playedverylighfly.The delayedfeel of the bends. mic Rock The timingon this is tricky.mixedwiththe sixteenthnotesand the triplets.The notesin paren- thesesare ghostnoes. The followingthreeriffsare greatfor addingintensityto any solo-especiallywhenplayeduptempo. Riff #1 C7 or Cmi 49 . @ nnrth. ro Here'sa neatdouble-stop bluesriff. e ( cont d) Rhyth o mic Rock Thissimplebendingblueslickhasa greatrhythmicfeelto it.Sometimesthe differencebetweena typicallick and an exceptionallycool one is the rhythm.A riff is a motif.make this licklesspredictableand moreinteresting. Try transposing it to otherpatternstoo. usuallythreeto sevennoteslong.Thiscouldworkas an endingbreakin a blues.

:_/ aaa^ a.Use pull-offsfor fasterexecution.t Riff #3 Thisonehasa flashyrhythmfeel. --3.iff #z This riff createsa cool accentwhen looped. t J .plus the 6th and bZthdegrees. = Jl l C6 4 t @ Rock and Roll Rhyth. C7 or Cmi --3. TAAAAAT --. Beginning withthe rootand mixingup the notesin a melodicway capturesthe essenceof earlyrock'n' the "StonesBox." roll.I callthisposition . m Workingfrom a fifth-position C majorpentatonicshapeallowsfor a varietyof classicrock 'n' roll rhythms. C7 or Cmi @ Rockoaofil[.lt'sgoodfora soloclimaxbuilder.y Go for a twangysoundand crankup the reverbon this lick. lt's a good exampleof Carl Perkins-style countryswing-the backboneof rockabilly. R.Underneath the four-fretspan are the majorand minor3rds.

@ Rock Blues This is a good lick for a shuffleor straight-eighth feel. y Rock (contd) Doublestops give this phrasea countryflavor. G7 or Gmi @ Roots . 51 .Noticehow the thirds stay diatonicto the dominant seventhchords. lt fits that positionrightabovethe familiarbox pattern.lt mayfeelthe bestplayedon the top two stringsas longas possible.

Rememberthe EnglishBeat? Dmi Amt Bb bt . contemporary jazz-fusionline has a lot goingon. resolvingback to Bb on the final F.ska musicoriginatedin Jamaica.ska is usuallymore upbeat. lt startsoff implyinga Bb dominantdiminished scale up to the F.a .Play the eighthupbeatsas sharp.^. n d I t{.The conceptat work hereis the targetapproachto the chordtones(precedingchordtonesby notesaboveor below).clean upstrokesand go for a crisp. This is a commondevicein the iazz vocabulary. Then. O ska Likeits reggaecousin.Wherea reggaegrooveis morelaid back.lt can workovera dominantchord(G7)as well. Thanksto John Scofieldfor thisone.clear sound.the line seemsto implyan F7 alteredchord (the V of Bb)." Sounds (coitd) 161.2 Jax Jounos This linecomesrightfromthe vocabularyof classicsaxophonemotifs. to add tension. GmaT @ S.

sbag to the first of blues.play the frettednotesa few timesto get the melodyin your ear.down lowA note-right out of RobbenFord.Disconnect the notesfor a moredistinctiverhythm.lt's best to use tnl tingers on the right hand for precisemuting [ffi:::ny 53 . Iil O shckBrues Thisone has a lot of greasebehindit.. To get the rightslickfeel.rake.try a backwards.oodv Thisone has that "down-home" feel to it' Goodintonationis alwaysa must withslidephrases. @ shdeMer. someof . o o dy This one takespracticeto get smoothand clean.you don.O SlideMel. dy Thisis a simpre merody.Noticethe use of the open G stringthroughout phrase'You mustdevelopa delicatetouch the whenbringingthe slideon and off the strings. E o ( c o n td ) SlideMel.twant extrafreustringnoise..then incorporate the slide.o. butgetting theintonation rightis arways tricky.

Thislickcouldworkperfectlywhenyou havea lV chordmoving downto a iii.ing andBend. Gmi or CTsus .Startthe A withyourthirdfinger.then the B on the B stringis pluckedwith the middlefinger.Finally. Practicemakingthe legatolineconnectseamlessly. use your firstfinger. O SmoothJazz (contd) What do you call jazz with all the roughedgespolishedoff? Smooth!lt's a styletypifiedby nice easy melodiesovermellowinsideharmonies.The fist four notesare pickedonce.bendthe E up to the D with your third finger.You can let the last3rdsringtogetherwiththe highD to forma chord. O Smooth and Fast This one is spreadout acrosstwo stringsto maximizespeedand smoothness.Look for otherways to incorporate the fingersof yourpickinghandfor extraspeedin yourlines. Whenyou move up to the high D. ing This linecombinesslidesand bendsto connectpositions.i7 @ Smooth Slides This lick is madeup of diatonic3rdsslidingthroughthreepositionson adjacentstrings.Tryit witha cleantone.Efficientuse of yourfingersis importantin this lick. T)ma7 Crrr. The major6th in the melodyindicatesthat it's a Dorian-modelick.O SUd.

er This lick startsoff in a typicalposition. @ Soul. J : ())=) lt Bb13 .then finishes off with a blueskind of phrase. chromatic . ern Rock {contd) 16.then uses slidesto bridgeto the next position..reupto pitch! Ami @ S o u l . ing 'tonto) He'e'sa neatbending lickthatgivesyoua newsranton a brues-rock sound.t one comesrightout of the DickeyBetts school. & . ful Bend. @ String Slid.f u l R . this in the O South. stays in c sridesare thrownin to herpkeepit interesting.The notesadd tension.Thinkof lazzlR&Bstyleof the greatGeorgeBenson.lt startswith a whole-stepbend and majorpentatonic. B This lick repeatsin two octaves.Thepositioning of the reft handis important' BendingthefinalAupto B is difficult ontheD string-makesureyou.

we start otf with an A7 arpeggioin seventhpositionand suspendthe major3rds of the arpeggio. i = @ Swing (contd) Here'sa bebopiazz lick that just feels greatover a ii-V-l progression. peg. theyare acceptable AmiT (also FmiT or CfmiT) 56 .f Dial in a brighttone with a lot of reverbfor this surf-inspired lick.@ S.we have minor3rds ascendingin major3rds. This is what you mightcall a classiciazz motiti la SonnyRollins. lt's interesting to note how this line seemsto fit over three minorchords.Here.'. i. E m i G D C .tr o pend.Pickthe noteshardand closeto the bridgefor a true DickDalefeel. nant Ar.This createsa muchmore"open"feel.takingfull advantageof the symmetry. . ed Dom .In this case. "colors"thatsoundgood. gi . G1 @ Sy-ometory Here'sanotherone from the diminishedscale. ATsus @ S. o Takingan arpeggioand modifyingone notecan makea remarkable differencein the sound.Althoughusingthe diminishedscaleover these minorchordscreateschromaticnotes.

is Pick.There are manyvariationsof this fingerpicking style. t ^ A^ ^ryt^^ ^^. E5 orEmi a I . 57 .you pickup extra As you workyour notesfor color-in thiscase.the major the timingon the sextuplets.l\) C 7 ^ / \ b + ? . F l @ t"as Blues Playthisone withrotsof rexas attitude.n.Notethe way the bass alternatesbetweenthe root and the Sth. @ f". once you masterthese patternsin forms. 6th and tne bsth. ing (ton'o) Pickup the acousticfor this one.9 t"ulr..|.| . (J J =l .watch The lastG shouldbe landingjust before the downbeat ot 4. Try rakingintothe firstnote. A'!$^. al Rock This hot rocklick fits in the bluesbox and makesuse of repeatedbendsto the root. nic. way downthe pattern. .it becomeseasyto chainthemtogether a varietyof chord intoa song.!!$^^ .

tone Twang This country-flavoredlick is looselybasedon the ideaof combiningtriadsa bsth apart.Anotherlickin the styleof the greatRobbenFord.it extendsup to the sus4(G) beforeresolving to the b7.G and Db are used. G. Tryusingthefingers of your picking handfora bright. F7 ra O T"ip.ilI T"ip. D7 It I 2f) a l T T @ Tri.In this case.they are implied. al Lookingfor a lickthat soundsa littledifferent?Checkout this diminishedidea. let Blues O Digthewaythisonemovesfromthe lV chordto the I chordof a bluesprogression. snappysound.The four majortriadsin thisscale(E.Thiscan be movedin minor3rdsand stillfit the chord.Startingoff withan in-your{acedouble stop. @ Tii.The triadsare not literallyplayed. Threeconsecutive triplets makeit perfect fora shuffle. 58 . Bb.This coutdwork well in an uptempoblues-based countrytune.Afterclimbingup the pattern. are hookedtogetherto forman intervallicaltereddominantlick. let Rock (contd) Here'sa greatlickthat makesuse of triplets.and gb. ton.Try themin differentcombinations.it movesinto a seriesof triplets(sextuplets) in the familiarbox pattern.

Afteryou releasethe tap. Thenyou tap the fourteenth fretwithyour righthand.@ Twang.bend rightback up to E.ft C7 @ Two.lt endswitha seriesof tapped16th-note triplets. ads The idea in this line is the use of a G augmentedtriadand an A majortriad.Make sure you watchthe bends.so startslowly.?- tJ J =J . -.lt beginswitha bendfromthe D up to the E.and pay carefulattentionto the intonation.This twotriad approach createsan upper-structure soundto an A7 chord-Ag(f. Fland Thpping Thistappinglickmaytakea whileto workout. A7 #4-: 59 .S). y Thirds This double-stoplick could work well in countryor blues. This patterncontinuesas you tap downthe G string. releasethe bendback to D and whileit's still ringing. O Two Tri.

ty Jazz notes. Use consecutivedownstrokes untilyou come backto the A on the B string.Thanksto SonnyLandreth.pay carefulattentionto the fingersyou use to bend.Wheneveryou fall preyto that "sameold lick"syndrome. us o u.try incorporatingwiderintervalsin your licksfor somefresh ideas. dent. al Bend. fied Fly. ing Fin o g¤rS Breakingup the box positionwith some leapingfingerjumps is the main purposeof this lick. . til . i. inB Althoughthis lick may look simpleat first.You'llbe amazedat what you can invent.Thenyou'rereadyto releasing bendthe G withyourfirstfinger.@ U".catchthe A withyourthirdfinger.When to the Bb from B withyourfourthfinger. i. i. e U.Makesure you get the hammer-ons Noticethe use of arpeggiosmixedin withthe Dorian-mode and slide: in the rightplaces. B7 TTAAAAI tAAAat't @ LJn.

II .Doublestopsin to add melodyto a rhythmpart' diatonic4thscan be an interesting The intervalstend to soundambiguous way chordsin the diatonicscale'Experiment and thereforecan fit over many withthis rickoverotherchordsin l the key of E major. til. ty R&B Here'sa classicstapleof R&8.@ U. i. sout. EmaT 61 .and funk.

you haveto jump downto the G stringto continue.Startoff with a whole-step bendfrom the E to the Ff.bendthe D up to the E for more anguish.a e Vaughan. Then.Try breakingthis lick up intotwo sections. Afterworkingyour way downthe B string.like This blueslick dripswith heartache. a +--.especiallywith heavy strings')Afterthe bends.with yourfirstfinger. + 2 2 ' .thencombiningthem.|aAA. lt takespracticeto makethissmooth.(Thisis a toughbend.iA'r rA.-.This man had a feel! B7 :b I aA A .Thenyou keephoppingdownuntilyou get to the low E.movedownto seventhposition and finishit off witha box-pattern phrase. esque Here'sa classicfrom tappingmasterEddieVan Halen.$rtAAa .aO Van Hal o en.

.copythe rhythm with your ear.lick on track30..Texas Flood.lt's importantto starton the Bbwith your thirdfinger. G1 a--\ r A ' t ^ ^ a J_ I f\ / f ^ .The timingmay lookweird--once you learnthe fingering.flashyblues. Gmi 63 . C7 O Vin. lt worksgreatin a slow 12lg blues.. To give this rickextraattitude. tageRock (cont'd) A variationof the .d la .hit the rowc hardanct slideintoit. Stev. y Smooth check out the fingeringon this dominant-7th lick.@ Ver. - O Vaughan.. useyourthirrdfingeras weilto makeit smooth. ie Rav (tonto) This is one soulfulblueslick.. on the doubleF.

Like This gracefulii-V-l lick is in the styleof the greatWes Montgomery.this is a technique you can useto makeup yourown licks.O Wes. . I Here'sanotherneatlickinspiredby Wes Montgomery.') . V . FmiT B b + l f9 ) pb8 @ W e s .Masteringnoteresolution is one of the secretsof jazz. =. _.playingan Ebl soundas a substitute for the Bb7.i 1. CoastBlues Noticehowthe secondmeasureof this blues-based lickis nearlyidenticalto the first. The ideais to use a b5 sub overthe BbZchord- in otherwords.. . Noticethe smoothway it resolves to the 6th of the Eb chord. sbl EbmaT EbmaT @ West.L i k e i i .

the four-notegroupingsof eighth notes make the three-notephraseof the lick displacein an interesting way.@ W"rt CoastCool This jazz phrasestartswith a gracefursweep. ?'f 1 ) J a J = )) ) ) ) BmiT g Wide e o pen Spac. -3- . ln this whole-tonelick.Whenyou hit the A note. F.you reachfourthpositionand implyan E9 for a resolution.lt couldalsofit an Fmaj7. c?(!. es The "open"soundof this lick is due to the largeintervals at work.then moves down the D stringchromatically. lts specialsoundis best usedover dominantchordsthat have a flattedor sharpSthand a natural9th. Finally.Thisone is veryBenson_esque.) @ whole Tone Here'sa three-note sequencewhole-tone lickthatascendsin major3rds.you'ilmix in chromaticsfrom the A string as weil. zt(i2) 65 . F m a T ( rl ) o r G 7 l"? O whole Tone what do you get when you play six consecutivewhole steps?The apily-namedwhole fone scale.rt also incorporates F and G triadsto createa G9sussound.

.F7.a mutingtechniqueis employed. This lickcouldfit over any dominantchord builtoff any noteof the scale(A7.Here'sone that startsoff witha double-stop lick.movingfroma I chordto a V chord.@ Whole Tone Riff The wholetone scalecan providesomeinteresting sounds.happyrhythmtypifiesthe feel of a lot of world-beat pentatonicmelodiesand playedwith a clean tone.87.usuallybasedaroundmajor Thisbright. D47.) @ World Beat guitarparts. A7(i.respectively. Often.as in thisexample.The harmoniesare typicallysimple. C*7.then movesit up a stepand downa step. or G7).

tend. 67 . tend. ing ScaleShapes# I This line beginswitha "shape"from a second-position c scaleand walksverticallyup the neck. nant This lick seemsto be playablealmostexclusively with the first and thirdfingers. tend.Thanksto LarryCarltonfor thisone. Noticehowthe ideakeepsa similarcontouras it moves. i Ama/(.@ X.Thisideacamefromusing a melodicminorscaledowna minor3rd fromthe chord. edMajor Zth Everwonderwhatto playon a major7th witha #sz Nowyou havea phrase.)) e X . edDom.Makesure you slide whereindicated. i. BbIC C X.

ing ScaleShapes#3 ThisLydianlinehas a niceopenfeel. X.however. tend.startingoff withsomeextended major9ths.All the notes. ia ^ltA^ ^a ^\ r A ^ ^ ^ ^ A A .pay carefulat-tention to the slidesin thisone. tend. ing ScaleShapes#2 Thisphraseliterallytakesone shapeand maintainsit as it walksdown the neck.X. stillremaindiatonic.

Whenyou hit the low D on the fifthfret. Gmi 69 .Thereis a pull-offfrom the E on the seventhfret.2.but the open G is used moreas a deadnote.@ Yard. pay attentionto the tablature'Thisconceptof movingthroughpositionswithslideshas a lot of potential.lt startsoff with a wide-opensoundusing 5th intervalsand combinesslidesand fingerstretches to moveup the neck.giveit a litflebendto add someattitude.To negotiatepositionshifts.. g y. Jeff Beckhasa way of comingup withextremely cool pull-otflicks'Herehe takesa seventh-position pattern box and incorporates an open B stringfor a greatintervallic jumpingidea. K Rock This modernrock lick is definitelyreadyfor the new century. birds Thisneatlickcan be foundon an old Yardbirdsrecord. Try makingup somelinesof yourown in thisstyle.

zrop O Are there guys any with long beardswho rock harderthanZZ Top? ldoubt it.CmiorC5 z.=..1 - (r. )) A7 .you can pick up the tempoand reallystartto shredl C7..lt fits in the typicalbox position.Alternatingthe G betweenthe secondand thirdstringscreatesthe effect.@@ZoneDoub.Playit lighfly.les Here'sa neat lick that utilizesdoublednotes.thenbuildit to a heavyshufflewithdistortion. Here'sone of their classicriffs.Afteryou get the left handsyncedwiththe right.but the fingeringis importantto get the rightfeel. . Pay attentionto the tab and pull-offs.