Pome Tic CCT El Soloing VJITCMicky Crystal / InFutioned Reck Solaing 2 CHAPTER 1 NEW SHADES OF BLUE LICK 1: If you're jamming your own ideas over the backing, this intro section can look a bit daunting... F major and Eb dominant? One elegant solution is to do what Micky does here, playing F Mixolydian b6 (F'G A Bb C Db Eb) throughout. This is a mode of Bb melodic minor, and it then also functions as Eb Lydian dominant. LICK 2: The first main theme is simpler, based around an F-Dm-Bb-F progression. This is all straight F major (FG A Bb C D E). Notice how Micky adds a little bluesy vibe with that quick bend to Ab (the flat Sth of D) in bar 3. LICK 3: Over the repeat of the chord progression, there's that flat Sth blue note (Ab) over the Dm7 chord again. LICK 4: The “B theme” takes us more into the relative minor key of D minor, with this descending bass line starting from the Dm chord. Micky uses a chunk of D minor pentatonic (D F G A C) in bar 3, in addition to the full ‘Aeolian scale (D EFG ABbC) LICK 5: Halfway through the “B theme’, the C# diminished chord takes us back to the D minor starting point. The simplest way to play over this chord is to use the C##dim7 ampeggio, as Micky does here. It's a symmetrical shape (stacked minor 3rd intervals) so the shape repeats every three frets. You can also see the start of the second half of the B theme here: notice the Bm7b5 (instead of Bb). It's pretty quick, so shouldn't hurt to use D Aeolian throughout, but you could experiment with hitting a 8 target note here. LICK 6: This excerpt from the end of the B theme is possibly the most challenging in the whole solo. Micky switches from legato to sweep- and VITCMicky Crystal /InFusioned Reck Soloing CHAPTER 1 economy-picked arpeggios. Notice how he ascends through an Eb major arpeggia (with added 9th) then descends through Ebsus2. Then he does a partial Gm(add9) followed by Fsus2. LICK 7: Returning to the first main theme, we start with a laid-back vibe, but watch out for the lang legato line! It’s basically just 3-note-per-string shapes connected with slides, but the G/F chord changes the tonality. Micky starts out with the “home” scale of F major (F G A Bb C.D E) but switches to Lydian (F GABC DE) to cover the B note in the G/F chord. LICK 8: Here's the other really challenging line in this solo - another stream of sweep-picked arpeggios connected with economy-picked scale lines. Rather than following the chord exactly, Micky plays lines from F major pentatonic (FG ACD). LICK 9: The intro section repeats at the end, so we're back to F Mixolydian flat-6 (F G ABb C Db Eb). WITCMicky Crystal / InFusioned Rock Sotoing ‘ CHAPTER 2 alee) a ye) LICK 1: The opening section of this track features a number of triads over a Static D bass. There's no single tonality with all four chords, so Micky works mostly in a Mixolydian (D E F# G AB C) environment. The C note will just sound bluesy over the A chord, and you can even use the F (minor 3rd) over the C and G chords. LICK 2: Here's how Micky introduces the F note (instead of F#) over the C and G chords, giving a D Dorian (D EF G ABC) sound. LICK 3: For this excerpt, Micky goes full minor, using the minor pentatonic (DF GAC) with the added flat-Sth blue note (Ab). This still works over the D major and A major chords, because our ears accept the bluesy reference points LICK 4: This is all D Dorian, but notice the chromatic notes. LICK 5: This excerpt is all about the arpeggios! Micky starts with a D9 arpeggio in bar 1, then plays a series of quick descending diatonic arpeggios from D Mixolydian: Em?, Bm7, Fm7bS and Cmaj7. He then sweeps through bigger Csus2, Dsus2 and Fsus2 shapes. LICK 6: The "B theme" is rooted more in B minor, the relative minor key. All of these chords are from 8 Aeolian (B C# DEF#G A) LICK 7: Micky starts by targeting chord tones for the first two bars. Then notice how he uses D minor pentatonic (D F G A C) over the G chord. This takes us briefly out of the 8 minor home key, resolving back when we hit the F# note over Bm at the end. VJITCMicky Crystal / InFusioned Reck St CHAPTER 2 LICK 8: Legato workout! This is all 3-note-per-string shapes with quite a lot of vertical movement. LICK 9: As we return to the "A theme", Micky dials down the intensity, playing some subtle lines in D major pentatonic (D E F# AB). LICK 10: Here's a good example of how D Mixolydian (D E F# GAB C) can ‘work through the whole progression, even though it doesn't fit the A/D chord exactly. LICK 11: Or we can go a little more bluesy, using D Dorian (D EF GAB C) ‘through the whole progression. Again, it's not theoretically “correct” over the ‘Achord, but our ears accept the bluesy sound of the outside notes (F and C) LICK 12: Back to B minor for the second theme repeat. Micky mostly ‘targets chord tones for the first three bars, then plays a faster line in B minor pentatonic (B D EF# A). WJITCMicky Crystal / InFusioned Reck Soloing 6 CHAPTER 3 WEST HOLLYWOOD LICK 1: The first main theme is pure G Dorian (6 A Bb C D E F) and you'll also ‘see G minor pentatonic (G Bb C D F) in the following licks. Notice Micky’s chromatic notes in bars 3-4, all used as passing notes between scale notes. LICK 2: As in Lick 1, it's all G Dorian (G A Bb CD E F) but notice the chromatic notes, LICK 3: The “B theme” seems to take us into an Eb tonality, but check out the Eb-F/Eb change ~ that's a very Lydian sound (Eb F G ABb CD). This is also ‘supported by the Dm7 chord. Again, Micky uses lots of chromaticism here. LICK 4: Here's the first technical challenge! We start with some long Eb Lydian (Eb F G A Bb C D) legato lines before switching to sweep-picked arpeggios (connected with economy picked scale fragments). Micky ascends through Bb major (add9) and descends through Bbsus2, then does the same with Eb major (add9) and Ebsus2. LICK 5: The final part of the "B theme” features a brief outside chord: Dbmaj?. Micky highlights this with a descending major pentatonic (Db Eb F ‘Ab Bb) line. The Bb/C chord prepares us for the return to G Dorian in the “A theme’, and Micky plays a punchy little chromatic phrase here. LICK 6: Back to the first theme, so G Dorian again (G A Bb C DEF). LICK 7: Check out the chromatic notes in the first phrase. From the end of bar 3, Micky plays a long legato line, using 3-note-per-string shapes connected with slides. LICK 8: Playing around chord tones can be tough when the chords are VITCMicky Crystal / InFusioned Rack Sotoing moving fast like this, but it's worth perservering. You don't have to target every chord — just pick a couple of important changes and target the chord tones at those points. CHAPTER 3 LICK 9: Here's a sweep-picked Cmaj? arpeggio over the C/F chord. LICK 10: The solo ends with a flourish, with this long legato and tapped line. First of all, Micky plays a quick series of triads from G Dorian, pulling off from the initial G note into A minor, G minor, D minor and then ascending into F major. For the fast line, he starts in G Dorian (G A Bb C D E F) but then ascends with just minor pentatonic (G Bb CD F) in bar 4. VITCorate eee CL 20 LICKS: AGES OF ROCK Micky Crystal breaks onto the JTC scene debuting a fiery licks package, covering two of Rock's most monumental genres! M4 AYP Ya fe) Pare ReJTeGUITAR.cOM