1.

This is based on C major pentatonic (C D E G A), moving around fretboard posit

ions. There's a chromatic neighbour-note leading into the IV chord (F). It's all
about the rhythmic phrasing here. By the way, I played all licks on my Chapin T
-Bird Guitar, plugged into a Lovepedal Tchula and a Morgan Amps PR-12.
2.This is a more advanced approach to the same style of Lick 1. I'm really playi
ng with the timing and using double stops and chromatic notes to create movement
when going to the F chord.
3.This lick is very common to my style of playing. I start very simply and bluesy
and move around from pentatonic position to position. I also mess with straight
and swing 16th notes, switching to rapid 32nds when coming up to the chord chang
e. Changing times like that creates a real theme and story to your solos.
4.This is a real interesting approach in that it starts as blues and hits those
minor pentatonic (C Eb F G Bb) licks, but then walks chromatically up to a very
C major sound as we move to the IV chord. I dig this one.
5.This is a much more bebop/horn type approach. I also use more advanced harmony
, like the diminished sound in the first few notes, which then moves into some m
elodic minor (C D Eb F G A B). Near the end there's a straight jazz quote that l
ands on the flat 5th (F#). Dig it!
6.This lick starts later in the chord progression, closer to the IV chord change
. It highlights that change by outlining a 2-5-1 turnaround going to the F chord
. Although F is the IV chord in terms of the whole piece, I temporarily interpre
t it as the I chord, leading into it with G minor (II) and C major (V) arpeggios
in measure 1. I then get jazzy, playing F# diminished licks in measure 3 to lea
d back to the C. I end it all with a Cornell Dupree style double-stop slide.
7.This is a more
ighlights how to
k to the I chord
rato and let the

straight approach, played over the same section as lick 6. It h

play straight blues ideas over the IV chord and then moving bac
(F->C). Less is always more. Really feel the notes and your vib
beat dictate your phrasing.

8.We now move to a new backing track, in the key of Bb minor. This highlights th
e way I phrase over a shuffle and also how to play over a minor blues. I really
play around the downbeats and swing everything. The feel is truly the difference
between a great player and an ok one.
9.This lick has it all. Swinging phrasing, diminished licks a half step below th
e root (using the A diminished arpeggio: A C Eb Gb), major pentatonic (Bb C D F
G), minor pentatonic (Bb Db Eb F Ab) and fast triplet style runs. I finish those
triplets and resolve right to the 3 chord (Db) on what is an atypical blues tur
naround.
10.This lick is more of the same. Interesting phrasing, slurs, chromatics, tripl
ets, nice resolves on the changes. This is how you build a solo and really tell
a story. It's possible in just one chorus.
11.We now move to A minor and this lick highlights some ideas for a static one-c
hord vamp in a minor key. I m always playing off the drums and reacting to everyon
e else. I mess around a little with the relative major (C) and the rest is all A
minor pentatonic (A C D E G).
12.We now move to A minor and this lick highlights some ideas for a static one-c
hord vamp in a minor key. I m always playing off the drums and reacting to everyon
e else. I mess around a little with the relative major (C) and the rest is all A
minor pentatonic (A C D E G).

13.This one has a Hendrix-style double-stop bend near the start and then it's al
l about the low notes! The phrasing really manages to set a mood and say somethi
ng right off the bat. This is stuff the audience can relate to. There are also s
ome chromatic half-step slurs to spice up normal licks.
14.We now move to a new backing in C major. This lick uses a mixture of minor pe
ntatonic (C Eb F G Bb) and major pentatonic (C D E G A) and targets the changes
to the F, D7/F# (which can also be interpreted as F# diminished) and back to C.
15.This is another real lesson in blues and highlighting changes. Just like the
previous lick, I chose the notes to highlight the chord changes. It all swings w
hich is what is most important!
16.I really dig this one. It starts with a real theme of sliding into double sto
ps and then really highlights the diminished chord by moving a lick around in mi
nor thirds. Finally, it resolves on a big fat blues lick. Fun!!!
17.This one is all Albert Collins. The big major-3rd slides get you started down
the path and I make my point with a move horizontally up the neck, finishing wi
th a big high C on the top string!
18.This is all BB King! The best! Really feel those major pentatonic (C D E G A)
licks. I play those step-and-a-half (three-fret) moves all the time to really c
ement the feel. When BB does it it makes the hair on my arms stand up.
19.This has it all. A really piano style intro with lots of moving double stops
and chords. There are diminished licks that change their rhythmic style mid stre
am (measure 5) and a big bluesy ending which is the way I always try to wrap thi
ngs up!
20.A really fun one that starts with straight blues. When I go to the IV (F), I
completely change key (which is always ok) using the F major pentatonic (F G A C
D). There are diminished chords stabs near the end to bring it home. Again make
it swing!!!