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 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
 INTRODUCTION
'T::1n"",:::_"inlans,uage hasits ownvocabutary.
whetheryou,respeakins
H:j:": o' prayins
brues,
ePEo^lttg
rock,country,
or jazz,the,icne,
youJ
,?,.".-,-:i:I:::.:":::l1nl
vocabulary,
the morecreativeyou can be in expressing
yourthoughtsand ideas.This book
vocaburary
andprovide
someinsishtintothevastvarietyof
:.^il:: ;:^*,i^]:::)li.:._LliTr:,:
phrases (ticks)thatmakeup differentstyles.
of course'learningvocabularyalone doesn'tteachyou
the grammarof a language.The skill of
developingand connectingphrasesin a spontaneous
and inspiredway requiresa studyof the music.
No "one-stopshoppinglick book"can substitute
for a lot of listening,a lot of transcribing,
and a lot of
playing'This book' however,car be great
a resource,openingyour ears to the styristictricks
techniques thatcan sometimesbe elusive. and
The GuitarLicktionarywill expandyour appreciation
of musicand styleswhile inspiringnew ideas
thatwillultimaterybecomeyourown uniquelanguage.Goodruck,
and enjoythejourney!

HOW TO USETHIS BOOK

ach lickis describedand notatedalphabetically,
and recordedon the accompanying
cD, so you
can hear and understandthe conceptsbehindit.
Throughoutthis book,the numbersin the
rrrvet0 ilt ttlli
indicate
thetrackwhereeachrickwiilbe foundon thecD. (Because
::::: :ry:i: Io) of
licksaalphabeticaily,
linke lnhahalinall.,
or userthe
L- :-r-
indexto find ricksin a specificstyre.
;;r";,ffi';".;
TABLEOF CONTENTS
Index of Licks by Style

.....8
12
.17

.26
.27

. .. .. . . 4 2

0
R

.....52
T

.....60
62

x.. 64

Guitar Notation Legend

I II\L,EX Ut.LTCKS BY STYLE
Rock
lazz
Lick Page Track Lick Page Track
BachRock ........g 4 Altered .....6 1
Blues-Rock ......10 B AlteredTriads ......7 2
BritishBlues. .....11 10 Bebop .....8 5
Clapton-esque .........13 14 ChromaticJazz .........13 13
C l a s s i c M e t. a l ....j4 15 Dorian . . ..1g 22
DoubledPentatonic ......1g 23 Dorian ....18 22
EarlyRock'n'Roll .......2O 25 Dorianlnterval ....1g 23
E l e c t r i c R o. c k .....: ....20 25 ExtendedArpeggio ......2O 26
FastRockRiff ....23 29 ExtendedDominant ......21 26
FlashyBtues .....25 30 EndingLick ......21 27
FoursinThrees .........24 31 lonianArp .......31 41
FusionRock. .....25 33 JazzAltered ......g2 41
FusionRock. .....25 33 J a z z - B l u e s T u r n a r o. u. .n.d. . . . . g 2 42
Giganticsound .........26 34 J a z z - B f u e s T u r n a r o. u. .n.d. . . . . g 2 42
Goin'Off .........26 34 JazzSweep ......33 43
HardRock .......27 35 Legato ....35 45
HeavyRock. .....27 36 Majorii-V-t .......96 46
HeavyRock. .....2g 37 Martino-Like ......36 47
H e n d r i x - e s.q. .u e .......2g 37 MelodicMinor. ....36 47
H i g h - T eR c ho c k. . ...... .28 38 MelodicMinor. ....g7 48
InsanePentatonic .......30 39 M e t h e n y - L. i. k. .e .......g7 49
I n t e r vl ad le a . .....31 40 Minorii-V-l .......3g 49
Korn-Like ........A4 44 M i n o r S e v e .n. t h ........3g 50
LatinRock .......35 44 PatternforDorian .......4g 57
Metal .. .. .g7 48 SaxSounds ......52 70
ModernRock. ....39 Swing .....56 7B
51
Pentatonicshifting .......4g UtilityJazz .......60 85
5B
PositionShifter ....44 Wes-Like ........64 89
59
ProgressiveRock. .......45 W e s - L i k e i i -. V - t . . . . . . . . . 6 4 89
60
Psychedelic ......45 WestCoastBlues .......64 90
60
QuirkyRock. .....47 W e s t C o a s t C o. o l .......65 90
63
R a p i d B e n.d. .s ........48 WholeTone. .....65 91
64
RhythmicRock. .........49 WholeTone. .....65 92
65
RhythmicRock. .........49 WholeToneRiff .........66 92
66
Riffs X-TendedMajor7th ......67 94
. . .49_50 67
Surf ......56 78
TechnicalRock .........57 79
Fusion
TripletRock. .....58 81 AcidJazz .........6 l
Two-HandTapping ......59 B3 AlteredSequence ........6 z
V a n H a f e n - e s. q u e . . . . . . . 6 2 86 AlteredTrick. ......7 3
VintageRock. ....63 B8 AscendingLydian ........7 3
Yardbirds ........69 96 BluesMixotydian. .......10 8
Y2KRock ........69 97 ChromaticAltered .......13 13
ZoneDoubles ....70 98 ControlledBends ........14 15
ZZTop . . ..70 99 DiminishedRock. .......17 20
DiminishedSymmetry ....17 ZO
FunkyBlues. ....24 31
Fuslon ....24 JZ Country
FusionRock. . . . . . 2 4 32-33
Bluegrass .........9 6
GroupsofFives .........26 35
ChickenPickin' .........12 12
H a r m o n i c M i.n o r ........27 36
ClassicCountry .........14 14
Holdsworthian ....29 38
Country .........15 16
H y b r iP
d icking ....29 39
Country .........15 16
InsideOutside ....30 40
Country .........15 17
LydianArpeggio .........35 46
CountryEnding .........15 17
NearlyDorian .....40 53
CountryRock. ....16 18
Ninth-ChordR . un .......41 55
CountryRock. ....16 18
OutsideLoop. ....42 56
FastOountry .....22 28
Phrygian .... .....44 58
FingersandPick ........23 29
QuirkyBlues .....47 62
M i x o l y d i a n .M. i x ........38 50
ScoSounds ......t2 70
PedalSteel ......43 57
SmoothandFast ........54 74
Rockabilly .......50 68
StringSlider ......55 77 76
SouthernRo . ck .........55
SuspendedDom.Arp ....56 77 .........58 82
Tri-ToneTwang
Symmetry ........56 79 ....59 83
TwangyThirds
Tritonal . . ..58 82
TwoTriads .......59 84 Rhythm Guitar
Unidentified FlyingFingers . . . . . .60 84 't2
ChordPunches .........13
V e r y S m o o. t. h. ........63 88
Cropper-ish ......16 19
WideOpenSpaces ......65 91
....17 19
Dance
X-TendedDominant ......67 94
. h o r ldn v e r s i o n. .s. . . . . . . 1 8
D o mC 21
X-Tending ScaleShapes . . . . .67-68 95
MotownRhythm .........39 52
PowerPop.. .....44 59
Blues
QuartalChordLick.. .....46 61
B.B.-ish ..........8 4 Reggae .........48 64
Below{he-BoxBlues ......9 5 Rock'n'RollRhythm .....50 68
Blues. .....9 7 Ska. .....52 71
BluesBreak ......10 7 WorldBeat. ......66 93
BluesTurnaround . . .....11 9
BouncyBlues. ....11 I AcousticA{ew Ag"
BritishBlues. . . ...11 10 C e l t i c. ....12 11
C h i c a g o B l u. e s .........12 11 FolkRock ........23 30
DownHomeBlu . es ......19 24 NewAge ........40 53
DownHomeBlu . es ......19 24 NewAge ........4'l 54
FancyBlooze .....22 27 NewAgeAcoustic .......41 54
FastandFunky .........22 28 OpenSounds... ........42 55
JumpBlues ......33 43 OpenStringEnding ......42 56
L o u i s i a n a B l.u e s . . . . . . . . 3 5 45 Ragtime .........48 63
ModernBlues. ....39 51 TravisPicking .....57 80
NearlyBlues .....4O 52
Q u e s t i o&nA n s w e r l i c k .. . . . . . . . 4 6 61 Slide
Quicklick .......46 62 S l i d e M e l o d. .y. ........53 72
Retro . ... .49 65 S l i d e M e l o .d. y. ........53 72
RockBlues .......51 69 S l i d e M e l o .d. y. ........55 73
RootsyRock .....51 69
SlickBlues .......53 71 Pop
SoulfulBending .........55 75 B e n s o n - e s .q. u
. e ........9 6
TexasBlues. .....57 BO S l i d i n g a n d B e n. d. i n
. .g. . . . . . . 5 4 73
TripletBlues. .....58 81 SmoothJazz .....54 74
UnusualBending ........60 85 SmoothSlides ....54 75
Vaughan-Like... ........62 87 S o u l fR u l& B . .....55 76
e a y. . . . . . . . . . . 6 3
V a u g h aSn t, e v iR 87 UtilityR&B .......61 B6
 Q e . cid1azz
This line adds colorto a dominantchord.lt startsoff with an obvious
c majortriad,then impliesa D
majortriad.

O er. tered
(Cont'd)
This lick uses notesfrom the E alteredscaleand combinesit with
chromaticnotesfor an interesting
sequence.
E?(13) AmaT or AmiT

I ef . teredSe. quence
This V-to-llick makesuse of the diminishedscale.lt's a sequence
that climbsup the neckon the top
two strings'Try to makeit as legatoas possible.lt couldalsobe played
on the secondand thirdstrings.
G l:119;
Cmi9 r ^ A A A ^ , r
t1--a

a^ ^A 't A^a
 EI
O af . teredTri. ads
Thislickcombines
Bb and G triadswithnotesfromthe diminished
scalefor an extended
altered-
dominantsound.

err:(f?)

I af . teredTiick
Here'sa trickyou can play with your pentatonicblues
licks:insteadof playingmajorpentatonicoff the
rootof the chord,playit off the b9 (up a halfstepfrom
the root).This makesthat basicblueslicksound
likea sophisticatedaltereddominantsound.comparethe notesand you
end up with a Lg, +g, rr,li,
andbt.
c7(*e1
nrt\ a A A A

TAA AAa

Q e . s c e n d .i n g L y . d i . a n
tonto'
Thi' is a neatideathat connectsthe patternsof G
majorwithsmoothshifts.Althoughit worksweilas
Lydianphrase,experiment a
withotherchordsin the key of G. Try AmiTand D7.
CmajT(n
11;
/\ 4t ^A A A^lt'l
.^.
Q ttach Kock
Here'sa littletip of the hat to the classicalrockplayerswho owe so muchto the greatJ.S. Bach.This
fingeringinvolvesthe entireneckand doesso withefficientuse of the lefthand.Startslowwiththis one
and graduallyworkuPthe temPo.

Jf
v
B.8.. ish
(cont'd)
6"'.s's one from the bluesmasterhimself.Althoughyou couldplay this lick in one position,it sounds
betterwhenkepton the top threestrings.Makesureyou slideoff the G octavesat the end.Thinkof this
lickas startingon the fifthmeasureof a shufflebluesin G.

9 e". bop
ThisBeboplineis greaton the lastsix measuresof a jazz blues.The chordtonesare wellplacedon the
downbeats,lendinga clear outlineto the changes.The lick finishesoff with a bluesywalk-upto the
tonic.
AmiT D7 GmiT C7

D7(n9) trml /
 M

g Be . low. the . Box Blues

in the positionbelowthe "box"pattern.As withmostrockand
Thereare manymelodicpossibilities
andpull-offs
blueslicks,hammer-ons makethiscleaner-andeasierto play.

6
T
A
B

Ben. son o esque

For sheerchopsand soul,GeorgeBensonhas few equals.This homageto the man drawson his R&B
roots.lt's blues-based,
with a flurryof sextupletsthat resolveto the downbeatperfectly.Practicethis
one at a slowtempoto get the timingright.

O Blue. grass
Try this on a steel-string
acousticfor a real bluegrasssound.lt's basedaroundC majorpentatonic,
but
a minor3rd is addedfor extraaddedcolor.Strivefor a cleanattackand workthisone up to a fasttempo
for the rightfeel.

Q nl.r",
Try this phraseout overa V-lV blueschange.Use pull-offsfor smoothness
and speed.Thisworkswell
in a medium "straight-eighths"
feel.
G7
a
O BluesBreak
(cont'd) lick couldbe greatfor stop-timebreaksin blues.Try usingthe fingerson your picking
This double-stop
hand insteadof a pick.

A9
!l't.^^.r

J
let nn?
tt'tAAAA't

g Blues Mix. o. lyd o i o an

mode.lt's
Noticehow this lickstartsoff in the typicalbox position,then addsnotesfromthe Mixolydian
a goodway to get morevariationfromthe five box patterns.
A7
+ l ^_.

Q ntnesoRock
This blues-rocklick startswith a bend and combinesboth majorand minor3rds on a dominant7th
chord.The tripletrhythmmakesit well-suitedto a shuffle.
g BluesTurn. a. round
A classicopen-string Everyguitarplayershouldbe armedwitha vocabulary
bluesturnaround: of these.
Useyourpickfor the bassnotesand pluckthe descending
melodywithyoursecondfinger.

E7 E7IGfr A1 A$.7 3 E7 B1

Q n"nn o cy Blues
Thislickhasa greatrhythmicfeelto it. Any triplet-based
motiflikethisworkswell in a shufflefeel.Using
it overa straight-eighth
groovecreatesan interesting dualityas well.

@ Brit. ish Blues

The rhythmicgroupingof this lick is interesting.
lf you accentthe G note,the feel of the grouping
displacesoverthe beat.That meansthe G note keepspoppingup in a differentplaceas you loopthe
pnrase.
- J -

t.l .l=J .ll

A7 D7 A7

@ n.i,. ish Blues

'-"
Thissimple-but-elegant
lickcomesfromthe Creamera. lt couldfit overa shuffleor a straighteight.
@ c"lr. i.
pull-offto the openG stringwhilemaintaining
Here'sa way to createa 6/8 lrishjig feel.Use a repetitive
a melodyat the same time. Once you get the 6/8 feel, you can start improvisingwith the notesand
the motiffurther.Keepit going!(That'swhy thereare repeatsaroundthisone.)
developing

o
@ Ct i. ca go Blues
Thisblueslickhas a greatrhythmicand melodicfeelto it and it extendsthe box patternin an interesting
way. lt's bestplayedovera shuffle.Try movingit to anotherpositionfor morevariation.

@ Cnick. en Pick. in'

techniqueusingyour pickand fingers.The
Thisfast countrylick is bestplayedwith a hybridright-hand
secondfingerpicksthe noteson the high E string,whilethe pick grabsthe noteson the secondand
thirdstrings.
C7 t l
bt
 I-

@ Cft"rd Punch. es
contb)
Smoothvoiceconnectionsmakethis a nice chordmove.The Bb remainson top as the chordsmove
underneath. Try endingthe phrasewith a ii-V-l in Bb. (Cmi-F7-Bbma7).
This couldbe a niceway to
end a jazz standard.
EmiT(b5; Eb9 DmiT(rJ) Dbl3

O Chro . mat. ic Al. tered

Chromaticnotesaddedto the diminished
scalecan helpcolora V-l change.Workthis one up slowly-
thefingering
is tricky.
B7(19)

O Chro o mat . ic Jazz

::^:'d)
This motifslipsand slidesin and out of the altereddominant7th chord.Pay attentionto the fingering-
playingsmoothlyis vitalto the phrasing.
- 3 -
( JJ = J . l t
C7(t9; FmaT
'^)ew

@ cup o ton. esque

The fast littletripletpull-offsgivethis lick its classicClaptonsound.This phrasecouldalso work in the
box patternat the twelfthfret.
F7 ,,/\
TA^A^AAAAAAA'IAA/T

13
d-f

@ Ctur. sicCoun. try

(contb)
Descending 6th intervalsmakeup this countryrick.you
can movethesedownthe E and G
you end up in first position'Another stringsuntil
optionis to make a stringchange
foudhstringand stayin the fifthposition. on the Bh lmeasure2) to the
Try bothfingerings
"nJlgur" out whichone feetsthe best.
C7

@ Ct"r . sicMet. al
Hit the distortion
and makefull useof yourlegatotechnique
for thisshred-styre
metarrick.Makinguse of
threenotesper string'combinedwith
hammer-ons and puil-offs,it'seasyto makethisfast
and furious.
Emi

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

ia^A A^AAar^A^ ^a

@ C"". trolledBends
(contd)
Th's lick is just what the name implies.
The bendsin this case are minor
harmonicintervals'and care needs and majorthirds.They are
to be takento makesure they are
shiftsare trickyas well'As you make absorutery in tune.The position
the movesdown' the
- " - 'neck,
r v v ' \ ' "make sure
'qr\e o you
w i t h l e f t - a n d r i g h t _ h a n dm u t i n g . u r E controrthe string
i noise

I hold bend
1

a^ ^^A^'tCr^^a

14
O Couno try
Here'sa moderncountrylickthatspreadsoutthefingersof thelefthandin a not-so-conventional
way.lf
youstartwithyourfourthfingeronthehighD,thefingersendupfallirlgintoplaceratherwell.

O Coun otry
Thiscountrylickmixesmajorand minorpentatonic notes.The blendof the majorand minor3rd (E- Eb)
is as commonin countryas it is in rockand blues.

Q C".tn. try
Thismajorpentatonic countrylickcouldbe playedwith pickand fingersfor a snappysound.Makesure
the bendis perfectlyin tune.The samenotescouldalsoworkin cf minor.

g Coun o try End. ing

::^t'd)This
country-flavored
lick uses open-string
pull-offs.Try usingyour right-hand
fingersfor a snappy
attack!

15
 @ Co"n. try Rock
Here'sa great-sounding
llck looselybasedoff the soundof two major
triads:c and D. The rhythmic
phrasingaddsmusicarity.
Thisone worksgreatin bruestoo!

O Coun. try Rock

'tonto)
Alongthe samelinesas the lickabove,these
triadideasgiveyourmerodies
a wide-openintervar
feer.

O Cropper.ish
Thisdouble-stopriffdefinesa styleassociated
withmuchof the classicstax and MotownR&B
Thesepartial-chord records.
licksimplythe harmonyand add melody.

G
C
) t ; \
O Dance
t"n''o)
Here'sa funkylittlegroovethat feelsgood to play.Go for a clean,sharp
attackwith this rhythm-it,s
betterto makethe notesshortthanlong.Knowingall yourdominant7th chord
inversions on the top four
stringsis a mustfor comingup withon-the-spot
grooves.Try thisone witha wah-wah.

O Di. min. ishedRock

This dominantlick impliesalteredsounds.Aftersweepingup the 87 arpeggio,
a 4th intervalmovesin
minor3rdsto createan interestingtension.
B7(19;

@ nt. min . ishedSy* . me o try

A diminishedscaleis madeup of consecutive half stepsand wholesteps.The symmetrical featureof
this scaleprovidesmanyinterestingpatternsfor improvising.
This lickstartswith major3rds movingup
in minor3rds.ln measure2, it ouilinesan AZ(bg,fg) arpeggioand finishes
off comingdownanother
pattern.
 O Dom. i. nantChordIn. ver. sions
Thesefour measuresof dominantinversionsform a melodicand rhythmic
hook.Thereare many
v a r i a t i o n st h a t y o u c a n m a k e u p w i t h t h e m ( a s o n t h e C D track).Try
llnkingtogetherdifferent
combinations to formrhythmguitargrooves.

@ Dor. i. an
Here'san interesting
Doriansequencewitha passingnote.Try it on G7 and BmiT(b5).pull_offs
helpthe
phrasingtoo.
DmiT

9 Dor. i. an
(tonto)
Noticethe use of Diatonicarpeggiosthat makeup this rine.The arpeggiosare
fromthe key of C, which
makesthisa Dorian-mode lick.
_ 3 _

t; I =J .l)
DmiT

O Dor.i.anIn.ter.val
Like the title implies,this lick uses Sthsfrom the D Dorianmode. lt's pretty
comfortablein the fiftn
positionas well.To makeit smooth,pulloff to the indicatednotes.Try putting
thisideain anotherposition
of D Dorian.Couldalsoworkover FmaZ(ft t ).
DmiT
 tO Dou. bledPen.
'tonto'
ta. ton o ic
Thit lickis all aboutthe positioning
of the slides.pay attentionto the tablaturefor the fingering.
Ami or A7
r ^ ^ ^ ^ ^

O Down. HomeBlues
Here'sone to prayon the frontporchwith the acoustic.
This is one of those licksthat alwayssounds
great,becauseit perfecflyouilinesthe V-rV-r
changeat the end of the brues.

O J=) ,l)
L I D7 A7

@ Down. Home Blues

t""'o)
Thisis a goodexampleof what'scalleda "greasy"lick.
check out howthe bendfromthe pf, up to the A
catchesthe G stringunderneath withthe samefinger;thisway,you havea reverse
bendreadyto go. lf
you do it right,you will releasethe E backdown
to the D on the G string.lt's a neateffectthatgivesyou
that"down-home,'.sound.

19
 'n'
@ nu.. ly Rock Roll
Rightout of the ChuckBerryschool:4th doublestopsfromthe pentatonic
scalereallycapturethe sound
of the earlydaysof Rock'n' Roll.Try it withall downstrokes.

o
@ Elec tric Rock
(contd)
$12;1ingwith repeatbends,then climbingdown the pentatonicscale,this lick
is adaptableto many
styles.Try it as a bluesphrase,or bouncethe rhythmand playit as a shuffle.

6o
N' rA^A^

TA^AA'IA

@ Ex. tend. ed Ar. pego gio

H e r e ' ss o m e t h i n gI l e a r n e df r o m W e s M o n t g o m e r yC
. o m b i n i n gs m a l l a r p e g g i o s( A b m a j o r ,D
diminished, and G major),he createsa beautifulextendedtypeof minorseventhsound.
In thiscase,it,s
an Fmi13(b5).

a'tAAA^'tA
rmr/ \
! / /
-

^a^A^'tA'.a
^^.
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
O Fours in Threes
Makingup sequencescan be a creativeadventure.Here'sone that combinesa groupof four in a
scaleplayedas triplets,creatingan interesting
pentatonic effect.SeealsoGroupsof Fives.
Emi or E7

@ fnnk. y Blues
A backwardsrake intothe first Bb is essentialto makingthis lickfeel funky.The pull-offssmoothit out
too.Youcan usethisoverEb7as well.
E>mtj t A A^A^AAltAt'i
TAAAAAAA' n,--

.A'IA AA.!

e Fu. sion
This line startsout with two majortriads,then finisheswith a Mixolydianscalerun. Althoughit moves
fromtwelfthto seventhposition,the fingeringis actuallyeasiestthisway.

@ f" o sion Rock

(tonto)
lickwithmajorand minor3rdsin it. lt soundsbestplayedfastl
Here'sa goodpentatonic-based
g Fu. sionRock
This lick,in the styleof RobbenFord,staftsoff in a Mixolydianmode,then mutatesinto straightminor
pentatonic.

BbIC

I f". sionRock
A rock-driven
lick is givenaddeddimensionwith the use of two majortriads(Bband A) for chromatic
tension.Thesenotesadd an outside-inside
effect.

.Bmi or 87

25
O Qi o gan. tic Sound
One of the keys to a big sound is low end. That'swhy this heavyrock lick requiresthe low E to be
droppeddown a step to D. By doingthis, powerchordscan be playedwith one finger!Changingthe
pitchof a stringor two can openthe doorto newcreativepossibilities.
Warmup the Marshall!

@ c". in' off

lickcan be playedalmostentirelywiththe firstand fourthfingersof the fret hand.Using
This rock-blues
bothmajorand minor3rdsgivesit a dominant7(f,911ss|.

C7

@ Groups of Fives
Here'sa trickto makeyour pentatonics soundcool.Playa five-notesequencein a four-notegrouping
(sixteenthnotes).Thinkof other Try a four-notesequencein triplets.(See also "Foursin
possibilities.
Threes.")
Bmi or 87
 c
{ C o n td )
Hard Rock
Here'sa pentatonic-based lickthat movesup the neckwithslidesand triplets.The hammer-ons
willhelp
you get it up to speed.Tweakthe highA with a slightbend
and givethe final E somevibratofor extra
feel.Rockon!

EmiTor El

O FIar. mon. ic Min . or

Here'sa scalethat you may be lackingin yourvocabulary. The harmonicminorsoundcomesin handy
in a varietyof minor-keysituations.This lick fits greatover a dominant
chordthat has an impliedkey
centerof E minor.

p Heav. y Rock
'
(Cont'd)
Thislickstartsoff witha pull-offin the sixthpositionand worksdownto the
thirdposition.Sometimesit,s
betterto breaklicksup intosmallerbitswhenlearningthem.In thiscase,
workon the phraseup to beat
4, then practicethe restas a secondphrase.Afterdoingthis,you should
find it easierto connectboth
phrasestogether.

27
g Heav. y Rock
Crankup the Marshalland rock!This lick,in the styleof late-eightieshard rock,fits over a varietyof E
tonalities:E7, Emi, E7(#9;,etc. lt can be playedover a straight-eighth
rockgrooveor a shufflefeel as
well.Try it up an octavetoo.

@ H"". drix. ish

(contd)
Dressingup the pentatonicscalewith doublestopsis one of manycoolthingsJimi did. Reachup with
your fourthfingerto get the B to ringwiththe C note.This kindof trickworksgreatfor rhythmpartsas
well.Thinkof "LittleWing."

AmiT

O High. TechRock
This modern-sounding rock lick has some wide intervaljumpsthat make it unique.The shapeand
soundof theseintervalsimplythe dominantdiminishedscale.To come up with moreof theselicks,try
studyingthe way the minorpentatonic scalefits in a diminished
scaleand add thesecolornotesto your
rocklicks.

28
@ uotds. worth. i. an
contd)
A trulyoriginalplayer,Allan Holdsworthis definedby his brilliantchromaticism
and legatotechnique.
Here'sone to get you going.

Emi9

O Hy. brid pick. inB

This is a lickwith a lot of potentialfor otherideas.lt utilizeshybridpicking,combiningthe fingersof the
pickinghandwiththe pick.Useyoursecond,third,and fourthfingersto pluckthe noteson the B,
G, and
E strings.Thistechniquetakestimeto master.Go slowlyat firstand work up yourcoordination. Thanks
to the amazingBrettGarsed.
@ m. sanePent o a o lsn o ls
ThiscrazylittleE minorlickstartsoff withan unusualpentatonic spread.The noteslay this way to help
smoothout the pickingfor the righthand.Use economypickingwhenpossible.lt finishesoff withthree
quickpositionshiftsas it climaxeswitha highB pulledoff to a G.

@ In. sideOut. side

Here'sa neatlinethat goeson a littlemelodyadventure.lt startsoff witha blueslick,then movesdown
to B minorand playsa box-positionlick.Then,to createan outsidesound,the B minorpentatonic slides
downto Bb minorpentatonic.Finally,it slipsbackdownto A minorpentatonic and mixesin someDorian
notesfor extracolor.Makesurethe hammer-ons and pull-offs
are in the rightspots.
O I n . t e r . v a lI . d e . a
Here' an
s idea that reallymakesyou move around
the neck.Althoughit stayscompletelydiatonic,it
soundsuniquedue to the combinationof wide interualsand traditionalscalesteps.Make
yourown! up some of

O I . o n . i . a nA r p
lf you don'tknowwhatto playovera majorseventh
sound,here'sa greatphrase.lt comesrightout of a
majorseventharpeggio.Usingit overDmiTwillcreate
a beautifulminor9th soundtoo.
FmaT or DmiT
O lazz Al. tered
(contd)
4 niceuseof intervalsand rhythmmakethisa clevermotif.
-rl-

t i J = Jl t
D13(t9)

@ Jazz.BluesTurno a. round
This is a double{imephrasethat utilizesthe melodicminorsound:Bb melodicminoron the A7 chord
and Ab on the G7 chord.This createstensionnotesthat tend to pull intothe nextchord.Thanksto the
lategreatJoe Pass.

C7

@ Jazz.Blues Turn. a . round

(contd)
This turnaroundmelodyhas a nice shapeto it. The descendingmotifalso ouflinesthe chordtones.
Experiment too-you haveto do thisto findout how a melody"lays"the best.
withdifferentfingerings

tl I =j .l't
C7 A7 DmiT
@ JazzSweep
The beginningof this linestartswitha downwardsweep-make surethe tripletis cleanand in time.The
rest of the lick is standardalternatepicking.This is a nice line for an outside-to-inside
resolutionon a
minorchord.
AmiT

@ Jn.p Blues
cont'd)
Here'sa neatchordalmotifthat workswell in a lot of bluessituations.In the firsttwo measures,let the
notesspillintoeachotherfor a cascadeeffect.Then,moveup to the tenthpositionto finishoff the rest
of the melody.Thinkof tattoosand BrianSetzerwhenyou playthis.

tJ J =j .l't
G6
 O Korn. like
Here'sa cool one that soundsgreatwith distortion.
First,dropthe low E to D. lt may be easier
the tab here,as all noteson the E stringwill to read
be downa step.
v' vt/'check out where
v"vw^ vut vvrrurethe slidesare-using
them makes the groove
riff along better. 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 ^ (D5)

/n.\
N.C.

34
O La. tin Rock
start witha downwardsweepto playthe D minortriad,then bendthe firstnoteof eachhalf-note
triplet.
Thisone has a lot of Santanain it.
DmiT N -^. A*:

g Le.gaoto
Checkout the heavyuse of chromaticnotesin this lick.The neat thing is how you can
still hear the
soundof the A Dorianmodein the line.pay carefulattentionto the slurs!

0 Lou. is. i. an. a Blues

The key of E is madefor the guitar,and this lickexemplifies
that.Droningthe highE stringwhileplaying
a melodyon the B stringgivesthis lick an authenticold bluesflavor.Thereare manyvariations
in the
openE position.

@ ft.di.anAr.pegogioo
Thisis a fun littleshapethatclimbsup the neckwitha Lydiansound.lt includesthe use of
the major7th
arpeggiowiththe added#11spreadout overtwo octaves.
Ama71*11; ,^. aAA/tAA 'f

4IAA'i'AAA
 @ Ma. jorii. V. I
This linestartsout with an FmaTarpeggiooverthe Dmi7.On the V chord,you havea nicedescending
linethatcapturesthe colorof a bg, f g, and f,5.
-3-

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

O MarotionooLike
This is a double-timeii-V-llick. lt startswith a smoothminor7th lick,then walksdown the D and G
strings.Onceyourlefthandis in fifthposition,the restof the linefallsintoplace.

CmiT

Bbmaj

o
( cont d)
Me. lod. ic Mi. nor
This jazzy altereddominantline extendsthe naturaltensionin a V7 dominantby usingthe melodic
minorup a halfstepfromthe chord.lt alsodoesso in a melodicway-with interesting
intervals.
c?(f3)

36
O Me. lod. ic Mi. nor
Thisveryusefulmelodycomesstraight
outof theEbmelodic
minorscale.A melodicminorscaleplayed
upa halfstepfromthedominant
chordcreates thesoundwealsocallthealtered
scate.
D71il9;

@ M"t. ul
'tonto)
This rippinglicktakesadvantageof the "box-positionextension"-yyfisp
you extendthe four-fretspanto
a six-fretspan on the top string.Findingnew ways to lay your
handsover the same old patternsis a
goodway to comeup withnew stuff.playthisone witha lot pull-offs.
of
Emi,E7, or E5

O Metheny.Like
Here'sa chromaticjazz lickthat useshammer-onsand slides.This kindof picking,very mucha partof
the Methenystyle,can increaseyourspeedand legatofeel.
@ Minor ii. V. I
Here,san elegantdouble-timelick, in the styleof Mike Stern,that fits a minorcadence.lt startswith
one-octave arpeggiosof AbmaTand DmiZ(b5). lt thenmovesdownthe E stringwitha smoothchromatic
line that colorsthe dominantchord-check out the fingeringon this part. Finally,it finishesup with a
diminished scaleand resolvesto the 9th of the i chord'

Dmi71b5; G7 Cmi9

@ Mi. nor Sev. enth

This jazzyminorideahas addedinterestdue to the chromatics.A shortlick likethis is possiblein many
sound.
Thisis a goodstartingpointfor a Metheny-type
differentpositions.
- 3 -

\) )=) i'l
AmiT

@ Mix. o. lyd o i o an Mix

to an E7 sound.A strongdownbeat
Noticehow this line smoothlyconnectsthe soundof D Mixolydian
resolution
chord-tone on the E helpsthe connection.
O Mod o ern Blues
This eighth-position
lick startswith a fourth{ingerbend.The secondnote is
the same pitch.Makesure
yourbendis a perfectwholestep.Pull-offshelp
smooththe phrasingon the way backdown.
G7
b ; l
i ^ A ^ ' t ' t

a A ^ ^ ^ a

g Mod. ern Rock

This rock lick startsbelowthe box positionand moves
down one more.Try workingout a few different
fingerings'Movingthroughpositionscan be tricky,so start
slowlybeforetryingit up to speed.
Gmi

@ Mo. town Rhyth. m

Thanksto steve cropperfor this greatfunky E7 groove.
This kind of part worksbest when the bass
groovehas openholesin it' Thatway,the low end-heavy
rhythmfilrsin the spaceswithoutgettingin the
way.Checkout the original,,,Knock
on Wood.,,
 @ N"ur. ly Blues
(contd)
okay, this lick doesn'tsoundlike somethingB.B.wouldplay,but you can
still use it over a blues.The
wide-openintervalsgivethis phrasea modernsound.Couldalsofit over
Emiz(bs;.

o
@ N"ar ly Dor. i. an
A modallick doesn'thaveto stay completelydiatonicto fit in that mode.
Examinethis line to see how
the use of chromaticpassingtonesaddedto arpeggioscan enhancethe
Doriansound.The secretis
the placementof the chromaticnotes;avoidplayingthem on downbeats.
This lick is reminiscent
of a
RobbenFordidea.

O New Age
(tonto)
Here'sone borrowedfromthe classiccomposers.The conceptstartswitha pedal(in thiscasec). Then
the melodyworksdownthe scalewhilepedalingthe highc. lt finisheswith
a simpleresolution
to the l.
DmiT C2

40
@ New Age
Thiscouldsoundreallynicewithsomedelayand chorus.Makesureyou stayout of the way of the
low
E as it's ringing.lt supportsthe keycenteras you playthe melodyon the top threestrings.

Ema71b5;

o
-:^:c
New Age A. cous . tic
Thisjangly-sounding chordriff makesa nice endingfor an acousticpiecein E. Allowthe notesto ring
togetheras muchas possible,and pay attentionto the openstrings-the low E shouldringthroughthe
firstmeasure.Thislickis bestplayedwitha fingerpicking
approach.

e Ninth ChordRun
This lick can be used on any non-functioning
dominantchord.Althoughit uses chromaticnotesfor
addedcolorand melody,noticehow the chordtoneslandon the downbeats,makingthe line retainthe
soundof the harmonyclearly.
@ Ooposounds
(cont'd)
The term "open"in musiccan referto many things-in this case,the spacingof intervals.Thereare
manywide intervalsutilizedin this phrase.Noticethe use of 5ths in the beginningand octavejumpsat
the end.

@ Q o pen String End. ing

Watchthe tab on this one. The idea here is to use open stringsin a descendingmelodyto createa
cascadingharp-likeeffect.Thisone couldsoundgoodas an endingto an acousticpiece.

Cma7 CmaT(tll1

@ Out. side Loop

Try loopingthis lick over and over,and note how the phrasingturnsaround.You can moveit in minor
3rdsas well,becauseall the notesfit in the diminishedscale.(Shapesin this scalecan movein minor
3rdsand remaindiatonic.)
@ n"t o tern for Dor . i . an
Playingthis line smoothlytakesa littlepractice.lt helpsto incorporate
legatofingering.To completely
masterthis,try startingthe patternfrom any note in the C Dorianscale.Use your ear to negotiatethe
chromaticnotes.
CmiT

O Ped. al steel
watch your intonation
on thesebends.Holdthe G with the highcf and add a litilevibratofor a pedal-
steeleffect.

@ Pen. ta o ton. ic Shift. inB

Here'sa speedyrock lick that movesthroughthe A minorpentatonicpatternswith a rhythmicfigure.
Payattentionto the legatofingerings
and the placementof the slides.
Ami or A7

43
 ,r''/

9 Phry. gian
,toi'o' Placethis in the seventhposition
Th" enrygianmodealwaysgivesan exoticflavorto a minorchord.
bz scale(in this
and pull-offsfor a legatosound.The emphasisis on the of the
and utilizehammer-ons
case,Bb).

@ P". si. tion Shift o er

givesyou
Noticehow this pentatonic-based lick connectsthe neck with slides.using this technique
feel'
thanstayingin the box pattern.Slidingalsogivesyourphrasinga different
morepossibilities
TA'IAAA"'I

I Pow. er Pop
(coit'd) of the tricks to composinga part is
catchy guitar hooks are the basis of many a pop hit. one
it and createsa melodic
a melodyin a chordalriff.This lick has a cool rhythmicfeel to
incorporating
hookwiththenotesontopofthechords.Makeupsomeofyourown.
n SbZ F2lA
 @ n.o o gres. sive Rock
Thislickstartswitha four-notephrase, movesuponeoctaveandthenonemorewitha variation. Onthe
secondhighD, pre-bend it froma c#, so youcanrelease
it to thec#. mis is a coolwayto implya sus4
dominant sound.

A7 Emi a AA ^ AA ^ iA,vrA,i
#1'I

O Psy. cheo del. ic

: l^t'd)
This is a greatstylisticlick if you'retryingto capturethe feel
of a sitar.By usingopenstringsin the first
position,you can createa cascadingeffect.Makesure
the notesrun togetheras a chord.This could
alsoworkovera C#mi7 chord(asa ii chord).Farout!

45
 @ Qn"r. tal Chord Lick
The idea behindthis chord movementis quite interesting. The melodyon top is movingdown an E
minorpentatonic scale.The notesunderneath thatfallon the downbeatsol 1,2,3, and 4 formG, F, Eb,
and C triads.However,the noteson the upbeatsare a halfstep beloweachtriad,forming perfect
a 4th
stack.Althoughit may seema littleatonalat first,it soundsgreatover EmiTor E7(fgy.This is
a classic
MilesDavistrick.
Emi or E9

O Ques . tion and An o swer Lick

(tonto)
This one is rightout of the call-and-response
styleof greatbluesplaying.Try ptayingit on the firstfour
measuresof a blues.Think"slowhand.,'

C7 G7
vo;L
,' .'iAA'iAAAA T

3
t/1
r^ ^A A A ,a

@ Q,".k Lick
This lick is simple,but it sure feelsgoodto play.The rhythmicmotiffits pe;fec1yin a shuffle.
This one
willworkgreaton the lasttwo measuresof an A blues.

A7 E7

<3-- L J J
@ Quirk. y Blues
The hammer-ons and slidesin this phrasehelpsmoothout the melodicjumps.This couldwork in rock,
blues,or fusion.lf it'stoo longto workwith,try just usingthe firstsevennotes.

@ Quirk. y Rock
Here'sa cool rocldblueslick that startswith an open kind of angularshapeand movesit up a whole
step.Althoughit'sbasedon minorand majorpentatonics, it has a uniquesound.

47
@ nu*. time
(cont'd) Ragtimefeel.Try it with hybrid
The 6th and 3rd intervalscombinedgivethis phrasea ScottJoplin-esque
pickingor just plainfingers.lt soundsgreaton an acoustic!

O Rap. id Bends
One of the greatthingsaboutthe guitaris the many differentways you can play a note.This lick
demonstrates two approaches.By rapidlyalternatingbetweena frettedand bent D, releasedto a Cf,,
you createan interestingeffect.And becauseit's a three-notepattern,it createsan odd-against-even
(sixteennotesto a beat)effect.
A7 or ATsus

o
( Cont'd)
Reg. gae
Dial in a bright,clean tone for this rhythmgroove.Noticehow a simplemelodyis implied.Creating
melodiesin rhythmpartsis importantin all styles,especiallyreggae.Makesure you swingthe rhythm.
Yaman!!

\))))=) )) )t
 @ Ret. ro
Here'sa neatdouble-stop bluesriff.Thiscouldworkas an endingbreakin a blues.The notesin paren-
thesesare ghostnoes,to be playedverylighfly.

e
( cont d)
Rhyth o mic Rock
Thissimplebendingblueslickhasa greatrhythmicfeelto it. Try transposing
it to otherpatternstoo.

@ nnrth. mic Rock

The timingon this is tricky.Sometimesthe differencebetweena typicallick and an exceptionallycool
one is the rhythm.The delayedfeel of the bends,mixedwiththe sixteenthnotesand the triplets,make
this licklesspredictableand moreinteresting.

@ nirr'
Every rocl</blues
playerneedsto have a basicvocabularyof riffs at his/hercommand.A riff is a motif,
usuallythreeto sevennoteslong,playedin a seriesof repetitions.
The followingthreeriffsare greatfor
addingintensityto any solo-especiallywhenplayeduptempo.
Riff #1
C7 or Cmi

49
 R;iff #z
This riff createsa cool accentwhen looped.Use pull-offsfor fasterexecution.
C7 or Cmi
--3- --3- TAAAAAT

--.:_/

aaa^ a,t

Riff #3
Thisonehasa flashyrhythmfeel.lt'sgoodfora soloclimaxbuilder.
C7 or Cmi

@ Rockoaofil[.y
Go for a twangysoundand crankup the reverbon this lick. lt's a good exampleof Carl Perkins-style
countryswing-the backboneof rockabilly.
t J ; = Jl l
C6
4 t

@ Rock and Roll Rhyth. m

Workingfrom a fifth-position C majorpentatonicshapeallowsfor a varietyof classicrock 'n' roll
rhythms.Underneath the four-fretspan are the majorand minor3rds,plus the 6th and bZthdegrees.
Beginning withthe rootand mixingup the notesin a melodicway capturesthe essenceof earlyrock'n'
the "StonesBox."
roll.I callthisposition
 @ Rock Blues
This is a good lick for a shuffleor straight-eighth
feel. lt fits that positionrightabovethe familiarbox
pattern.

G7 or Gmi

@ Roots . y Rock
(contd)
Doublestops give this phrasea countryflavor.Noticehow the thirds stay diatonicto the dominant
seventhchords.lt mayfeelthe bestplayedon the top two stringsas longas possible.

51
a
.^, n d I

t{,2 Jax Jounos

This linecomesrightfromthe vocabularyof classicsaxophonemotifs.The conceptat work hereis the
targetapproachto the chordtones(precedingchordtonesby notesaboveor below).lt can workovera
dominantchord(G7)as well.
GmaT

@ S." Sounds
(coitd)
161, contemporary jazz-fusionline has a lot goingon. lt startsoff implyinga Bb dominantdiminished
scale up to the F. Then, to add tension,the line seemsto implyan F7 alteredchord (the V of Bb),
resolvingback to Bb on the final F. This is a commondevicein the iazz vocabulary. Thanksto John
Scofieldfor thisone.

O ska
Likeits reggaecousin,ska musicoriginatedin Jamaica.Wherea reggaegrooveis morelaid back,ska
is usuallymore upbeat.Play the eighthupbeatsas sharp,clean upstrokesand go for a crisp,clear
sound.Rememberthe EnglishBeat?

Dmi Amt Bb
bt
 Iil
O shckBrues
Thisone has a lot of greasebehindit. To get
the rightslickfeel,try a backwards,,rake,,down
lowA note-right out of RobbenFord,sbag to the first
of blues.

@ shdeMer.o. dy
Thisis a simpre
merody,
butgetting
theintonation
rightis arways
tricky.
E

o
( c o n td )
SlideMel.oodv
Thisone has that "down-home" feel to it' Goodintonationis alwaysa must
withslidephrases.play the
frettednotesa few timesto get the melodyin your
ear,then incorporate
the slide.Disconnect
the notesfor a moredistinctiverhythm. someof

.O SlideMel. o o dy
This one takespracticeto get smoothand
clean.Noticethe use of the open G stringthroughout
phrase'You mustdevelopa delicatetouch the
whenbringingthe slideon and off the strings;you
don,twant
extrafreustringnoise.lt's best to use tnl tingers
on the right hand for precisemuting
[ffi:::ny

53
O SUd.ing andBend. ing
This linecombinesslidesand bendsto connectpositions. The major6th in the melodyindicatesthat it's
a Dorian-modelick.Efficientuse of yourfingersis importantin this lick.Startthe A withyourthirdfinger.
Whenyou move up to the high D, use your firstfinger.Finally,bendthe E up to the D with your third
finger.

O Smooth and Fast

This one is spreadout acrosstwo stringsto maximizespeedand smoothness.The fist four notesare
pickedonce,then the B on the B stringis pluckedwith the middlefinger.Look for otherways to
incorporate the fingersof yourpickinghandfor extraspeedin yourlines.

O SmoothJazz
(contd)
What do you call jazz with all the roughedgespolishedoff? Smooth!lt's a styletypifiedby nice easy
melodiesovermellowinsideharmonies. Thislickcouldworkperfectlywhenyou havea lV chordmoving
downto a iii. Practicemakingthe legatolineconnectseamlessly.Tryit witha cleantone.
T)ma7 Crrr,i7

@ Smooth Slides
This lick is madeup of diatonic3rdsslidingthroughthreepositionson adjacentstrings.You can let the
last3rdsringtogetherwiththe highD to forma chord.
Gmi or CTsus
 @ Soul. ful Bend. ing
'tonto)
He'e'sa neatbending
lickthatgivesyoua newsranton a brues-rock
sound.Thepositioning
of the reft
handis important'
BendingthefinalAupto B is difficult
ontheD string-makesureyou,reupto pitch!
Ami

@ S o u l .f u l R . & . B
This lick repeatsin two octaves,then finishes
off with a blueskind of phrase.Thinkof
lazzlR&Bstyleof the greatGeorgeBenson. this in the

O South. ern Rock

{contd)
16;t one comesrightout of the DickeyBetts
school.lt startswith a whole-stepbend and
majorpentatonic. stays in c
sridesare thrownin to herpkeepit interesting.

@ String Slid. er
This lick startsoff in a typicalposition,then
uses slidesto bridgeto the next position.The
notesadd tension. chromatic
- , J :

())=) lt
Bb13
@ S.tr o pend. ed Dom . i. nant Ar. peg. gi . o
Takingan arpeggioand modifyingone notecan makea remarkable differencein the sound.Here,we
start otf with an A7 arpeggioin seventhpositionand suspendthe major3rds of the arpeggio.This
createsa muchmore"open"feel.
ATsus

@ S,'.f
Dial in a brighttone with a lot of reverbfor this surf-inspired
lick.Pickthe noteshardand closeto the
bridgefor a true DickDalefeel.
E m i G D C .

. i =

@ Swing
(contd)
Here'sa bebopiazz lick that just feels greatover a ii-V-l progression.
This is what you mightcall a
classiciazz motiti la SonnyRollins.

G1

@ Sy-ometory
Here'sanotherone from the diminishedscale,takingfull advantageof the symmetry.In this case,we
have minor3rds ascendingin major3rds. lt's interesting
to note how this line seemsto fit over three
minorchords.Althoughusingthe diminishedscaleover these minorchordscreateschromaticnotes,
"colors"thatsoundgood.
theyare acceptable
AmiT (also FmiT or CfmiT)

56
 @ f".n. nic. al Rock
This hot rocklick fits in the bluesbox and
makesuse of repeatedbendsto the root.
way downthe pattern,you pickup extra As you workyour
notesfor color-in thiscase,the major
the timingon the sextuplets. 6th and tne bsth.watch
The lastG shouldbe landingjust before
the downbeat ot 4.
E5 orEmi
a
I .|..
. F l

@ t"as Blues
Playthisone withrotsof rexas attitude.
Try rakingintothe firstnote.
(J J =l .l\)
C 7 ^
/ \
b + ?

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

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

.9 t"ulr. is Pick. ing

(ton'o)
Pickup the acousticfor this one.There
are manyvariationsof this fingerpicking
style.Notethe way the
bass alternatesbetweenthe root and the
Sth. once you masterthese patternsin
forms,it becomeseasyto chainthemtogether a varietyof chord
intoa song.

57
ilI

T"ip. let Blues

O
Digthewaythisonemovesfromthe lV chordto the I chordof a bluesprogression.
Threeconsecutive
triplets
makeit perfect
fora shuffle.
Tryusingthefingers
of your
picking
handfora bright,
snappysound.
F7 ra

O T"ip. let Rock

(contd)
Here'sa greatlickthat makesuse of triplets.Startingoff withan in-your{acedouble
stop,it movesinto
a seriesof triplets(sextuplets)
in the familiarbox pattern.Afterclimbingup the pattern,it extendsup to
the sus4(G) beforeresolving to the b7.Anotherlickin the styleof the greatRobbenFord.
D7
It I 2f) a l
T
T

@ Tri. ton. al
Lookingfor a lickthat soundsa littledifferent?Checkout this diminishedidea.The four
majortriadsin
thisscale(E, G, Bb,and gb; are hookedtogetherto forman intervallicaltereddominantlick.Try themin
differentcombinations.Thiscan be movedin minor3rdsand stillfit the chord.

@ Tii. tone Twang

This country-flavoredlick is looselybasedon the ideaof combiningtriadsa bsth apart.The triadsare
not literallyplayed,they are implied.In this case,G and Db are used.This coutdwork
well in an
uptempoblues-based countrytune.

58
@ Twang. y Thirds
This double-stoplick could work well in countryor blues.Make sure you watchthe bends,and pay
carefulattentionto the intonation.
-.?-

tJ J =J .ft
C7

@ Two. Fland Thpping

Thistappinglickmaytakea whileto workout,so startslowly.lt beginswitha bendfromthe D up to the
E. Thenyou tap the fourteenth fretwithyour righthand.Afteryou releasethe tap, releasethe bendback
to D and whileit's still ringing,bend rightback up to E. This patterncontinuesas you tap downthe G
string.lt endswitha seriesof tapped16th-note triplets.

O Two Tri. ads

The idea in this line is the use of a G augmentedtriadand an A majortriad.This twotriad approach
createsan upper-structure soundto an A7 chord-Ag(f,S).

A7
#4-:

59
@ U". i. dent. i. fied Fly. ing Fin o grS
Breakingup the box positionwith some leapingfingerjumps is the main purposeof this lick. Use
consecutivedownstrokes untilyou come backto the A on the B string.Wheneveryou fall preyto that
"sameold lick"syndrome,try incorporatingwiderintervalsin your licksfor somefresh ideas.You'llbe
amazedat what you can invent.

B7
TTAAAAI

tAAAat't

@ LJn. us o u. al Bend. inB

Althoughthis lick may look simpleat first,pay carefulattentionto the fingersyou use to bend.When
to the Bb from B withyourfourthfinger,catchthe A withyourthirdfinger.Thenyou'rereadyto
releasing
bendthe G withyourfirstfinger.Thanksto SonnyLandreth.

e U. til . i. ty Jazz
notes.Makesure you get the hammer-ons
Noticethe use of arpeggiosmixedin withthe Dorian-mode
and slide: in the rightplaces.
 II
.@ U. til. i. ty R&B
Here'sa classicstapleof R&8,
sout,and funk.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.
EmaT

61
aO Van Hal o en. esque
Here'sa classicfrom tappingmasterEddieVan Halen.
Afterworkingyour way downthe B string,you
haveto jump downto the G stringto continue.Thenyou
keephoppingdownuntilyou get to the low E. lt
takespracticeto makethissmooth.Try breakingthis lick
up intotwo sections,thencombiningthem.

a
+--.-. +
2 2 ' - a

e Vaughan.like
This blueslick dripswith heartache.Startoff with a whole-step
bendfrom the E to the Ff. Then,with
yourfirstfinger,bendthe D up to the E for more
anguish.(Thisis a toughbend,especiallywith heavy
strings')Afterthe bends,movedownto seventhposition
and finishit off witha box-pattern
phrase.This
man had a feel!
B7
:b

aA A ,iA'r rA,|aAA,$rtAAa
 -

O Vaughan, Stev. ie Rav

(tonto)
This is one soulfulblueslick.The timingmay lookweird--once
you learnthe fingering,copythe rhythm
with your ear. lt worksgreatin a slow 12lg blues,d la ,,Texas
Flood.,,
G1
a--\ r A ' t ^ ^ a

J_
I
f\
/ f ^

,@ Ver. y Smooth
check out the fingeringon this dominant-7th
lick.lt's importantto starton the Bbwith your thirdfinger.
on the doubleF, useyourthirrdfingeras weilto makeit
smooth.

C7

O Vin. tageRock
(cont'd)
A variationof the ,,flashyblues,,lick on track30. To give
this rickextraattitude,hit the rowc hardanct
slideintoit.

Gmi

63
.O Wes.Like
This gracefulii-V-l lick is in the styleof the greatWes Montgomery. Noticethe smoothway it resolves
to the 6th of the Eb chord.Masteringnoteresolution is one of the secretsof jazz.

FmiT B b + l f9 ) pb8

@ W e s .L i k e i i . V . I
Here'sanotherneatlickinspiredby Wes Montgomery. The ideais to use a b5 sub overthe BbZchord-
in otherwords,playingan Ebl soundas a substitute
for the Bb7.

sbl EbmaT
EbmaT

@ West. CoastBlues
Noticehowthe secondmeasureof this blues-based
lickis nearlyidenticalto the first;this is a technique
you can useto makeup yourown licks.
_,i
1. . =. .')
@ W"rt CoastCool
This jazz phrasestartswith a gracefursweep,then moves
down the D stringchromatically.Whenyou
hit the A note,you'ilmix in chromaticsfrom the A string
as weil. Finally,you reachfourthpositionand
implyan E9 for a resolution.Thisone is veryBenson_esque.
-3-
, F- ?'f
1 ) J a J = )) ) ) )
BmiT

g Wide e o pen Spac. es

The "open"soundof this lick is due to the largeintervals
at work.rt also incorporates
F and G triadsto
createa G9sussound.lt couldalsofit an Fmaj7.
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. lts
specialsoundis best usedover dominantchordsthat have
a flattedor sharpSthand a natural9th. ln
this whole-tonelick, the four-notegroupingsof eighth
notes make the three-notephraseof the lick
displacein an interesting
way.
c?(!;)

@ whole Tone
Here'sa three-note
sequencewhole-tone
lickthatascendsin major3rds.
zt(i2)

65
@ Whole Tone Riff
The wholetone scalecan providesomeinteresting sounds.Here'sone that startsoff witha double-stop
lick,then movesit up a stepand downa step,respectively. This lickcouldfit over any dominantchord
builtoff any noteof the scale(A7,87, C*7, D47,F7, or G7).

A7(i;)

@ World Beat
guitarparts,usuallybasedaroundmajor
Thisbright,happyrhythmtypifiesthe feel of a lot of world-beat
pentatonicmelodiesand playedwith a clean tone. Often,a mutingtechniqueis employed.The
harmoniesare typicallysimple,as in thisexample,movingfroma I chordto a V chord.
@ X. tend. edDom. i. nant
This lick seemsto be playablealmostexclusively
with the first and thirdfingers.Makesure you slide
whereindicated.Thanksto LarryCarltonfor thisone.
BbIC

C X. tend. edMajor Zth

Everwonderwhatto playon a major7th witha #sz
Nowyou havea phrase.Thisideacamefromusing
a melodicminorscaledowna minor3rd fromthe chord. i

Ama/(,))

e X . tend. ing ScaleShapes# I

This line beginswitha "shape"from a second-position
c scaleand walksverticallyup the neck.
Noticehowthe ideakeepsa similarcontouras it moves.

67
X. tend. ing ScaleShapes#2
Thisphraseliterallytakesone shapeand maintainsit as it walksdown
the neck.All the notes,however,
stillremaindiatonic.

X. tend. ing ScaleShapes#3

ThisLydianlinehas a niceopenfeel,startingoff withsomeextended
major9ths.pay carefulat-tention
to the slidesin thisone.
ia ^ltA^ ^a

^\

r A ^ ^ ^ ^ A A
,@ Yard. birds
Thisneatlickcan be foundon an old Yardbirdsrecord.
Jeff Beckhasa way of comingup withextremely
cool pull-otflicks'Herehe takesa seventh-position pattern
box and incorporates an open B stringfor a
greatintervallic jumpingidea.Thereis a pull-offfrom
the E on the seventhfret,but the open G is used
moreas a deadnote.Whenyou hit the low D on the
fifthfret,giveit a litflebendto add someattitude.

g y.2. K Rock
This modernrock lick is definitelyreadyfor the new
century.lt startsoff with a wide-opensoundusing
5th intervalsand combinesslidesand fingerstretches
to moveup the neck.To negotiatepositionshifts,
pay attentionto the tablature'Thisconceptof
movingthroughpositionswithslideshas a lot of potential.
Try makingup somelinesof yourown in thisstyle.

Gmi

69
@@ZoneDoub.les
Here'sa neat lick that utilizesdoublednotes.lt fits in the typicalbox position,but
the fingeringis
importantto get the rightfeel.Alternatingthe G betweenthe secondand thirdstringscreatesthe effect.
Pay attentionto the tab and pull-offs.Afteryou get the left handsyncedwiththe right,you
can pick up
the tempoand reallystartto shredl

C7.CmiorC5

z.zrop
O Are there guys
any with long beardswho rock harderthanZZ Top? ldoubt it... Here'sone of their
classicriffs.Playit lighfly,thenbuildit to a heavyshufflewithdistortion.
- 1 -

(r,=. ))
A7