Gary Hoey - The Need For Lead

Gary Hoey - The Need For Lead

Presents

The Need For Lead

Written by: John McCarthy & Gary Hoey

Adapted By: Jimmy Rutkowski

Supervising Editors:
John McCarthy & Joe Palombo
Music Transcribing & Engraving: Jimmy Rutkowski
Tablature Transcriptions: Anthony Lawrence
Production Manager: Anna-Lisa Tedeschi
Layout, Graphics & Design: Jimmy Rutkowski
Photography: Rodney Dabney
Copy Editors: Cathy McCarthy, Alex Palombo

Cover Art Direction & Design:

Paul Enea, Tovero & Marks

HL# 14037751
Produced by The Rock House Method®
© 2010 Fred Russell Publishing, LLC All Rights Reserved
 Gary Hoey - The Need For Lead

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 Gary Hoey - The Need For Lead

Table of Contents
About the Instructor ...................................................................................................................... 5
Introduction ................................................................................................................................... 7
Icon Key ........................................................................................................................................ 8

Lesson 1: Tuning ...........................................................................................................................9

Lesson 2: Timing – Rhythmic Values ............................................................................................ 10
Lesson 3: Scales – Minor Pentatonic ............................................................................................12
Lesson 4: Scales – Connecting Pentatonic Scales .......................................................................14
Lesson 5: Scales – Major Pentatonic ............................................................................................15
Lesson 6: Lead Techniques – Bending ......................................................................................... 17
Lesson 7: Lead Techniques – Pick Harmonics ............................................................................. 18
Lesson 8: Lead Techniques – Vibrato ...........................................................................................19
Lesson 9: Major Pentatonic Riffs .................................................................................................. 20
Lesson 10: Metronome Exercise ...................................................................................................21
Lesson 11: The Trill Drill ................................................................................................................21
Lesson 12: Hammer on & Pull off Riffs ......................................................................................... 22
Lesson 13: Scales – Adding the Blues Tri –Tone ..........................................................................23
Lesson 14: Blues Riffs .................................................................................................................. 25
Lesson 15: Lead Techniques – Slides ...........................................................................................26
Lesson 16: Scales – Aeolian .........................................................................................................27
Lesson 17: Aeolian Riffs ................................................................................................................28
Lesson 18: Scales – Dorian .......................................................................................................... 29
Lesson 19: Dorian Riffs .................................................................................................................30
Lesson 20: Scales – Mixolydian ....................................................................................................31
Lesson 21: Mixolydian Riffs .......................................................................................................... 32
Lesson 22: Fretboard Visualazation ..............................................................................................33
Lesson 23: Rhythmic Phrasing “Shifting Gears” ........................................................................... 34
Lesson 24: Syncopated 16ths ...................................................................................................... 35
Lesson 25: Melodic Phrasing ........................................................................................................36
Lesson 26: Intervals ......................................................................................................................37
Lesson 27: Blues String Skipping Intervals ...................................................................................38
Lesson 28: Bag of Tricks ...............................................................................................................39
Lesson 29: Complete Lead “Peace Pipe” ..................................................................................... 41
Lesson 30: Gary’s Finger Workout ................................................................................................42
Lesson 31: Pivoting Riffs ...............................................................................................................44

The Rock House Catalog ..............................................................................................................45

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 Gary Hoey - The Need For Lead

About the Instructor

Gary Hoey

World renowned rock guitarist Gary Hoey, takes his singer/songwriter talents to the next level
with his new album, Utopia, on Wazoo Music Group. With a collection of 17 albums and five top
20 Billboard hits, it’s no wonder Gary Hoey is listed in the top 100 greatest guitar players of all
time. Whether it’s rock, blues, surf or Christmas, Hoey’s command of each style makes his live
show one of the most exciting on the circuit today.

Multi-tasking as a writer, producer and guitar player, Hoey has had clients who include DISNEY,
ESPN, NO FEAR, performed the National Anthem for the NEW ENGLAND PATRIOTS, SAN DI-
EGO PADRES and BOSTON RED SOX. Gary was featured on VH1’S CLASSICS documentary
“Aftermath” and recently VH1’S Rock N Roll Fantasy Camp.

In 1993 Gary Hoey launched his career with the hit song Hocus Pocus (Warner Bros. Records).
His fiery technique helped to send it to the top 5 on Billboards charts. The Boston raised guitarist
followed up with the sound track to the surf saga, Endless Summer II (Warner/Reprise).

His popular Ho! Ho! Hoey series of Christmas CDs and on-air station visits have become a
staple at hundreds of radio stations nationwide. His live rock and roll Christmas show continues
to grow new fans each year. HALLMARK’S musical greeting cards feature two Ho Ho Hoey
classics.

Hoey has toured and traded licks with the likes of Jeff Beck, Brian May (Queen), Ted Nugent,
Foreigner, Joe Satriani, The Doobie Bros., Kenny Wayne Shepherd, Eric Johnson, Steve Vai,
Peter Frampton, Rick Derringer and Deep Purple.

For more information about Gary Hoey go to GaryHoey.com to find out more today!

5
Gary Hoey - The Need For Lead

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 Gary Hoey - The Need For Lead

Introduction
Welcome to The Rock House Method® system of learning. You are joining millions of aspir-
ing musicians around the world who use our easy-to-understand methods for learning to play
music. Unlike conventional learning programs, The Rock House Method® is a teaching system
that employs DVD and 24/7 online lesson support along with this booklet to give you a variety
of sources to ensure a complete learning experience. The products can be used individually or
together. The DVD that comes with this booklet matches the curriculum exactly, providing you
with a live instructor for visual reference. In addition, the DVD contains some valuable extras like
sections on changing your strings, guitar care and an interactive chord library.

How to Use the Lesson Support Site

Every Rock House product offers FREE membership to our interactive Lesson Support site.
Use the member number included with your book to register at RockHouseMethod.com. You will
find your member number on the sleeve that contains your DVD and CD. Once registered, you
can use this fully interactive site along with your product to enhance your learning experience,
expand your knowledge, link with instructors, and connect with a community of people around
the world who are learning to play music using The Rock House Method®. There are sections
that directly correspond to this product within the Additional Information as well as Backing Track
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Register Now
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gram to register for free at RockHouseMethod.com. Registering will
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Click you to the Lesson Support site.
Here!

7
 Gary Hoey - The Need For Lead

Icon Key
Throughout this book, you’ll periodically notice the icons listed below. They indicate when there
are additional learning tools available on our support web site for the section you’re working on.
When you see an icon in the book, visit the member section of RockHouseMethod.com for musi-
cal Backing Tracks, Additional Information and learning utilities.

Backing Tracks
Many of the exercises in this book are intended to be played along with bass and
drum rhythm tracks. This icon indicates that there is a backing track available for
download on the Lesson Support site or click here.

Additional Information
The question mark icon indicates there is more information for that section avail-
able, it can be theory, more playing examples or tips on the Lesson Support site
or click here.

Metronome
Metronome icons are placed next to the examples that we recommend you prac-
tice using a metronome. You can download a free, adjustable metronome on the
Lesson Support site or click here.

Tuner
Also found on the web site is a free online tuner that you can use to help tune
your instrument. You can download the free online tuner on the Lesson Support
site or click here.

8
 Gary HoeyLesson
- The Need
1 For Lead
Tuning

Throughout this program Gary tunes his guitar to 435 tuning. If you do not have a tuner you can
download a free tuner software program using the membership number included with this pro-
gram on the Lesson Support site at RockHouseMethod.com.

(Thinnest) (Thickest)
1st String 2nd String 3rd String 4th String 5th String 6th String

EF BF GF DF AF EF

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 Gary HoeyLesson
- The Need
2 For Lead
Timing – Rhythmic Values

Throughout this program Gary will be reference different timing values. Even if you can’t read
music, it is important that you have the basic understanding of rhythm and timing.

Quarter Notes



0 0 0 0 0 0 0 0

1 2 3 4 1 2 3 4

Eighth Notes


0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

Sixteenth Notes


0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 e & a 2 e & a 3 e & a 4 e & a 1 e & a 2 e & a 3 e & a 4 e & a

Eighth Note Triplets


0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3

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 Gary Hoey - The Need For Lead

Sixteenth Note Triplets


0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
6 6 6 6 6 6 6 6

Quarter Notes

   
1 2 3 4

Eighth Notes


1 & 2 & 3 & 4 &

Sixteenth Notes


1 e &a 2 e &a 3 e &a 4 e &a
Eighth Note Triplets


   

Sixteenth Note Triplets


! ! ! !

11
 Gary HoeyLesson
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3 For Lead
Scales - Minor Pentatonic

Minor pentatonic scales are the most commonly used scales for playing rock and blues solos.
The pentatonic is a five note scale, or an abbreviated version of the full natural minor scale. The
word “pentatonic” comes from the greek words, “penta” (five) and “tonic” (the keynote).

Gary demonstrates all of the scales in this program over his song “Tele Like it is.”

= Root Note

First Position

3 5 7 9 12 15

5 8 8 5
5 8 8 5
5 7 7 5
5 7 7 5
 5 7 7 5
5 8 8 5
1 4 1 3 1 3 1 3 1 3 1 3 3 1 3 1 3 1 3 1 3 1 4 1

Second Position

3 5 7 9 12 15

8 10 10 8
8 10 10 8


7 9 9 7
7 10 10 7
7 10 10 7
8 10 10 8
2 4 1 4 1 4 1 3 1 3 1 3 3 1 3 1 3 1 4 1 4 1 4 2

12
 Gary Hoey - The Need For Lead

Third Position

3 5 7 9 12 15

12 15 15 12
13 15 15 13


12 14 14 12
12 14 14 12
12 15 15 12
12 15 15 12
1 4 1 4 1 3 1 3 1 3 1 3 3 1 3 1 3 1 4 1 3 1 3 2

Throughout the program various drum backing tracks will used. Make sure to go to the Lesson
Support site and download them for free.

13
 Gary HoeyLesson
- The Need
4 For Lead

Scales - Connecting
Pentatonic Scales
This is a technique that will help you put together multiple positions of the Pentatonic scales, as
well as get you out of “box position” playing. These examples will incorporate some basic slides.
Later in the program we will tackle more advanced sliding techniques.

Example 1

sl. sl. ²²²²²²²²

g
8 10
5 7 9
5 7
3 5 7
3 5

3 (3) 3 (3)

Example 2

sl. sl. sl. ²²²²²

8 10 12 10 15 17


g
8 10 13 10 13 15 17
12 14

3 (3) 3 (3) 3 (3)

Example 3

sl. sl. ²²²

17 15

 4
g
17 15 13 15 13 13
14 14 12
14
12
14 12 10
?
12

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 Gary HoeyLesson
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5 For Lead
Scales – Major Pentatonic

Like the minor pentatonic scales, the major pentatonic scales consist of only five tones. Every
minor pentatonic scale has a relative Major pentatonic scale (ie: A minor is the relative minor
to C Major). When playing through these patterns look at them closely for a familiar shape you
learned earlier.

= Root Note

First position

3 5 7 9 12 15

7 9 9 7
7 9 9 7
6 9 9 6
6 9 9 6
 7 9 9 7
7 9 9 7
2 4 2 4 1 4 1 3 1 3 1 3 3 1 3 1 3 1 4 1 4 1 4 2

Second Position

3 5 7 9 12 15

9 12 12 9
9 12 12 9
9 11 11 9
9 11 11 9
 9 11 11 9
9 12 12 9
1 4 1 3 1 3 1 3 1 3 1 3 3 1 3 1 3 1 3 1 3 1 4 1

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 Gary Hoey - The Need For Lead

Third Position

3 5 7 9 12 15

12 14 14 12
12 14 14 12
11 13 13 11
11 14 14 11
 11 14 14 11
12 14 14 12
2 4 1 4 1 4 1 3 1 3 1 3 3 1 3 1 3 1 4 1 4 1 4 2

16
 Gary HoeyLesson
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6 For Lead
Lead Techniques - Bending

Bends are a very soulful way of creating emotion with the guitar, using flesh against steel to alter
and control pitches. All guitarists have their own signature way of bending notes.

Whole Step Bends

Example 1 Example 2 Example 3

full
 
full
full

5 8 8 8 5
5 8 8 8 5
5 7 7 7 5
7 7


Example 4 Example 5
full  full

8 10 10 10 8 8 10 8
10 10 10 10

Half Step Bends

 
Example 1 Example 2
1/2
1/2

5 7 7 7 5
5 7 7 5


7

 
Example 3 Example 4
1/2
1/2 1/2

10 12 12 12 10
10 12 12 12 10


5 7 7 7 5
7 7

17
 Gary Hoey - The Need For Lead

Step & Half Bends

 
Example 1
1 1/2 1 1/2

8 10 10 10 10


5 7 8 9 9 9 9 9
7

Lesson 7

Lead Techniques – Pick Harmonics

Example 1
Harm. 

5 5 5 5 5
5 5 5 5 5
 5 5 5 5 5
5 5 5 5 5
   
Example 2
Harm. 

10 8
9 8 7 5
7

  
Example 3

 Harm.
 Harm.
 
full

7 5
7 7 5
 7 6 5 3
5

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 Gary HoeyLesson
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8 For Lead
Lead Techniques – Vibrato

Vibrato is the small, fast shaking of a note. Vibrato is indicated by a squiggly line above the staff,
extending out from a note. While sustaining a note, shake your finger slightly and “dig in” to the
note to slightly vibrate the pitch and give it more expression. Vibrato can also be applied while
bending.

Example 1
  sl. 
5 6 5 5 6 8 10
4 5 7 7 7
7


Example 2
full sl.  1/2 
10 10 10 8 8 7 5 7 7 7 5
8 5

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 Gary HoeyLesson
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Lesson 9 For Lead
13
Major Pentatonic Riffs

Here are a few riffs to get you using the major pentatonic scales and some of the techniques we
have covered so far. As I said earlier, don’t just go for the major pentatonic scales all the time,
you can get some real cool sounds from the major pentatonic scales as well.

Riff 1

full
 sl. 
12 12
 9 11 11 9 9 11 13
 9 11

Riff 2
full 
12 14 14 12 12
12 14 12 14 12 14

Riff 3
sl.
full
hold bend 
12
14 12 12
13 11 9 11 11 9


20
 Gary HoeyLesson
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10 For Lead
Metronome Exercise
full full full full full full full full full full full full

8 8 8 8 8 8


7 7 7 7 7 7 5 5 5 5 5 5 8 8 8 8 8 8

3 1 4 4

Lesson 11
The Trill Drill

     

8x 8x 8x 8x 8x 8x

5 6 5 5 7 5 5 8 5 6 7 6 6 8 6 7 8 7
           


21
 Gary HoeyLesson
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12 For Lead
Hammer on & Pull off Riffs

Riff 1
H P P H P P H P P H P 
5 8 5 5
8 8 5 5 8 5 5
7 7 7 5 5 7 5 5
7 7 7 5 5 7 5
 7

Riff 2
H H P P H H H H P P H H

3 5 15 17
3 4 5 5 4 3 4 5 5 4 15 16 17 17 16 15 16 17 17 16

P P sl. H H P P P P sl. H H P P P P sl. H H P P P P sl. H H P P P P sl. H H P P

1715 13 12 1315 1312

1513 12 10 1213 1210
1210 9 7 9 10 9 7
10 9 7 5 7 9 7 5
 8 7 5 3 5 7 5 3
5

22
 Gary HoeyLesson
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13 For Lead
Scales – Adding the Blues
Tri –Tone
Now let’s take the minor pentatonic scales we learned earlier and add the tri-tone (b5) to the
scale. The tri-tone is an essential note within the blues scale because of the tension it creates.
In history, the tri-tone, also known as the “Devil’s Note” has actually been banned for most of
the last millennium in the churches of Europe due to its dissonance. However, the tri-tone has
gradually come to prominence in American blues, rock and jazz music, where it has found way
into many cool lines and is commonly referred to as the blue note.

= Tri-Tone

First Position

3 5 7 9 12 15

5 8 8 5
5 8 8 5
5 7 8 8 7 5
5 7 7 5
 5 6 7 7 6 5
5 8 8 5
1 4 1 2 3 1 3 1 3 4 1 4 1 4 4 1 4 1 4 3 1 3 1 3 2 1 4 1

Second Position

3 5 7 9 12 15

8 10 11 11 10 8
8 10 10 8
7 8 9 9 8 7
7 10 10 7
 6 7 10 10 7 6
8 10 10 8
2 4 1 2 4 1 4 1 2 3 1 3 1 3 4 4 3 1 3 1 3 2 1 4 1 4 2 1 4 2

23
 Gary Hoey - The Need For Lead

Third Position

3 5 7 9 12 15

12 15 15 12
13 15 16 16 15 13
12 14 14 12
12 13 14 14 13 12
 12 15 15 12
12 15 15 12
1 4 1 4 1 1 3 1 3 1 3 4 1 4 4 1 4 3 1 3 1 3 1 1 4 1 4 1

24
 Gary HoeyLesson
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14 For Lead
Blues Riffs

Riff 1

5 8 5
5 8 8 5
5 7 8 8 7 5
 7 7

Riff 2
1 1/2  
8 10 11 12 12 12 11 10 8
10 10 10 8
9 8 7 5
 7

Riff 3
P

5
8 5 5
8 8 7 5
 7 5
7 6 5 3
5

25
 Gary HoeyLesson
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15 For Lead
Lead Techniques – Slides

In the following three examples slide from note to note without lifting your finger off the fretboard.
The “sl.” above the staff indicates a slide and the line between the notes shows the direction of
the slide (up or down the neck). You can perform slides using any finger, but you’ll probably use
first and third finger slides more often.

Example 1
sl. sl.  sl. sl. sl. 
5 8 5 17
5
5
 5 7

Example 2
sl. sl. sl. sl. sl.

17 15 12 10 8

14 12 12 9 9 7 7 5 5 2


Example 3
sl. sl. sl. sl. sl. sl. sl. sl. sl.

15 17 12 12 15 10 10 12 8 8 10 5

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 Gary HoeyLesson
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16 For Lead

Scales – Aeolian

The Aeolian mode is based on the sixth note of the major scale. In the key of “C”, this note is
A. It is important to know that the 6th note of the major scale is also the root note of the relative
minor, this means that the Aeolian Mode is the Natural Minor Scale.

= Root Note

First Position

3 5 7 9 12 15

5 7 8 8 7 5
5 6 8 8 6 5
4 5 7 7 5 4
5 7 7 5
 5 7 8 8 7 5
5 7 8 8 7 5
1 3 4 1 3 4 1 3 1 2 4 1 2 4 1 3 4 4 3 1 4 2 1 4 2 1 3 1 4 3 1 4 3 1

Second Position

3 5 7 9 12 15

10 12 13 13 12 10
10 12 13 13 12 10
8 9 12 12 9 8
8 9 12 12 9 8
 7 9 12 12 9 7
7 9 12 12 9 7
1 2 4 1 2 4 1 2 4 1 2 4 1 3 4 1 3 4 4 3 1 4 3 1 4 2 1 4 2 1 4 2 1 4 2 1

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 Gary HoeyLesson
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17 For Lead

Aeolian Riffs

Riff 1
H P H P sl. 
10 12 13 17
10 12 10 10 12 13
 9 10 9 9 10 12 12
 12 9 10 12 12

3 3

Riff 2
H P 
15 17 13 17 12 17 17 17
15 13 12 13 12
 14

3

Riff 3


12 13 15 17
10 12 13 12 13 15
 5 9 10 9 10 12
 3 5 7 5 7 8
5 7 9 5 9 10

3 5 7
6 6 6 6
6

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 Gary HoeyLesson
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Scales – Dorian

The Dorian scale is the mode made from the second note of the major scale. In the key of “G”,
this note is A. When we take the major scale and make the second tone the root, the scale se-
quence is whole, half, whole, whole, whole, half, whole. The Dorian mode has a minor tonality
and is a very important scale in rock, blues and jazz music.

= Root Note

First Position

3 5 7 9 12 15

5 7 8 8 7 5
5 7 8 8 7 5
4 5 7 7 5 4
4 5 7 7 5 4
 5 7 7 5
5 7 8 8 7 5
1 3 4 1 3 1 2 4 1 2 4 1 3 4 1 3 4 4 3 1 4 3 1 4 2 1 4 2 1 3 1 4 3 1

Second Position

3 5 7 9 12 15

12 14 15 15 14 12
12 13 15 15 13 12
11 12 14 14 12 11
10 12 14 14 12 10
 10 12 14 14 12 10
10 12 14 14 12 10
1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 3 4 4 3 1 4 2 1 4 2 1 4 2 1 4 2 1 4 2 1

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 Gary HoeyLesson
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Dorian Riffs

Riff 1
* * *
P P
1/2 
1/2

5 7 7 7 7 5 7 5
8 5 7 7 7 7 5 7 5
 7 5 4 5
 7

Riff 2
 sl.

5 7 8 7 5 5 7 8 7 5
8 7 5 7 8 8 7 5 7 8 10



Riff 3

8 7 5 7 5 5
8 8 7 8 7 5 8 7 5 7 5 5
 8 8 7 8 7 5
 7

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 Gary HoeyLesson
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Scales – Mixolydian

The Mixolydian scale is the mode made from the fifth note of the major scale. In the key of “D”
this note is A. This modern scale has the same series of whole and half-steps as the major scale,
except the seventh degree is a half-step lower. The Mixolydian mode has a major as well as a
dominant tonality due to the lowered seventh degree (b7).

= Root Note

First Position

3 5 7 9 12 15

5 7 9 9 7 5
5 7 8 8 7 5
4 6 7 7 6 4
4 5 7 7 5 4
 4 5 7 7 5 4
3 5 7 7 5 3
1 2 4 1 2 4 1 2 4 1 3 4 1 3 4 1 2 4 4 2 1 4 3 1 4 3 1 4 2 1 4 2 1 4 2 1

Second Position

3 5 7 9 12 15

12 14 15 15 14 12
12 14 15 15 14 12
11 12 14 14 12 11
11 12 14 14 12 11
 10 12 14 14 12 10
10 12 14 14 12 10
1 2 4 1 2 4 1 2 4 1 2 4 1 3 4 1 3 4 4 3 1 4 3 1 4 2 1 4 2 1 4 2 1 4 2 1

31
 Gary HoeyLesson
- The Need
21 For Lead

Mixolydian Riffs

Riff 1
sl. 1/2
1/2

12 14 14 14 12 14
13 14 13
11 14


Riff 2
sl. sl. sl.

5 7 7 8 7 5 7 10
6 6 7
 4 5 4
5 4 7

Riff 3
P P P P P P

17 12 15 12 17 12 15 12 17 12 15 12 15 14 12 15 14
14 14 14 14 14 12 14

For a deeper understanding of scales and modes, click here to

check out John McCarthy’s Modes Demystified” Rock House
program.

32
 Gary HoeyLesson
- The Need
22 For Lead

Fretboard Visualazation

Here is a drill to help you memorize the notes on the neck. On each string the note “C” is played
in two locations. Practice playing this with a metronome, also try doing all of the other notes with
on the neck.

Always 12 Frets Apart

3 5 7 9 12 15 17 19 21 24

8 20 8 20
1 13 1 13

£
5 17 5 17
10 22 10 22
3 15 3 15
8 20 8 20

To develop good musicianship, a trained ear and a strong musical

awareness, go to the Lesson Support site and check out the Ear
Click Trainer!
Here!

33
 Gary HoeyLesson
- The Need
23 For Lead

Rhythmic Phrasing
“Shifting Gears”
Quarter Notes  Eighth Notes sl. 
5



5 5 6 8 8 6 5
4 5 7 7 5 4 4 5 7 7 5 4 5
7 7 7 7

Sixteenth Notes 

5 7 8 7 5


5 6 8 8 6 5 6 5
4 5 7
7

Eighth Note Triplets 

12 10 8 10 8 8


12 12 10 12 10 8 10

3 3 3 3

Sixteenth Note Triplets

 Quarter Note Triplets

5 7 8 7 8 10 8 1012 101213 12


5 6 8 6 8 10 8 1012 101213 10 8 6 5
7 5 7

6 6 6 6 3 3

Quarter Notes

   
Quarter Note Triplets


 

1 2 3 4

Eighth Notes


Eighth Note Triplets


   

1 & 2 & 3 & 4 &

Sixteenth Notes Sixteenth Note Triplets

 
! ! ! !

1 e &a 2 e &a 3 e &a 4 e &a

34
 Gary HoeyLesson
- The Need
24 For Lead

Syncopated 16ths

Example 1




0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 e & a 2 e & a 3 e & a 4 e & a 1 e &a

Example 2

 


0 0 0 0 0 0 0 0 0 0 0 0

1 e & a 2 e & a 3 e & a 4 e & a 1 &a

Example 3

 


0 0 0 0 0 0 0 0 0 0 0 0

1 e & a 2 e & a 3 e & a 4 e & a 1 e &

Example 4


     3

0 0 0 0 0 0 0 0 0 0 0 0

1 e & a 2 e & a 3 e & a 4 e & a 1 e &a

Example 5

 


0 0 0 0 0 0 0 0 0 0 0 0

1 e & a 2 e & a 3 e & a 4 e & a 1 e a

35
 Gary HoeyLesson
- The Need
25 For Lead

Melodic Phrasing

Chords
Dm Am Bb Gm
5 5 6 3
6 5 6 3
7 5 7 3
7 7 8 5
 5 7 8 5
5 6 3

Root Target

 
 
let ring
  P

5 5 6 6 6 5

 7  7
5 6 8 5 6 8 8
 
6 5
7


Third Target


let ring
 P  
 5 6

 6 6 5  6 5  5 6 8
7 5 7 5 7


Fifth Target
 

let ring

let ring
 H P H 

5 5  
8 6 5 5 5 8 6 5 6 5
 5 7


36
 Gary HoeyLesson
- The Need
26 For Lead

Intervals

An interval is the distance between two notes. Intervals are always counted from the lower note
to the higher one, with the lower note being counted as one. Intervals come in different qualities
and size. If the notes are sounded successively, it is a melodic interval. If sounded simultane-
ously, then it is a harmonic interval.
G5 C5 F5 Bb5 D5 G4th C4th F4th Bb4th D4th
5 3
6 3 4 3

£
5 3 3 3
5 3 3 3
5 3 3 3
3 3

GMaj3rd CMaj3rd FMaj3rd BbMaj3rd DMaj3rd Gm3rd Cm3rd Fm3rd Bbm3rd Dm3rd
2 1
3 3 2 3

£
2 3 1 3
2 3 1 3
2 3 1 3
3 3

There are two main types of intervals. They are the major and perfect intervals. The major in-
tervals are the 2,3,6 and 7. The perfect intervals are the Root, 4, 5 and Unison. From these two
main types of intervals we have three types of altered intervals. They are minor, augmented and
diminished intervals. Here is how we get these altered types of intervals:

When a major interval is raised by a half step, it becomes augmented.

When a major interval is lowered by a half step, it becomes minor.
When a major interval is lowered by two half steps, it becomes diminished.

When a minor interval is raised by a half step, it becomes major.

When a minor interval is raised by two half steps, it becomes augmented.
When a minor interval is lowered by a half step, it becomes diminished.

When a perfect interval is raised by a half step, it becomes augmented.

When a perfect interval is lowered by a half step, it becomes diminished.

Now that you’ve learned the scales, modes chords and inter-
vals in this program, head to the support site and check out
t the Guitar Professor!
Click Here!

37
 Gary HoeyLesson
- The Need
27 For Lead

Blues String Skipping Intervals

3 5 7 9 12 15 17

= A Major Chord

A Let ring throughout

5 5 7 9 10 12 14 12 14 16
5


6 6 7 9 11 12 14 13 14 16
7
7
5

38
 Gary HoeyLesson
- The Need
28 For Lead

Bag of Tricks

The following five examples are some of Gary’s favorite riffs. All of these licks are played using
the first position A minor pentatonic we learned earlier. Notice that each lick has a fretboard dia-
gram to the left of the tab so you can clearly see where the licks are coming from within the scale
pattern. Try transposing these licks to all different keys.

Example 1
P P
full full

5 5
5 8 5 5 8 5
7 7

3 5 7 9
       

Example 2
full full

5 5
8 5 8 5


3 3 3 5 7 9
     

Example 3
P P
full full

5 8 5 5 8 5
7 7

3 5 7 9
     

39
 Gary Hoey - The Need For Lead

Example 4
P P

5 5


5 8 5 8

3 5 7 9
   
3 3

Example 5
P P

8 5 8 5
5 5


3 5 7 9
3 3
   

40
 Gary HoeyLesson
- The Need
29 For Lead

Complete Lead
“Peace Pipe”
  
 
P.M. P.M. P.M.
H sl. H P sl. sl.

2 4 4 5 2 4 2 2 2 2 2 2 2 2 2 2
5 2 5 7 5 5 5 2 5 2 5 2
6 6 4 2 4 2
4 2 4


 
  
P.M. P.M.
full

2 2 2 2 2 2 5 7 5 5 5 5 7 7 5 7 5
5 2 5 2 7 7 5 7 7 7

full
P
full
P
full
P
full

2 5 2
5 5 2 5 5 2 5 2 5 2 2
4 4 2
4


H P Hold bend  P 

4x full full

12
9 10 9 9 9 10 12 12 12 12 15 14
 11 9 11  16 14 14
16 14 16


P sl. sl. sl.  H   H

17 17 19
17 17 19
14 16 16 18
14 14 14 16
 14 16 16 14 12 12 12 14 16
14 12 14

41
 Gary Hoey - The Need For Lead

H full  H sl.  full

 P
full
P

17 19 19 17 14 14
17 19 17 17 19 17 17 15 14 17 17 14 17 14
16


 P P P P P H P P P 
full

14 17 14 14
17 17 14 17 17 14 17 14 14
16 16 14 16 14 16 14 16
16 14 16


Lesson 30

Gary’s Finger Workout

Example 1
0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5




7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 11 11 11 11 11 11 11 11 12 12 12 12 12 12 12 12

42
 Gary Hoey - The Need For Lead

Example 2
sl. sl. sl. sl. sl. sl. sl.

1 2 3 4 4 5 4 3 2 2 3 4 5 6 6 7 6 5 4 4 5 6 7 8 8 9 8 7 6 6 7 8 9 10 10 11 10 9 8




Example 3
10 12 13
10 12 13 10 12 13
9 10 12 9 10 12 9 10 12
 8 10 12
9 10 12
8 10 12
9 10 12 9 10 12

8 10 12
6 6 6 6 6
6

Example 4
7 8 10
6 8 10 6 8 10
5 7 9 5 7 9
 5 7 8 5 7 8
5 7 9 5 7 9

5 7 8
6 6 6 6
6

43
 Gary HoeyLesson
- The Need
31 For Lead

Pivoting Riffs
Riff1
15 12 15 15 12 15 15 12 15 15 12 15
13 12
 14 12


Riff 2
5 7 8 7 7 8 10 8
5 5 5 5 6 6 6 6



Riff 3
12 12 12 12 12 12 12 12
15 13 15 13
16 14 16 14


10 10 10 10 10 10 10
13 12 13 12
14 12 14 12


44
 Gary Hoey - The Need For Lead

The Rock House Catalog

To learn about all Rock House products check out our online catalog at
RockHouseMethod.com!
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41