Pentatonic licks are a key characteristic of authentic-sounding blues. like the classic open-position runs in FIGURES 5A–B, occurring in the. The only thing that separates many classic rock phrases from their closely related blues cousins is the amount of gain and dynamic attack. And all those famous blues, rock, metal guitar players had one thing in common. They used repetitive guitar licks. Repetitive licks create a.


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While it's a great idea to move these classic blues licks through a complete scale in its entire range, you may find it more effective to use just a short fragment of each pattern.


Sequential Descending Once again, here's the mirror-image ascending version of the previous pattern. It works because all of these chords can be found within the harmonised A minor classic blues licks, on degrees I Amflattened 7th Gand flattened 6th F.


The pentatonic scale works great when played in double-stops, as this phrase demonstrates. Needless to say, you should get to work with ideas of this nature throughout all of the remaining positions. Double-Stop Image 30 of 51 Here we're using classic blues licks 5th degree E as a pivot, ascending through various degrees of A minor scale but always returning to the E classic blues licks after each new note.


Scalar Image 31 of 51 Most players have 'standard' devices that they often use when creating solos. These go some way to establishing the personal identity or signature sound of the artist.

This idea comes from Tony Iommi, and can be found all over the place in his soloing. Horizontal Image 32 of 51 This bending idea demonstrates that the rhythm of a phrase is classic blues licks important as the note selection.

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Rock requires conviction, so be bold and play with authority. Phrasing Image 33 of 51 The trick to this finger twister is to bend the first classic blues licks at the 15th fret and allow your finger to push the second string at the same time, without sounding it. Once the bend is up to pitch, shift the weight of this finger try classic blues licks third over to the second string, which should be already bent up a tone.

Sound this classic blues licks and then return the string to its unbent pitch. Jimi Hendrix and Joe Walsh have used this idea. Bends Image 34 of 51 We're taking the liberty of exploiting open strings with this example, so the idea is not easily transposable.

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Restrictions aside, it's still a useful and musically effective pull-off lick that will put your fretting-hand stamina and accuracy to the test. Aim for as much classic blues licks as possible and remember that the best way to make sustainable progress is to increase speed a little bit at classic blues licks time.

Repetition Image 35 of 51 Again, we're making great use of all the tone gaps present within the pentatonic scale, although in the second bar we're upping the ante with a minor 3rd slide. Streams of 16th notes can be exciting to listen to, but your timing precision is crucial.

Don't be afraid to start slow and I mean SLOW and build up speed gradually when everything is under complete control.

Slides Image 36 of classic blues licks This idea utilises an ascending intervallic pattern that shifts through the minor pentatonic scale from each degree in a descending direction.

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We're also rhythmically displacing four-against-three, and these two factors combine to produce classic blues licks jaunty, jagged and rhythmically propulsive musical phrase.

Take time to consolidate your picking though - no slides or legato to hide behind here! Sequential Descending Image classic blues licks of 51 Back to our sequences of three, this time the direction has been switched around so that each three-note group descends, but then the entire 'cell' ascends through each scale degree.

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