Who says only the Strat guys can get funky? Riffs played on acoustic can actually get a little more snap, crackle, and pop than you usually hear played on an electric. This particular phrase, built in the style of Dave Matthews, sets up a percussive progression that works great as the foundation of a chorus or as a loop to jam over.
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At some point your’re gonna wanna run up a scale with guns a blazin’ and end the assualt with a screaming bend for good measure. When doing so, it’s even better when the run towards the ending bend is based on a numeric sequence such as the one that resides in this next lick based out of D Aeolian. Starting out with some pummeling palm-muted picking, this lick delivers the raw power and climatic anticipation to do the job right.
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Some of the signature licks in modern country songs strike the listeners ear because of the simplicity and the repetition of notes. The trick here is in the picking. I get a lot of the tone from the accents in the picking hand. Again, check out Alan Jackson songs featuring Brent Mason.
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This lick is a simple pattern using 4ths and ending with a cool blues riff straight from the George Benson bag of licks. This lick should also be played with octaves in the style of Wes Montgomery. You can try using rhythmic variation meaning play the same notes using a different rhythm. This is also a cool melodic lick that can be the springboard to a great solo or solo break so try combining it with the other minor vamp licks. Get more videos, notation and tab for this guitar lesson on TrueFire TV (www.truefireTV.com).
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There is no doubt the legacy of the great Jimi Hendrix will live on through every guitarist’s fingers. From his fuzz-laced blues licks of doom to his sonic experimentations and so much more, the guy wrote the book on how to be a rock God. This licks explores the lighter side of the master ala “Wind Cries Mary” with it’s chordal snippets, grace note hammer-ons, and fragmented sus chord offereings. Play on, Jimi.
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This is a great acoustic fill that you can throw in at a turnaround, at the end of a tune, or any time you want to make your guitar-playing friends weep in envy. A sweet little upper-string slide on 6ths comes in for a gentle landing over an Esus arpeggios, and tails off with sliding doublestops on mid strings.
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When you hear the word “blues” and think major, you’re really thinking Mixolydian. The b7 that separates Mixo from major is what gives all forms of blues it’s raw toughness! While everyone who’s ever slung a Les Paul to the floor and cranked a Marshall has ridden the Mixolydian express, a great player to start looking for lick ideas with this sound is southern blues’s living legend, Dickie Betts. Making full use of the intervallic sugar and spice between the 3rd and b7, you Betts this lick hits hard.
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Here’s an example of how to create a musical phrase using the major scale. Note the melodic sequences. A performance consideration concerns your picking hand. Be certain to use strict alternate picking. Knowing the notes is only part of the game. Its most important to get the proper feel of a particular style. This is where listening to other players is irreplaceable.
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This is a must for any student of the jazz guitar. Notice the chromaticism used in the first bar and in the 3rd bar. Again, this is a Charlie Christian style run using the 6th and the chromtic lead in the 1st and 3rd bars.
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A great way to light up a solo is with a fiery legato run like this one. Applying a light touch and a few pick attakcs for good measure, you too can whiz your way through three note-per-string patterns like legato legends Allan Holdsworth and Joe Satriani. This four-bar tour-de-force is derived from the C and Ab Lydian scales and is inspired by Satch’s stellar soloing in the title track from his “Flying in a Blue Dream” CD.
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