lookin for licks

[Ethan]

I am hoping for expert advice on some new licks. anyone got any to share?

[zorrow]

Licks? Well, I find creating new ones or modifying existing ones quite amusing. I am sure you can do the same. Just listen to any kind of music around, and then translate some phrases to the guitar and the kind of music you play --I mean, shape these phrases to your own style, adorn them your way and spice-them up using you own idioms.

If you are into rock or metal, I'd recommend you to get the "99 Secret Lead Guitar Phrases" DVD by Marty Friedman (http://martyfriedmandvd.com/). Its title is cheesy, because there's actually no secret; but it will hopefully motivate you to explore new avenues or new ways of constructing your phrases.

I also found "Intellishred" by Kevin Dillard (one of us here at the HFC, as you probably know) very inspiring. Ok, there's nothing groundbreaking in that book, because you might already know all the modes, scales, arpeggios and all that stuff; but the majority of the examples he gives there have a lot of melodic sense. They did inspire me; so I'd recommend that book to anyone looking for a no-nonsense shred-friendly workout. --follow this link to know more: https://www.guitarworkshop.com/store/produc...p?productid=339

[harry65]

I am hoping for expert advice on some new licks. anyone got any to share?

i got tons, what style you wanna play????????????

[Ethan]

i'm into learning country and jazz right now but i'll take whatever! i'll post one on here to share later when i have a guitar in hand

[Feynman]

Oh geez, are we supposed to know more than one?

[zorrow]

Oh geez, are we supposed to know more than one?

There are zillions of licks, man! You can actually go in any direction (forward or backwards or spin or go sideways); you can also push harder or softer, tickle, do quick little snaps or use longer licks... I mean, possibilities are almost infinite... and you better learn as many as you can!

[harry65]

okay , here's one i use all the time and in any genre , the great thing is it can be used over minor or major chords , you'll see...........

first example is over an A minor vamp

-------------------7-10-9-8-7---------------------------------------------------------------------------------------

----------------8---------------8-----------------------------------------------------------------------------------

-------------9---------------------9------------------------------------------------------------------------------

-----7-10---------------------------10-7------------------------------------------------------------------------------

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now try the same thing over a C major vamp , works equally well but a different sound , also will work over a D minor vamp or F major vamp, experiment and find what tensions and chord tones get ya off..............

here's a new one i just worked out that works well over an A major country vamp , careful as it changes slightly descending(which is my fave part, gives it a cool outside feel)......................

----------------------5-7-8-7-5------------------------------------------------------------------------------------------

-----------------5-7-------------6-5---------------------------------------------------------------------------------------

------------5-6----------------------6-5----------------------------------------------------------------------------------

-------4-7-------------------------------7-4-7----------------------------------------------------------------------------

-------------------------------------------------------------------------------------------------------------------....

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experiment and have fun dude.....................................

[Ethan]

thanks! i like that first one, real charlie christian-esque. here is my contribution:

----------------------------------------------------------0----

---------0-----------------------------------------------0-----

-----2/3----3-2-0---------------------------------------1-----

---------------------2-0--------0------------------------2----

----------------------------1/2----2-1-0----------------------

---------------------------------------------3^b -0-----------

It's a country style lick in E i think (I don't have a lot of theory knowledge). The notes I marked with an asterisk above the staff are notes I usually pluck with my middle finger, kinda like chicken pickin. Play it real quick like bluegrass. Keep 'em coming!

edit: well i tried three times, and the asterisk thing didn't work. just pick the open string notes (b, d) after the ascending slides with your middle finger like i was saying

[zorrow]

Ok, here's a simple one I use quite often:

 
		   ___
---------4-7-8-5---5-----------------------------------
-----4-7---------8-------------------------------------
-------------------------------------------------------
-------------------------------------------------------
-------------------------------------------------------
-------------------------------------------------------

It works over a Gm vamp, and the idea is actually coming from the outside to add tension, and then releasing to the root. Of course, it can be transposed to any key. Combine it with your preferred pentatonic-based runs and it will spice-up your leads. You can also experiment with this idea of moving a known "block" outside its "normal" place, one fret up or down, and then getting back "in vein" right after.

BTW, I need help with the notation. I wanted to share some licks here, but I realize I use a lot of slides, legato and bends, and I have no idea how to notate them using these character-based tabs. In the example above I slide my pinky from 7 to 8, but now I look at the way I wrote it, it looks more like a legato from 7 to 8, which it is NOT.

[Ethan]

i use the slashes for slide, like 2/3 or 5\1 etc. but who knows! maybe someone reading the technique different will make them play it in their unique way. tahnks for joining in!

[zorrow]

i use the slashes for slide, like 2/3 or 5\1 etc. but who knows! maybe someone reading the technique different will make them play it in their unique way. tahnks for joining in!

Ok, slashes for sliding... So, parenthesis for bends, right? Like in 5 (7) --right? And legato, we'll just mention it... Well, I guess I'm ready to post here some other licks later.

[Guest JackButler]

I also found "Intellishred" by Kevin Dillard (one of us here at the HFC, as you probably know) very inspiring. Ok, there's nothing groundbreaking in that book, because you might already know all the modes, scales, arpeggios and all that stuff; but the majority of the examples he gives there have a lot of melodic sense. They did inspire me; so I'd recommend that book to anyone looking for a no-nonsense shred-friendly workout. --follow this link to know more: https://www.guitarworkshop.com/store/produc...p?productid=339

Zorrow, THANKS!

[zorrow]

Hey Kevin!

It's nothing, man. The book does deserve to be praised, so don't worry. I think you did a great job.

I don't have the discipline to get through the book in a "regimented" way, but quite often I open a topic and play your stuff, and always find the ideas very useful and inspiring.

For example, last time I went through the section where you talk about the add9 and add11 arpeggios. I played your examples, and then started using alternate fingerings until I found a pattern I can easily repeat all along the fretboard. Those shapes I "discovered" from your examples are now ingrained in my own playing and I use them to spice-up my phrasing. Cool stuff!

Also, at the beginning you play all these different chromatic combinations, kind of "finger twisters" to develop finger independency. Well, I "created" some "chromatic chunks" inspired by your advices, and then I repeat them in octaves, up and down the fretboard. They do sound a tad weird sometimes, but by playing them with attitude and also resolving to the "right" notes, I get some interesting tension-and-release phrases.

I also expanded the same idea of your chromatic finger twisters and combinations to wider patterns, such as the patterns found in two-adjacent strings in pentatonic and blues scale boxes. By using different combinations of two, three and even four notes per string, I can come with some quite interesting ideas.

In few words, you book stimulates me to open my mind and push the borders. So, it's me who thank YOU for that, and I hope the second part will be published soon.

Cheers!

PS: Now I am at job, but later I am going to post here some of the examples I mention above.

[Brooks]

heres a different way to play simple triad arpeggios using string skipping.

bold notes are picked, all others are hammer ons/pull offs.

after a little practice its easy to play really fast;

Cmaj

------8-12-8----------8-12-8-----------8-12-8--------

--------------------------------------------------------------------------------------------

9-12---------12-9-12---------12-9-12

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----------------------------------------------------------------

----------------------------------------------------------------

lower the 3rd for Cmin

------8-11-8--------8-11-8-----------

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8-12---------12-8-12---------

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