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Since the above exercises are in A minor, they should all sound pretty good over progressions in the keys of Am, Dm, or Em. Use all of those dynamics (palm muting, harmonics, slides, legato, etc.) available to you to infuse the phrases with your voice and personality. While all of these licks are fairly simple to play and easy to master, the challenge is to make them sound unique.
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This is more of a “voicing” lick, in that you don’t need (or even want) to crank it up to too high of a speed dynamics such as bends and slides really don’t sound all that great at Mach 1:
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wav files to hear the phrasing and nuances. The second bar features some easy bending, before moving up to the 2nd box for another bend (but this time no release) with a nice chromatic passing tone (the C#, E’ string 9th fret), before ending on the high root note A (B string, 10th fret), by sliding into it from the G note (8th fret) below.Ĭheck it out, and listen to the. The first bar of the phrase will just take you through the first octave of the scale, with a little back-and-forth phrasing. So we’re going to throw that blue note in the mix with this last lick. See where Box #1 and Box #2 border each other and overlap.
#GUITAR PRO 5 KEY SUGGESTIONS FULL#
Take a close look at the above diagram there are only six notes in the scale, repeated throughout two full octaves: A-C-D-Eb-E-G. Here’s the blues scale as it lays along the first two boxes of the A minor pentatonic sequence: The blues scale is the pentatonic scale, with a flatted fifth (the tritone or “blue note”) thrown in.
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The fifth lick involves the use of the blues scale. Everyone has something to say, what’s on your mind? The idea is to build a nice arsenal of these “stock” licks and take a piece here and there to combine and sequence into a great solo. It’s a huge element of developing your own phrasing as a lead player.Īll of these examples are shown as just simple repetitions, because that’s the easiest way to get it under your fingers. Zeppelin fans will probably note its similarity to the final phrase Jimmy Page plays in the middle (main) Rock and Roll solo:ĭon’t be afraid of the triplet-16th/eighth note phrasing once you get it down you’ll appreciate the polyrhythmic quality. This next lick is a fun and easy one, that will work out both your legato and picking chops. You can also play it in reverse, or with a different section of the box, or any of the other four boxes, or transpose it to another key. In the above example, you can use palm muting to get a percussive “chunk” sound, you can add artificial harmonics for a nice “squeal” effect here and there, you can make some or all of it into a legato phrase, whatever. Let’s move to the middle two strings of the box, and try a nice four-on-the-floor alternate picking lick:Īgain, while these are simple phrases, your advantage is that you’re a guitar player, so there’s all sorts of cool dynamics you can incorporate into even the simplest four-note phrase. Definitely use a metronome and follow the picking suggestions until you get these licks internalized, then you can start putting more distinctive dynamics into it, and make them yours. No doubt you’ve heard similar phrases used in countless rock, metal, country, and blues lead playing. The next one uses a hammer-on instead of a pull-off: Each tab is accompanied by a .wav file, at two speeds (92 beats per minute and 160bpm), so you can hear how it should sound.įor many two-string legato exercises using box shapes, it helps to use your index finger as anchor, similar to barring a chord, but just for the two or three strings you might be using for the lick. Let’s take a look at five powerful “stock” phrases, all based around the standard A minor pentatonic box. Many classic rock solos tend to be built up from various combinations and sequences of easy-to-play pentatonic licks.