299 INSANE GUITAR LICKS
11 CHAPTERS 11 SCALES 20 TECHNIQUES TO CHALLENGE YOUR PLAYING
Matias Rengel
299 INSANE GUITAR LICKS
Matias Rengel
ACKNOWLEDGEMENTS I would like to thank the following people for making this book possible: — —
I would also like to thank: — — —
!
© 2015 Matias Rengel All Rights Reserved.
All rights reserved. No part of this publication may be reproduced in any form, stored in a retrieval system,
ISBN 978-1-5076-0464-9 Original copy published in 2010 Re-published in 2015 CreateSpace.
CONTENTS
Major Licks
Minor Licks
12
Alternate Picking
48
Alternate Picking
15
Legato
50
Legato
17
Tapping
51
Tapping
19
Slide
53
Slide
21
Sweep Picking
54
Sweep Picking
22
Bend
56
Bend
24
Hybrid Picking
57
Hybrid Picking
26
Combined
58
Combined
Minor Licks
Penta-Mixo Licks
32
Alternate Picking
63
Alternate Picking
34
Legato
64
Legato
35
Tapping
64
Tapping
37
Slide
65
Slide
39
Sweep Picking
66
Sweep Picking
40
Bend
66
Bend
42
Hybrid Picking
67
Hybrid Picking
44
Combined
68
Combined
Harmonic Minor
Mixolydian Licks
71
Alternate Picking
94
Alternate Picking
72
Legato
95
Legato
74
Tapping
96
Tapping
75
Slide
97
Slide
76
Sweep Picking
97
Sweep Picking
77
Bend
98
Bend
78
Hybrid Picking
99
Hybrid Picking
78
Combined
99
Combined
Lydian Licks
Dorian Licks
82
Alternate Picking
104
Alternate Picking
83
Legato
105
Legato
85
Tapping
106
Tapping
86
Slide
107
Slide
87
Sweep Picking
108
Sweep Picking
88
Bend
109
Bend
89
Hybrid Picking
110
Hybrid Picking
90
Combined
110
Combined
Locrian Licks
Phrygian Licks
114
Alternate Picking
130
Alternate Picking
114
Legato
129
Legato
115
Tapping
129
Tapping
116
Slide
130
Slide
116
Sweep Picking
130
Sweep Picking
117
Bend
131
Bend
118
Hybrid Picking
132
Hybrid Picking
118
Combined
132
Combined
Lydian b7 Licks
121
Alternate Picking
121
Legato
122
Tapping
123
Slide
124
Sweep Picking
124
Bend
125
Hybrid Picking
125
Combined
PREFACE One of the things guitar players love the most is jamming. Jamming is a way of freeing your imagination; you just grab your guitar and play whatever you feel like. My experience as a teacher showed me that most students want to free their imagination and be able to improvise over any chord progression, but don’t know
usually forget about listening to a great solo and trying to play it just like the original recording; they don’t do it. Many musicians fall into this wrong idea of “I don’t want to copy someone else’s ideas”. Imitation is as important as knowing how to play the right scales over chords. Imitation doesn’t make you a cheater or less original; it helps you grow musically. Imitation, combined with other concepts such as harmony, improvisamaster the art of improvisation. I usually teach basic jazz harmony to all my students. Many of them contact me and tell me “I want to be able to improvise over any chord progression”; and so I teach them about harmony, improvisation concepts, stand what you want to do. For this book, I have composed 299 original guitar licks.
HOW TO USE THE BOOK — Major Licks — Blues Licks — Minor Licks — Penta-Mixo Licks — Harmonic Minor — Lydian Licks — Mixolydian Lick — Dorian Licks — Locrian Licks — Lydian b7 Licks — Phrygian Licks Each chapter comes with a jam track. It is very easy; choose a lick and play it over the chapter’s jam track. You -
Licks for Everyone
Symbols - Page 7
NOTATION SYMBOLS f
NOTATION SYMBOLS Hammer-On: The letter "H" and a curved line Hammer-On:
indicates a hammer-on. The first note is picked, while the rest of the notes (inside the curved line) are played by bringing the left-hand fingers down (hard), without using the pick. In the example, 3 is picked, while 5 is hammered-on; 0 is picked but 2 is hammered-on; 0 is picked while 3rd and 5th are hammered-on.
Pull-Off: The letter "P" and a curved line indicates a
pull-off. The first note is picked, while the rest of the notes (inside the curved line) are played by pulling the finger off the fret, downward direction. In the example, you pick 5, position other finger in 3 and pull-off from 5 to 3 and then from 3 to 0. Then pick 2 and pull-off to 0. Finally, pick 5, position some finger in 3 and pull-off.
Legato Slide: The letter "sl.", a curved line and a Legato Slide:
slope line between fret numbers means legato slide. You pick the first note and then slide to the next fret, without picking it. In the example, you pick fret 2 and slide up to 4, without picking it. Then pick fret 5 and slide down to 3 and up 5, never picking the notes.
Downward Slide: a slope line going down means Downward Slide: downward slide. You pick the note and then slide the finger down to create a kind of a fade effect. In the example, 4 and 2 are picked normally, and then 5 is picked and taken rapidly down, without taking the pressure off the frets. Left-Hand Tapping: a curved line before a note
means left-hand tapping. Without using the pick, take a left-hand finger down (hard and fast) to a fret. In the example, take a finger and bring it down hard and fast to the 5th fret; do the same thing with the rest of the notes.
Right-Hand Tapping: a "T" above tablature and a
"+" above staff means right-hand tapping. For this technique, take a right-hand finger and bring it down, hard and fast, to a note. In the example, take a righthand finger and bring it down to fret 12, position a lefthand finger in fret 5 and pull-off tapping finger (up direction). Do the same thing for fret 13 and 7.
Tapping w/Fingers: If no finger is specified above
the staff, then you must use 1 finger for all tapping. But if finger letters appear above "+", then it means you must use certain fingers for tapping. In the example, 10 is played using "m", the middle finger; while 12 is played using "a", the annular finger.
Legato Tapping: The letter "T" above tablature, the
"+" above the staff, a curved line and a letter "H" or "P", all together, means tapping & legato. In the example, you must tap fret 12 with finger "m", fret 14 with finger "a", then bring down a left-hand finger to fret 5 and pull-off the tapping from fret 14 to 5. Then tap 12, 14 and 12 with right hand and pull-off to 7.
Slide Tapping: "sl." above tablature, legato slide
symbol between numbers, a "T" above tablature and "+" above staff, all together, means slide tapping. In the example, the player must tap fret 13 and slide up to 14 and down to 13; bring down a left-hand finger to fret 7 and then pull off the tapping finger. Tap fret 14 using right hand, slide down to 13 and pull-off to 7.
Bend: aBend: curved arrow next to a number, and a "full" or "1/2" above means bending. A curved arrow going down, this means "release". The player picks the note and can bend it 2 steps (full), 1 step (1/2) or more if specified. In the example, you bend 6 so that it sounds as fret 8, mute it and then pick 3 and 3. Right after, bend and release 5. Then bend 6, mute it and pick 6.
own and yer have to the have to d fret 8, nd pull-
Bend and Pull-Off: a curved arrow going down and a curved line means bend and pull-off. The player have to release the tension and rapidly pull-off to the indicated fret number. In the example, you have to bend 7, release it and pull it off to 5; then bend fret 8, d staff is release it, and pull-off to 5. The result is bend and pullote and, off. e string go slow, In the bend it Vibrato: a wavy line above the tablature and staff is Vibrato: vibrato. The player has to play the indicated note and, without taking off the pressure, barely bend the string up and down many times. The vibrato could go slow, its size, medium or fast depending on the context. In the otes are example, you must pick fret 4 and immediately bend it on beat up and down (slight bending). dy must n 7; but a very Grace Note: it can be distinguished by its size, Grace Note: smaller than regular notes. In this book grace notes are used as acciaccatura, short-time notes played on beat before a target note. In the example, the melody must while sound as if you were playing fret 9 and then 7; but ed with actually playing a very short 7 before 9, and a very pick,short 6 9 before 7. a down ature. Picking Symbols: a " " means pick down, while
" " means pick down. In the example, 2 is played with a down pick, 5 with a down pick, 4 with an up pick, 6 with a down pick, 3 with an up pick and 5 with a down e easily pick. The symbols are usually placed bellow tablature. ve staff, tapping otes are
Hybrid Picking: hybrid picking can be easily
recognized. A right-hand finger is placed above staff, and there is usually no picking symbol nor tapping symbol, just the right-hand finger. These notes are usually picked with the finger specified.
Palm Mute: a P.M. above tablature, or a P.M.
Mute:is referred as palm mute. The player followedPalm by -----| has to place the right side of the right hand, very close to the bridge, so that there is kind of a mute sound when playing. In the example fret 2, 4 and 4 are played as palm mute, the next 2 is play normally and finally the 5 is played with palm mute.
Finger Numbers: left-hand finger numbers are
placed above the staff. In the example, 2nd finger is placed on fret 3, 4th finger on fret 5, 3rd finger on fret 4, 1st finger on fret 2 and for 0 no finger is placed.
Pre-Bend: a vertical arrow means pre-bend. The Pre-Bend:
player has to bend a note, and then keep picking the note without releasing the bend. The player could also bend without picking it and just play the pre-bend. In the example, you must bend fret 12, and without releasing it, pick the 12th fret three times.
Tapping Pre-Bend: a vertical arrow and a "T" letter above the arrow means tapping pre-bend. The player has to bend a note, and without releasing it, tap the indicated note. In the example, you must bend fret 12, and without releasing it, tap fret 15, once again bend 12 and tap 15 without releasing the bend.
Tied Note: when a curved line appears on staff but in
tablature there is nothing, it means there is a tied note. Also if a curved line appears on staff and a parentheses on tablature, it means there is a tied note. Tied notes must not be played, they are just written to extend the duration of a note. In the example, you pick 2, and once again 2, the pick 4 and 5. The (4) is not played.
To use any of the 46 licks with other jam tracks, transcribe them as follows:
The structure of the Major Scale is: ■W -W - h -W -W -W - h The backing track from this chapter uses the C Major Scale: ■C-D-E-F-G-A-B
■ Dorian: 4 frets up or 8 down ■ Phrygian: 5 frets up or 7 down ■ Lydian: 3 frets up or 9 down ■ Mixolydian: 4 frets up or 8 down ■ Aeolian: Play the licks as written ■ Locrian: 2 frets up or 10 down
C Major Scale Diagrams
8
10
15
15
8
8
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Chapter 2 - Page 32
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Chapter 4 - Page 68
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Chapter 5 - Page 80
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Chapter 8 - Page 108
Licks for Everyone
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Chapter 11 - Page 130
ABOUT THE AUTHOR
M
atias Rengel is a graduate of Berklee College of Music, where he majored in Music Production and Engineering. He has been playing guitar since 1999. At Berklee, he studied with some of the best teachers around the world, including Tim Miller, Norman Zocher, Jim Kelly, David Fiuczynski and Andrew Maness. He was also part of the Berklee Singers Showcase which features some of the most talented musicians in school. His recordings and productions were among the best, having one of them selected for the annual MP&E showcase. As an entrepreneur, Matias co-founded ExpressDrummer.com – a collection of tion Guide”, a book that helps Berklee applicants prepare for their audition.
which will be released in 2015.
