Top 10 Tips To Get The Most Out Of Your Guitar Licks Part 2
Written by Steven Martin (Steven Martin Guitar)
I hope you enjoyed part one of this series which can be found here. This is the second part and the final 5 licks; enjoy!
Develop the lick - This can involve adding notes or removing notes. There are loads of ways of adding notes ('melodic ornamentation', if you prefer). Chromatic passing tones can be added between scale notes as melodic 'filler'. This is common in Jazz or Fusion where you'd play 'strong' notes on the beats with the added chromatic notes in between. Any notes (not just chromatic) can be used to 'fill gaps', including wider intervals to create a melodic jump.
You can also displace or develop the rhythm, increasing the rhythmic density and building momentum. Or try altering the articulation of a lick by sliding into or out of certain notes; adding bends or vibrato; playing staccato or legato; adding or changing accents.
Melodic Superimposition - This technique can be difficult to master because it requires either a knowledge of theory or a great ear. The basic concept is to take a lick that was orginally played over one chord and play it over a different chord. This means that all the notes in the lick have different functions and relationships to the chord. For example...
Your lick uses the notes C B G D E over a C major chord. This means we're using the root, major 7th, 5th, 2nd and major 3rd.
Now we'll play the same notes over an E minor chord. How do they relate to the new chord? The C is now the minor 6th, which is a whole different sound from the root! And then we have the 5th, minor 3rd, minor 7th and root; a completely different set of sounds. The best way to see how these types of devices work is to try them out for yourself and see how you get on!
Swing vs Straight - This can also be a fun way to excite old licks. Using both straight and swing rhythm with your licks will really help you to learn them and also give you a few more ways of using them. Also trying playing straight licks over a swing backing and swing licks over a straight backing for some cool variations.
Change the speed of the lick - This doesn't mean changing the tempo (like 120 bpm to 130 bpm). What we mean is moving up or down through 'rhythmic subdivisions'. If your lick is made up of 8th notes, play it as 16th notes or quarter notes. Or if it starts with one 8th note and two 16th notes, change that to one 16th and two 32nd notes... and so on. The idea is that sometimes there are great melodies hidden within blisteringly fast shred lines that you'd normally miss. Conversely some of the best melodies make very interesting shred lines when sped right up!
Use the licks in a new genre - Who says you can't use your best country licks in a metal song? Or your best jazz licks in a pop tune? Sometimes taking things out of context and viewing them in a new light can change your perceptions and get more from your music!
So that's the last 5 of the top 10 tips for getting the most out of a single lick! Why not try it with one of the Jam Track Central '20 Licks' packs? Pick any lick and really experiment with all the tips in this article... I GUARANTEE you will get so much more out of the licks. You'll also develop your own creativity, find fresh inspiration, expand your fretboard knowledge and improve your improvisation!
If you enjoyed this article, please do share it on Facebook and Twitter to let all your friends know how to get the most out of their licks!
Written by Steven Martin. You can find information and more articles from Steve by visiting http://www.stevenmartinguitar.com
Top 10 Tips To Get The Most Out Of Your Guitar Licks Part 1
Written by Steven Martin (Steven Martin Guitar)
We all hear about them, 'Lick of the week', 'Lick of the day', 'here's this week's free lick', check out this 'rad Dorian lick'. Guitar licks are everywhere! Due to popular demand and great feedback we have recently been releasing some REALLY great 20 licks packs that are crammed with great content, but instead of just learning some awesome and obscure lick that you may never play again and moving on, have you ever considered trying to squeeze EVERY last bit of value you can from each and every lick? Below are our 'Top 10 Tips For Getting The Most Out Of Your Guitar Licks':
Learn the same lick all over the neck - This first one may seem basic, but that's because it needs to be! You should first aim to be able to play the lick in the SAME octave in as many different places as you can. The guitar fretboard is laid out in a wondrous fashion, making plenty of notes available in any position. This means you can play the same lick in the same octave in different places, but you can also start in the same place and then switch to a new position in the middle of the lick. Certain neck positions and variations in note positions will present different challenges to you; certain string sets will be more difficult to work with. There may also be times when a change of technique may be cool to try, such as string skipping a lick that previously used sweep picking. As you play the lick in various places, try to visualise the 'parent' scale or chord/arpeggio. This will both help you remember the lick, and help you to formulate similar licks when you come to use that position while improvising. The extension of this is to then transpose the lick up or down an octave and repeat the same method of playing it everywhere you can. It may seem like a dull approach but if you really work on this for EVERY lick, you'll open up a whole world of fretboard freedom.
Learn the lick in familiar AND unfamiliar keys - This is very important because you will probably not always use the same key for every track. Learning the lick in a familiar key makes perfect sense because you want the lick to be available to you while you are improvising and playing. If you love playing in that classic 5th fret A minor position then you need to find a logical fingering for your lick in this position. Moving to unfamiliar keys is usually an easy task on guitar... it's just a case of moving all the notes together up or down the frets to match the new key. Learning to play the lick in many different keys is going to help solidify the lick in your mind. The goal here is to aim to be able to play the lick at ANY given moment, regardless of which key you might be playing in.
Learn how the notes relate to the underlying chord - This is going to help you BIG TIME with improvising, for three reasons. Firstly, it will give you a more thorough understanding of exactly which notes you are playing and why. For example if you know which notes you are playing in relation to the chord (root, 3rd, 9th etc) you instantly have more control over your playing. You hear the sound of the notes, learn their names and how they relate to the chord, and you can then access those sounds when you want them. For example, take a lick that highlights the 9th over a minor 7 chord. Once you know what is happening to create this sound, you then know what to do when you wish to call upon that particular sound again. Secondly, this links with the first tip, increasing your fretboard/chord knowledge. Try not to just learn licks as patterns... if the first note is E, is it the root of the scale? Or the 5th... or the 3rd? Thirdly, if you know how a lick fits with one chord, you can figure out how to change it for other chords; which leads us to our next top tip!
Learn how to play Major/Minor/Dominant versions of the same lick - Using your knowledge of how the lick relates to a chord, you can now alter it to fit other chords. Let's say your lick works over a major chord and uses notes from the major scale. The major scale is built from the root, 2nd, 3rd, 4th, 5th, 6th and 7th (in C, this is C D E F G A B). Now lets say that we want to play a minor version of the same lick. In the natural minor (Aeolian) scale the 3rd, 6th and 7th are lowered (flat), so if your lick contains the notes E, A or B, you need to change them to Eb, Ab and Bb. The same lick pattern will now work over a C minor chord. In some cases, you can leave the A notes... this creates a Dorian sound. Experiment!
For dominant, the only note you need to change is the 7th... shift the B to Bb, and your lick will now work over a C7 chord. With this basic principle you can change your lick to fit a wide range of scales and modes.
Reuse/Recycle the Lick - This can be quite a fun one to mess around with. Try focusing on the rhythm of the lick, using the same rhythm but adding your own choice of notes. Or focus on the melodic shape, looking at when the melody goes up or down. Effectively we did this when we changed/altered our licks to create major/minor versions. You can be as exact or vague as you like. For example if the original lick went 'down down down up' then you can take that same pattern but use different sized intervals. This can give you some very interesting results!
So that is the first 5 tips of our top 10 tips for trying to get the very most out of a single guitar lick. Be sure to stay tuned for part two where we'll go through the final 5 tips! You can subscribe to our mailing list at the very bottom of the page to be notified of our releases and future blog posts (including the second of this series).
P.S - Part 2 can now be found here.
If you enjoyed this article, please do share it on Facebook and Twitter to let all your friends know how to get the most out of their licks!
You can find information and more articles from Steve by visiting http://www.stevenmartinguitar.com
The Amazing Flat Fifth
In this lesson we're going to tell you about a note called the 'flat fifth'. That doesn't sound very exciting, but trust us... it's one of the most important features of music from the last 100 years!
Let's do the basic theory first. The flat 5th is also called the diminished 5th, and in proper music symbols it is shown as 'b5'. It lives six half-tones above the root note. So, if you were making a riff in E, the flat 5th would be Bb.
The flat 5th can be added to many different scales, but possibly the most common use is in the minor pentatonic...
This hybrid scale is what we often call the 'blues scale' (although that is not a precise term!)
Now, here's a slight complication. That EXACT same note can also be called the sharp 4th or augmented 4th. Huh? Well, it depends on the context and how the note is being used, just as the note Bb can also be called A#. Don't worry about this now... the most important thing is to try using the note and be aware that it has two names.
It's also important to learn the SOUND of the flat 5th. This note is often described as being 'dissonant', but it can also have a neutral or unsettled character. It certainly sounds quite uncomfortable if you let it ring for too long... try playing this E minor chord and then add the flat 5th...
But that's what's so great about it! Just as we like to use spices to make our food more exciting, we use dissonant notes to make our music more spicy! Without the flat 5th, you wouldn't have the classic riffs from 'Enter Sandman', 'Black Sabbath' (the title song) or 'Sunshine of Your Love'. It's not just rock and metal, either... in its other job as the sharp 4th, this amazing note has important roles in 'Maria' from West Side Story, and the Simpsons theme.
Here's a clip from our upcoming brand new Guthrie Govan package, West Coast Grooves (out this Friday). This is from the track 'Jelly Bean' and shows how Guthrie uses the flat 5th in a mostly E minor pentatonic context.
Tapping For Beginners
This lesson is designed to give you a basic introduction to the technique known as tapping.
Maybe you've heard people talking about it and never knew what they meant, or maybe you looked at some of our jamtrack packages and were confused by the tapping licks. Or maybe you just always wanted to play Van Halen's groundbreaking 'Eruption'! Whatever the reason, we're going to give you a gentle introduction.
Let's start by explaining what we're talking about. Normally, you have one hand holding the pick (or plucking the strings with your fingers) while the other hand presses the strings against the frets. You knew that, right? With tapping, your picking hand is also used to press strings against the frets. Both hands are now doing the same job.
Here's what a simple tapping lick looks like in Tab. We're doing a regular hammer-on from 10 to 12, then tapping 14, then pulling off the tapping finger and finally doing a regular pull-off from 12 to 10...
Let's look at the basics... which finger should you tap with? Different people do different things, but we'd recommend using your 2nd (middle) finger as your primary tapping finger. This means you can hold your pick as normal, making it easier to switch quickly between tapped notes and regular picked notes.
And then, exactly how do you tap? Well, you already know how to do a hammer-on, right? Tapping is EXACTLY the same movement. Doing a pull-off with your tapping finger is just like a regular pull-off, except you have two choices... you can pull upwards or downwards. Try both! Possibly most people prefer to pull upwards, but Guthrie Govan is one notable player who pulls downwards.
The basic tapping action is shown here. In the first photo, we have already hammered the 12th fret and the tapping finger is moving towards the string. In the second photo the tapping finger has hit the string. Note how the pick is held in the normal position between thumb and first finger.
You might be wondering... why would anyone do that? Why not just play the notes normally? Well, tapping is one of the "legato" techniques, which are used to make the notes flow smoothly. Tapping simply allows you to play MORE notes without breaking the flow. You now have five fingers working together instead of four. You can also have wider jumps between the notes. Some players like to take things further and use two or more fingers to tap. But we should definitely save that for another lesson!
Just to show you what's possible with some creativity and MASSES of technique, check out Guthrie at his best in the track Fade To Blue (Preview 5 from Contemporary Series 1).
Decoding The Shred
LESSON - DECODING THE SHRED
In our last lesson we showed you how it can be useful to understand how time and rhythm is shown in music notation, even if you normally only read the Tab. We showed you how different note-lengths can be made using five basic symbols, with dots or ties added to make other lengths.
But you might have wondered about the fast notes... there are four 16th notes in a beat, but surely you can go faster than that? What about all those crazy solos by Guthrie Govan, Andy James or Alex Hutchings? Well, it's actually pretty simple, but first we'll review the information so far...
To make faster notes, we just follow the same principle, adding a tail to the note (which becomes a horizontal beam when the notes are joined together) and cutting the length by 50%. A 32nd note is half the length of a 16th note, and a 64th note is half the length of a 32nd note. Simple!
As before, you can still use dots and ties to create other rhythm values. But there's one more trick we need to add, something a little more advanced. Let's have a quick introduction to the subject of "tuplets"!
The simplest type of tuplet is a triplet. This tells you that three notes are played (evenly!) in the space normally filled by two notes. You normally play two 8th notes in the space of a beat, but an 8th note triplet has three notes in the space of a beat. All of our rhythm values can be made into triplets.
There are other types of tuplets, but they're less common. In Jam Track Central transcriptions, you might see an occasional quintuplet, sextuplet or septuplet... that's five, six or seven notes in the space normally filled by four notes!
[You could say that the sextuplet is the same as two groups of triplets... we use both, depending on how the notes are emphasised. If there's an obvious "ONE-two-three-ONE-two-three" sound, we'll notate it as two sets of triplets.]
This is getting complex, but there's a good reason to know this stuff. If you understand how these rhythms work, it's a lot easier to learn fast licks. If you only look at the Tab, you just see a long line of notes. Listening to the mp3 doesn't always help, as the notes go by so fast. But if you understand the rhythm notation, you can see the structure. Look at this scary Andy James line (from "Ultimate Force", in our package Custom Metal 1)...
There's 27 notes in the space of four beats! If you were just working from the Tab numbers, you'd have to listen pretty carefully and keep trying until you figured out the rhythm. But if you know how to read the rhythm notation, you can immediately see where the four beats are (look for the gaps where the beams are not joined together). So when you practise that line, you can work on one beat at a time, or even half a beat at a time. And you gain a much deeper understanding of music in the process!
[Unfortunately, Powertab joins 32nd and 64th notes in groups of eight, which is harder to read. We prefer groups of four, but there's nothing we can do about that!]
Here at Jamtrack Central, we provide all our transcriptions with both Tab and standard notation (the "dots"), so everyone has a chance of learning those amazing solos. But wait... why is the standard notation there at all? Doesn't everyone just read the Tab?
Well, maybe that's true. Even if you ask very experienced guitarists, they'll probably admit that they follow the Tab if it's there. But some people like to read standard notation, so it's important for them. They might want to figure out their own fingerings, and standard notation is actually better for that.
But there's an even more important reason... standard notation shows the RHYTHM. Even if you never learn to read music properly, we recommend that you learn how rhythm and time is shown in standard notation. Sometimes the rhythm symbols are also added to the Tab (you can do this in Guitar Pro) but the basic system is the same. It makes it much easier to look at the Tab and understand how the numbers relate to what you are hearing.
Here's our first type of note. It's just a black dot with a stick. It's called a quarter note and you hold it for one beat.
(The "beat" is the basic pulse of the music. In most rock, metal, fusion, jazz and a lot of blues there are four beats in each measure. That's what the 4/4 symbol means.)
There are other symbols to show longer notes...
And symbols to show shorter notes...
You may have noticed that we're using the American names for notes. We decided to do this because they follow a simple pattern and are easiest to remember. In Britain, the quarter note can also be called the crotchet, and then there's the semibreve, minim, quaver and semiquaver.
When it comes to real music, you're obviously going to see a total mixture of these symbols...
That only gives us a limited range of rhythms. We have a couple of more advanced tricks for getting even more rhythm values. If you put a small dot after a note, it becomes 50% longer. So a dotted quarter note is 1.5 beats, and a dotted 8th note is three quarters of a beat. Then you can use a "tie" (the curved line) to join notes together. When two notes are joined with a tie, you don't play both notes. Just play the first note and let it sustain for the value of both notes. So a half note tied to a dotted quarter note...?
Did you get the answer? A half note tied to a dotted quarter note lasts for 3.5 beats!
Of course, you still don't HAVE to know this stuff. When you're learning a new solo, the Tab tells you where to put your fingers and you can hear the rhythms on the CD or mp3. But we think it's better to use as many senses as possible when learning a piece of music. Learn music with your ears, your fingers and your eyes!