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This lick is just great! It's bluegrass and country music most used lick of all time. And why.. because it rox!
Simlpe, nice and everybody likes to hear it! I think...
0
0 2 0
0 1 2
3
Now, try to play the same lick in these different keys, using open strings. It can be tricky at first, but
don't give up... it sounds cool!
In G major!
In C major!
3
0 0 0
0 0 0 7 10
0 7 3 6 7
3 6 7
And, believe it or not... B major!
In E major!
7
0 0 0
0 6
4 6 0 4 6
7 4 6 9
0 7
This lick is the intro and outro to one of my tunes. It's a nice bluegrass lick that works great in any bluegrass tune
or country tune. Start of slowly and build it up to speed. You'll like this one!
G G
G
D7#9
G
3 1 1 3
3 2 1 0 6 6 3
3 3 2 0 2 0 0 5 5 4
3 3 4 4 4 5
3 4 5 5 5
3
Try this open lick ending in C! It can be tricky to get up to speed, but once you get the pattern, it's fairly easy.
You can also take parts of this lick and make it to smaller lick ideas. For example, the first two bars
works perfect over a II V in C. Try it out!
m i p
i p m p i p m
m p i p m p i p p
3
5 0 0 7 8
6 6 0 0 6 8
7 7 7 0 0 5 7 7 9
7 7 7 0 0 7
8 8 7 8
7 8
Swing Feel
Dmi7 G7 Cmaj7
4 3
5 3 3 6 6 3 4 5
2 5 5 2 3 4
2 3
This is a classic Jerry Reed lick in E! Jerry has a very special style of playing the guitar. He has a lot of ideas like the
lick below, when two lines are played simultainously, creating harmony. Start off really slowly and work it up to speed.
Jerry plays this lick in many different songs. Two of them are "Jerry's Breakdown" and "Stump Water".
3 2 0
3 0
3 2 1
0 1 2
0 1 2
2 4
The top note of this lick is a regular blueslick. I use this E13 voicing to harmonize the simple top note lick.
It's the same voicing for all the chords, so it's very easy to play. The lick is useful in jazz, country and blues
and I picked this up from Steve Trovato. Don't forget to swing the 8ths!
q = 155 E13
Swing 8ths!
2
4
3
1
5 5 8 11 10 8 5 5 5 5 5
6 6 9 12 11 9 6 6 6 6 6
6 6 9 12 11 9 6 6 6 6 6
5 5 8 11 10 8 5 5 5 5 5
This is a great open string lick in A minor. In this case, I use it as if it would be the ending lick on a song.
The guitar fingering for the right hand (i p m) is really important here, and if you learn the pattern, you will
be able to play many other open string licks that have this technique. And also, it will be easier for you to
come up with your own licks in this style! Have fun!
Am6(maj7)
i p m i p m i p m p i p i
3 3
3 3
5 0 4
8 4 0 5
7 5 0 5
7 0 4
7 0
8
D7
F7 G‹7 C7 F6
3
8 6 5
10 8 7 6 5
7 5 7 6 5
8 5 8 8 7
Swing 8ths! E7 A7
10 9 10 9
12 11 10 9
11 10 9 8 7 5 6
10 9 7 5
7 0 3 4
5
3
3 4 5 5 4 3 3
5 5 4 2 4 2 2 2 2 2
4 4 4 2 2 2 1/42
3 2 0 0 0 0
2 0 3
G7½ 2 CŒ„Š7
4 1 3 1
1
2 1
2
1
3 3
1 1 3 1
2 1
1 4 4 3
4 3
3 6 6 4
5 4 4 3
6 5 3 1 5
2 1 3 5 7
4 3 5
I've written down two simple short II V I-licks in D major. I use an Eb triad over the dominant V7 chord (the A7).
When you harmonize scales, you'll find arpeggios that you can use when you improvise. I harmonized the Bb
melodic minor scale (same as A altered, or A super locrian) and found an Eb7 arpeggio. It sounds nice when played
over the A7 chord, and it's an easy way for you to organize and find some great sounding altered notes on the V chord.
Cause everyone knows how to play an Eb triad!
Have Fun!
E‹7 A7 DŒ„Š7
10 7 6 8 4 5
8 8 7
9 8
3 3
6 3
3 4 4
4 3 2
2 5
Swing 8ths
2 3 4 5 0 5
2 2 2 4
5 4 3 2 1 0 4
4 0
One of the most unique Jazz players I've ever heard is Jimmy Wyble. When I was studying guitar
in Los Angeles, I had the chance to study a little bit with Jimmy, and he was such a nice guy and
played some amazing Jazz guitar. (By this time, 2008, he was 85 years old, and still taught guitar
to many students!) Jimmy had a lot of ideas where he would hold two notes from a chord, and
then play a melody underneath. This is a typical Jimmy Wyble idea. It's a V I chord progression,
and I wrote out the lick in two different positions on the neck.
In example nr.1, it lands on the root of the chord but in example nr.2, it lands on the major 3rd of
the chord. It's good to be able to play the lick on at least two positions on the neck. Watch the
fingering really closely. It's a tricky lick, but works great in many situations.
Another teacher of mine that I studied with in LA is David Oakes, and I picked up a lot of Jimmy
Wyble's ideas from him. David is a really great player, and if you want to learn Jimmy's stuff, go to
www.davidoakesguitar.com. GŒ„Š7
D7 3fr
Ex.1 m
p i p i m i p i m
p i
3 p
4
1 2 3
1 3
4 2
1 2
1
1
7
5 5 4
8 7 5 4 4
6 5
4 3
G/B
D7 5fr
Ex.2
m i p i m i p i m
p
p i
2 p
1 4 3 3 3
1
4 2
1 2 1
11 7
10 10 5
13 12 10 9
11 10 8 7
Emil Ernebro
i p m i p m i p m i p m i p m
1 0
3 1 0
2 2 0
3 2 0
3 2 0
3
F‹6
Swing 8ths! FŒ„Š7 i p i a p i m p
1 4
3
2
1
3
3 3
0 8 12 10 8 10
10 9
5 7 5 0 5 10 10
7 6 7 7
He came back to me with many different open string ideas, and I chose to show you one of them here.
This is a regular E minor pentatonic scale with the added flat five note to it. Some would call this a E
blues scale. Watch the fingering closely, start slowly and work it up to speed. Even though it's just a
scale played with a few open strings, it sounds like a great blues lick.
Thanks Fredrik Pettersson for this one. I'll use it, for sure!
p i p m p i p m p m p p i p m p i p i p
1
4
4
4
4
3 3
3 3 3 3 2
3
0 3 0
0 0
0 7 7 0
0 7 7 0
0 7 7 0
0 3 6 7 7 6 3 0
DŒ„Š7
Swing 8ths! i p i m p i p i m p i p i m p i p i m p i p
1 1
3
3 1 3 3 1 1
2 2 3 4 4
3
1 4
1 3 2 1
3 3 3 2 3
4
1
5 9 7
5 7 7 7 10 7
2 6 6 6 7
2 4 4 4 7
4 4 5
2 5
D7 1 Transcribed by Emil
1
1
2 1
4 4
1/4 1 1 1
2 1 0
0 0 3 2 0 0 0 3 4 0 3 0 0 0
3 0 3 3 0 3 3 0 0 3 5
Now... how do we use the diminished arpeggio over a dominant 7th chord? It's actually not that hard to
understand at all.
As you know, a dominant 7th chord wants to go home. In other words, when we play a G7 chord, the
3rd and 7th in the chord creates tension and it resolves when we land on some kind of a C chord. (If the C
chord is a major chord, the B note of the G chord resolves to C, and the F note resolves to E.) If we alter
the G7 chord, and put a b9 note on top, (G7b9) we create even more tension.
Now... name the b9 note of the G7b9 chord! ....... yes.. it's Ab. If we would play a diminished arpeggio
starting on Ab, we would get the notes: Ab, B, D and F. These notes are all the notes of the G7b9 chord,
exept the root! So, since the diminished arpeggio is symmetrical, you can play a diminished arpeggio starting
on any of the notes of the G7b9 chord expept the root (G), and you will get the dominant b9 sound.
Pretty cool huh?!
In this lick, Brent Mason plays a diminished arpeggio over the E7 chord leading in to Am7, and also over
the D7 chord leading back to G. On both dominant chords, he's starting on the third, and plays the arpeggio
down like this:
on the E7; G#, F, D and B
on the D7; F#, Eb, C and A
G6 E7 A‹7 D7 G6
Swing feel
10 9 8 7 8
11 10 9 8
9 12 12 9 7 10 10 7 9
V III II I II
h = 140
By Emil Ernebro
i p m i p m p
5 0
7 3 0
5 2 0
4 2 0 0
3 2 0
1 2
F G7 C
i p i m p i m p i m p i m p i p
1
4
1
1 3 1
1 4
4
1
4
0 3 5 7 8
0 3 6
0 3 5
0 3 7
0 3 7
7
Swing 8ths!
2 1 2 4 4 3 2 4 1
1 3 1 4
4 1 2 2 2 1 1 1 1
3 1 1 3 2
2
9 10 11 12 7 8 7 5 5 7 5
10 7 4 5 5
12 11 10 9 8 7 6 5 4 7 6
6
0
1 1
3
3
3 3 3 3 3 3 3
5 7 8 10 8 7 5 3 5 3 5
5 7 9 11 9 7 5 3 4
6 7 9 10 12 10 9 7
This is another simple II V I lick in C. What I want to share with you in this example is the E triad played
over the V chord, (G7) in the second bar. The E triad has the notes E, (wich is the 6th or 13th of the G7 chord)
G# (or Ab wich is the b9 of the G7 chord) and B wich is the 3rd of the G7 chord. So in other words, when
you play a E triad over the G7 chord, you get the sound of a G13(b9) chord, wich is nice! Have fun!
D‹7 G7 CŒ„Š7
Swing 8ths
E triad, wich sounds like a G13(b9)
3
8 5 5 4
6 6 5
7 6 5 4 7 4
7 X 6 5