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Gary Hoey - The Need For Lead
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Gary Hoey - The Need For Lead
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Gary Hoey - The Need For Lead
Table of Contents
About the Instructor ...................................................................................................................... 5
Introduction ................................................................................................................................... 7
Icon Key ........................................................................................................................................ 8
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Gary Hoey - The Need For Lead
Gary Hoey
World renowned rock guitarist Gary Hoey, takes his singer/songwriter talents to the next level
with his new album, Utopia, on Wazoo Music Group. With a collection of 17 albums and five top
20 Billboard hits, it’s no wonder Gary Hoey is listed in the top 100 greatest guitar players of all
time. Whether it’s rock, blues, surf or Christmas, Hoey’s command of each style makes his live
show one of the most exciting on the circuit today.
Multi-tasking as a writer, producer and guitar player, Hoey has had clients who include DISNEY,
ESPN, NO FEAR, performed the National Anthem for the NEW ENGLAND PATRIOTS, SAN DI-
EGO PADRES and BOSTON RED SOX. Gary was featured on VH1’S CLASSICS documentary
“Aftermath” and recently VH1’S Rock N Roll Fantasy Camp.
In 1993 Gary Hoey launched his career with the hit song Hocus Pocus (Warner Bros. Records).
His fiery technique helped to send it to the top 5 on Billboards charts. The Boston raised guitarist
followed up with the sound track to the surf saga, Endless Summer II (Warner/Reprise).
His popular Ho! Ho! Hoey series of Christmas CDs and on-air station visits have become a
staple at hundreds of radio stations nationwide. His live rock and roll Christmas show continues
to grow new fans each year. HALLMARK’S musical greeting cards feature two Ho Ho Hoey
classics.
Hoey has toured and traded licks with the likes of Jeff Beck, Brian May (Queen), Ted Nugent,
Foreigner, Joe Satriani, The Doobie Bros., Kenny Wayne Shepherd, Eric Johnson, Steve Vai,
Peter Frampton, Rick Derringer and Deep Purple.
For more information about Gary Hoey go to GaryHoey.com to find out more today!
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Gary Hoey - The Need For Lead
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Gary Hoey - The Need For Lead
Introduction
Welcome to The Rock House Method® system of learning. You are joining millions of aspir-
ing musicians around the world who use our easy-to-understand methods for learning to play
music. Unlike conventional learning programs, The Rock House Method® is a teaching system
that employs DVD and 24/7 online lesson support along with this booklet to give you a variety
of sources to ensure a complete learning experience. The products can be used individually or
together. The DVD that comes with this booklet matches the curriculum exactly, providing you
with a live instructor for visual reference. In addition, the DVD contains some valuable extras like
sections on changing your strings, guitar care and an interactive chord library.
Register Now
Click here now to use the member number included with your pro-
gram to register for free at RockHouseMethod.com. Registering will
also make all of the icon links in this booklet active links that will take
Click you to the Lesson Support site.
Here!
7
Gary Hoey - The Need For Lead
Icon Key
Throughout this book, you’ll periodically notice the icons listed below. They indicate when there
are additional learning tools available on our support web site for the section you’re working on.
When you see an icon in the book, visit the member section of RockHouseMethod.com for musi-
cal Backing Tracks, Additional Information and learning utilities.
Backing Tracks
Many of the exercises in this book are intended to be played along with bass and
drum rhythm tracks. This icon indicates that there is a backing track available for
download on the Lesson Support site or click here.
Additional Information
The question mark icon indicates there is more information for that section avail-
able, it can be theory, more playing examples or tips on the Lesson Support site
or click here.
Metronome
Metronome icons are placed next to the examples that we recommend you prac-
tice using a metronome. You can download a free, adjustable metronome on the
Lesson Support site or click here.
Tuner
Also found on the web site is a free online tuner that you can use to help tune
your instrument. You can download the free online tuner on the Lesson Support
site or click here.
8
Gary HoeyLesson
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1 For Lead
Tuning
Throughout this program Gary tunes his guitar to 435 tuning. If you do not have a tuner you can
download a free tuner software program using the membership number included with this pro-
gram on the Lesson Support site at RockHouseMethod.com.
(Thinnest) (Thickest)
1st String 2nd String 3rd String 4th String 5th String 6th String
EF BF GF DF AF EF
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Timing – Rhythmic Values
Throughout this program Gary will be reference different timing values. Even if you can’t read
music, it is important that you have the basic understanding of rhythm and timing.
Quarter Notes
0 0 0 0 0 0 0 0
1 2 3 4 1 2 3 4
Eighth Notes
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Sixteenth Notes
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3
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Gary Hoey - The Need For Lead
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
6 6 6 6 6 6 6 6
Quarter Notes
1 2 3 4
Eighth Notes
1 & 2 & 3 & 4 &
Sixteenth Notes
1 e &a 2 e &a 3 e &a 4 e &a
Eighth Note Triplets
! ! ! !
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Gary HoeyLesson
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Scales - Minor Pentatonic
Minor pentatonic scales are the most commonly used scales for playing rock and blues solos.
The pentatonic is a five note scale, or an abbreviated version of the full natural minor scale. The
word “pentatonic” comes from the greek words, “penta” (five) and “tonic” (the keynote).
Gary demonstrates all of the scales in this program over his song “Tele Like it is.”
= Root Note
First Position
3 5 7 9 12 15
5 8 8 5
5 8 8 5
5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5
1 4 1 3 1 3 1 3 1 3 1 3 3 1 3 1 3 1 3 1 3 1 4 1
Second Position
3 5 7 9 12 15
8 10 10 8
8 10 10 8
7 9 9 7
7 10 10 7
7 10 10 7
8 10 10 8
2 4 1 4 1 4 1 3 1 3 1 3 3 1 3 1 3 1 4 1 4 1 4 2
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Gary Hoey - The Need For Lead
Third Position
3 5 7 9 12 15
12 15 15 12
13 15 15 13
12 14 14 12
12 14 14 12
12 15 15 12
12 15 15 12
1 4 1 4 1 3 1 3 1 3 1 3 3 1 3 1 3 1 4 1 3 1 3 2
Throughout the program various drum backing tracks will used. Make sure to go to the Lesson
Support site and download them for free.
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Gary HoeyLesson
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Scales - Connecting
Pentatonic Scales
This is a technique that will help you put together multiple positions of the Pentatonic scales, as
well as get you out of “box position” playing. These examples will incorporate some basic slides.
Later in the program we will tackle more advanced sliding techniques.
Example 1
g
8 10
5 7 9
5 7
3 5 7
3 5
3 (3) 3 (3)
Example 2
g
8 10 13 10 13 15 17
12 14
Example 3
4
g
17 15 13 15 13 13
14 14 12
14
12
14 12 10
?
12
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Scales – Major Pentatonic
Like the minor pentatonic scales, the major pentatonic scales consist of only five tones. Every
minor pentatonic scale has a relative Major pentatonic scale (ie: A minor is the relative minor
to C Major). When playing through these patterns look at them closely for a familiar shape you
learned earlier.
= Root Note
First position
3 5 7 9 12 15
7 9 9 7
7 9 9 7
6 9 9 6
6 9 9 6
7 9 9 7
7 9 9 7
2 4 2 4 1 4 1 3 1 3 1 3 3 1 3 1 3 1 4 1 4 1 4 2
Second Position
3 5 7 9 12 15
9 12 12 9
9 12 12 9
9 11 11 9
9 11 11 9
9 11 11 9
9 12 12 9
1 4 1 3 1 3 1 3 1 3 1 3 3 1 3 1 3 1 3 1 3 1 4 1
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Gary Hoey - The Need For Lead
Third Position
3 5 7 9 12 15
12 14 14 12
12 14 14 12
11 13 13 11
11 14 14 11
11 14 14 11
12 14 14 12
2 4 1 4 1 4 1 3 1 3 1 3 3 1 3 1 3 1 4 1 4 1 4 2
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Gary HoeyLesson
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Lead Techniques - Bending
Bends are a very soulful way of creating emotion with the guitar, using flesh against steel to alter
and control pitches. All guitarists have their own signature way of bending notes.
full
full
full
5 8 8 8 5
5 8 8 8 5
5 7 7 7 5
7 7
Example 4 Example 5
full full
8 10 10 10 8 8 10 8
10 10 10 10
5 7 7 7 5
5 7 7 5
7
Example 3 Example 4
1/2
1/2 1/2
10 12 12 12 10
10 12 12 12 10
5 7 7 7 5
7 7
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Gary Hoey - The Need For Lead
8 10 10 10 10
5 7 8 9 9 9 9 9
7
Lesson 7
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
Example 2
Harm.
10 8
9 8 7 5
7
Example 3
Harm.
Harm.
full
7 5
7 7 5
7 6 5 3
5
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Lead Techniques – Vibrato
Vibrato is the small, fast shaking of a note. Vibrato is indicated by a squiggly line above the staff,
extending out from a note. While sustaining a note, shake your finger slightly and “dig in” to the
note to slightly vibrate the pitch and give it more expression. Vibrato can also be applied while
bending.
Example 1
sl.
5 6 5 5 6 8 10
4 5 7 7 7
7
Example 2
full sl. 1/2
10 10 10 8 8 7 5 7 7 7 5
8 5
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Gary HoeyLesson
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13
Major Pentatonic Riffs
Here are a few riffs to get you using the major pentatonic scales and some of the techniques we
have covered so far. As I said earlier, don’t just go for the major pentatonic scales all the time,
you can get some real cool sounds from the major pentatonic scales as well.
Riff 1
full
sl.
12 12
9 11 11 9 9 11 13
9 11
Riff 2
full
12 14 14 12 12
12 14 12 14 12 14
Riff 3
sl.
full
hold bend
12
14 12 12
13 11 9 11 11 9
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Gary HoeyLesson
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Metronome Exercise
full full full full full full full full full full full full
8 8 8 8 8 8
7 7 7 7 7 7 5 5 5 5 5 5 8 8 8 8 8 8
3 1 4 4
Lesson 11
The Trill Drill
5 6 5 5 7 5 5 8 5 6 7 6 6 8 6 7 8 7
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Gary HoeyLesson
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Hammer on & Pull off Riffs
Riff 1
H P P H P P H P P H P
5 8 5 5
8 8 5 5 8 5 5
7 7 7 5 5 7 5 5
7 7 7 5 5 7 5
7
Riff 2
H H P P H H H H P P H H
3 5 15 17
3 4 5 5 4 3 4 5 5 4 15 16 17 17 16 15 16 17 17 16
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Scales – Adding the Blues
Tri –Tone
Now let’s take the minor pentatonic scales we learned earlier and add the tri-tone (b5) to the
scale. The tri-tone is an essential note within the blues scale because of the tension it creates.
In history, the tri-tone, also known as the “Devil’s Note” has actually been banned for most of
the last millennium in the churches of Europe due to its dissonance. However, the tri-tone has
gradually come to prominence in American blues, rock and jazz music, where it has found way
into many cool lines and is commonly referred to as the blue note.
= Tri-Tone
First Position
3 5 7 9 12 15
5 8 8 5
5 8 8 5
5 7 8 8 7 5
5 7 7 5
5 6 7 7 6 5
5 8 8 5
1 4 1 2 3 1 3 1 3 4 1 4 1 4 4 1 4 1 4 3 1 3 1 3 2 1 4 1
Second Position
3 5 7 9 12 15
8 10 11 11 10 8
8 10 10 8
7 8 9 9 8 7
7 10 10 7
6 7 10 10 7 6
8 10 10 8
2 4 1 2 4 1 4 1 2 3 1 3 1 3 4 4 3 1 3 1 3 2 1 4 1 4 2 1 4 2
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Gary Hoey - The Need For Lead
Third Position
3 5 7 9 12 15
12 15 15 12
13 15 16 16 15 13
12 14 14 12
12 13 14 14 13 12
12 15 15 12
12 15 15 12
1 4 1 4 1 1 3 1 3 1 3 4 1 4 4 1 4 3 1 3 1 3 1 1 4 1 4 1
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Gary HoeyLesson
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Blues Riffs
Riff 1
5 8 5
5 8 8 5
5 7 8 8 7 5
7 7
Riff 2
1 1/2
8 10 11 12 12 12 11 10 8
10 10 10 8
9 8 7 5
7
Riff 3
P
5
8 5 5
8 8 7 5
7 5
7 6 5 3
5
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Gary HoeyLesson
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Lead Techniques – Slides
In the following three examples slide from note to note without lifting your finger off the fretboard.
The “sl.” above the staff indicates a slide and the line between the notes shows the direction of
the slide (up or down the neck). You can perform slides using any finger, but you’ll probably use
first and third finger slides more often.
Example 1
sl. sl. sl. sl. sl.
5 8 5 17
5
5
5 7
Example 2
sl. sl. sl. sl. sl.
17 15 12 10 8
14 12 12 9 9 7 7 5 5 2
Example 3
sl. sl. sl. sl. sl. sl. sl. sl. sl.
15 17 12 12 15 10 10 12 8 8 10 5
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Gary HoeyLesson
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Scales – Aeolian
The Aeolian mode is based on the sixth note of the major scale. In the key of “C”, this note is
A. It is important to know that the 6th note of the major scale is also the root note of the relative
minor, this means that the Aeolian Mode is the Natural Minor Scale.
= Root Note
First Position
3 5 7 9 12 15
5 7 8 8 7 5
5 6 8 8 6 5
4 5 7 7 5 4
5 7 7 5
5 7 8 8 7 5
5 7 8 8 7 5
1 3 4 1 3 4 1 3 1 2 4 1 2 4 1 3 4 4 3 1 4 2 1 4 2 1 3 1 4 3 1 4 3 1
Second Position
3 5 7 9 12 15
10 12 13 13 12 10
10 12 13 13 12 10
8 9 12 12 9 8
8 9 12 12 9 8
7 9 12 12 9 7
7 9 12 12 9 7
1 2 4 1 2 4 1 2 4 1 2 4 1 3 4 1 3 4 4 3 1 4 3 1 4 2 1 4 2 1 4 2 1 4 2 1
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Gary HoeyLesson
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Aeolian Riffs
Riff 1
H P H P sl.
10 12 13 17
10 12 10 10 12 13
9 10 9 9 10 12 12
12 9 10 12 12
3 3
Riff 2
H P
15 17 13 17 12 17 17 17
15 13 12 13 12
14
3
Riff 3
12 13 15 17
10 12 13 12 13 15
5 9 10 9 10 12
3 5 7 5 7 8
5 7 9 5 9 10
3 5 7
6 6 6 6
6
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Gary HoeyLesson
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Scales – Dorian
The Dorian scale is the mode made from the second note of the major scale. In the key of “G”,
this note is A. When we take the major scale and make the second tone the root, the scale se-
quence is whole, half, whole, whole, whole, half, whole. The Dorian mode has a minor tonality
and is a very important scale in rock, blues and jazz music.
= Root Note
First Position
3 5 7 9 12 15
5 7 8 8 7 5
5 7 8 8 7 5
4 5 7 7 5 4
4 5 7 7 5 4
5 7 7 5
5 7 8 8 7 5
1 3 4 1 3 1 2 4 1 2 4 1 3 4 1 3 4 4 3 1 4 3 1 4 2 1 4 2 1 3 1 4 3 1
Second Position
3 5 7 9 12 15
12 14 15 15 14 12
12 13 15 15 13 12
11 12 14 14 12 11
10 12 14 14 12 10
10 12 14 14 12 10
10 12 14 14 12 10
1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 3 4 4 3 1 4 2 1 4 2 1 4 2 1 4 2 1 4 2 1
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Gary HoeyLesson
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Dorian Riffs
Riff 1
* * *
P P
1/2
1/2
5 7 7 7 7 5 7 5
8 5 7 7 7 7 5 7 5
7 5 4 5
7
Riff 2
sl.
5 7 8 7 5 5 7 8 7 5
8 7 5 7 8 8 7 5 7 8 10
Riff 3
8 7 5 7 5 5
8 8 7 8 7 5 8 7 5 7 5 5
8 8 7 8 7 5
7
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Gary HoeyLesson
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Scales – Mixolydian
The Mixolydian scale is the mode made from the fifth note of the major scale. In the key of “D”
this note is A. This modern scale has the same series of whole and half-steps as the major scale,
except the seventh degree is a half-step lower. The Mixolydian mode has a major as well as a
dominant tonality due to the lowered seventh degree (b7).
= Root Note
First Position
3 5 7 9 12 15
5 7 9 9 7 5
5 7 8 8 7 5
4 6 7 7 6 4
4 5 7 7 5 4
4 5 7 7 5 4
3 5 7 7 5 3
1 2 4 1 2 4 1 2 4 1 3 4 1 3 4 1 2 4 4 2 1 4 3 1 4 3 1 4 2 1 4 2 1 4 2 1
Second Position
3 5 7 9 12 15
12 14 15 15 14 12
12 14 15 15 14 12
11 12 14 14 12 11
11 12 14 14 12 11
10 12 14 14 12 10
10 12 14 14 12 10
1 2 4 1 2 4 1 2 4 1 2 4 1 3 4 1 3 4 4 3 1 4 3 1 4 2 1 4 2 1 4 2 1 4 2 1
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Gary HoeyLesson
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Mixolydian Riffs
Riff 1
sl. 1/2
1/2
12 14 14 14 12 14
13 14 13
11 14
Riff 2
sl. sl. sl.
5 7 7 8 7 5 7 10
6 6 7
4 5 4
5 4 7
Riff 3
P P P P P P
17 12 15 12 17 12 15 12 17 12 15 12 15 14 12 15 14
14 14 14 14 14 12 14
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Gary HoeyLesson
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Fretboard Visualazation
Here is a drill to help you memorize the notes on the neck. On each string the note “C” is played
in two locations. Practice playing this with a metronome, also try doing all of the other notes with
on the neck.
3 5 7 9 12 15 17 19 21 24
8 20 8 20
1 13 1 13
£
5 17 5 17
10 22 10 22
3 15 3 15
8 20 8 20
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Gary HoeyLesson
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Rhythmic Phrasing
“Shifting Gears”
Quarter Notes Eighth Notes sl.
5
5 5 6 8 8 6 5
4 5 7 7 5 4 4 5 7 7 5 4 5
7 7 7 7
5 6 8 8 6 5 6 5
4 5 7
7
12 12 10 12 10 8 10
3 3 3 3
5 6 8 6 8 10 8 1012 101213 10 8 6 5
7 5 7
6 6 6 6 3 3
Quarter Notes
Quarter Note Triplets
1 2 3 4
Eighth Notes
Eighth Note Triplets
! ! ! !
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Gary HoeyLesson
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Syncopated 16ths
Example 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
3
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
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Gary HoeyLesson
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Melodic Phrasing
Chords
Dm Am Bb Gm
5 5 6 3
6 5 6 3
7 5 7 3
7 7 8 5
5 7 8 5
5 6 3
Root Target
let ring
P
5 5 6 6 6 5
7 7
5 6 8 5 6 8 8
6 5
7
Third Target
let ring
P
5 6
6 6 5 6 5 5 6 8
7 5 7 5 7
Fifth Target
let ring
let ring
H P H
5 5
8 6 5 5 5 8 6 5 6 5
5 7
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Gary HoeyLesson
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Intervals
An interval is the distance between two notes. Intervals are always counted from the lower note
to the higher one, with the lower note being counted as one. Intervals come in different qualities
and size. If the notes are sounded successively, it is a melodic interval. If sounded simultane-
ously, then it is a harmonic interval.
G5 C5 F5 Bb5 D5 G4th C4th F4th Bb4th D4th
5 3
6 3 4 3
£
5 3 3 3
5 3 3 3
5 3 3 3
3 3
GMaj3rd CMaj3rd FMaj3rd BbMaj3rd DMaj3rd Gm3rd Cm3rd Fm3rd Bbm3rd Dm3rd
2 1
3 3 2 3
£
2 3 1 3
2 3 1 3
2 3 1 3
3 3
There are two main types of intervals. They are the major and perfect intervals. The major in-
tervals are the 2,3,6 and 7. The perfect intervals are the Root, 4, 5 and Unison. From these two
main types of intervals we have three types of altered intervals. They are minor, augmented and
diminished intervals. Here is how we get these altered types of intervals:
Now that you’ve learned the scales, modes chords and inter-
vals in this program, head to the support site and check out
t the Guitar Professor!
Click Here!
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Gary HoeyLesson
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27 For Lead
3 5 7 9 12 15 17
= A Major Chord
6 6 7 9 11 12 14 13 14 16
7
7
5
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Gary HoeyLesson
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Bag of Tricks
The following five examples are some of Gary’s favorite riffs. All of these licks are played using
the first position A minor pentatonic we learned earlier. Notice that each lick has a fretboard dia-
gram to the left of the tab so you can clearly see where the licks are coming from within the scale
pattern. Try transposing these licks to all different keys.
Example 1
P P
full full
5 5
5 8 5 5 8 5
7 7
3 5 7 9
Example 2
full full
5 5
8 5 8 5
3 3 3 5 7 9
Example 3
P P
full full
5 8 5 5 8 5
7 7
3 5 7 9
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Gary Hoey - The Need For Lead
Example 4
P P
5 5
5 8 5 8
3 5 7 9
3 3
Example 5
P P
8 5 8 5
5 5
3 5 7 9
3 3
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Gary HoeyLesson
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Complete Lead
“Peace Pipe”
P.M. P.M. P.M.
H sl. H P sl. sl.
2 4 4 5 2 4 2 2 2 2 2 2 2 2 2 2
5 2 5 7 5 5 5 2 5 2 5 2
6 6 4 2 4 2
4 2 4
P.M. P.M.
full
2 2 2 2 2 2 5 7 5 5 5 5 7 7 5 7 5
5 2 5 2 7 7 5 7 7 7
full
P
full
P
full
P
full
2 5 2
5 5 2 5 5 2 5 2 5 2 2
4 4 2
4
12
9 10 9 9 9 10 12 12 12 12 15 14
11 9 11 16 14 14
16 14 16
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Gary Hoey - The Need For Lead
17 19 19 17 14 14
17 19 17 17 19 17 17 15 14 17 17 14 17 14
16
P P P P P H P P P
full
14 17 14 14
17 17 14 17 17 14 17 14 14
16 16 14 16 14 16 14 16
16 14 16
Lesson 30
7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 11 11 11 11 11 11 11 11 12 12 12 12 12 12 12 12
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Gary Hoey - The Need For Lead
Example 2
sl. sl. sl. sl. sl. sl. sl.
1 2 3 4 4 5 4 3 2 2 3 4 5 6 6 7 6 5 4 4 5 6 7 8 8 9 8 7 6 6 7 8 9 10 10 11 10 9 8
Example 3
10 12 13
10 12 13 10 12 13
9 10 12 9 10 12 9 10 12
8 10 12
9 10 12
8 10 12
9 10 12 9 10 12
8 10 12
6 6 6 6 6
6
Example 4
7 8 10
6 8 10 6 8 10
5 7 9 5 7 9
5 7 8 5 7 8
5 7 9 5 7 9
5 7 8
6 6 6 6
6
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Gary HoeyLesson
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Pivoting Riffs
Riff1
15 12 15 15 12 15 15 12 15 15 12 15
13 12
14 12
Riff 2
5 7 8 7 7 8 10 8
5 5 5 5 6 6 6 6
Riff 3
12 12 12 12 12 12 12 12
15 13 15 13
16 14 16 14
10 10 10 10 10 10 10
13 12 13 12
14 12 14 12
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Gary Hoey - The Need For Lead
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