copy the Blues Guitar Book as needed for personal use only. LESSON BOOK .. Can play some of the blues licks covered in this session in any key. Session 1. Guitar Lovers Licks/Riffs is a digital book with sound in PDF format for printing purposes. It contains licks and riffs for guitars. This Rock Licks course comes complete with three DVDs, and an audio CD with to help open up lead guitar avenues and to examine different lead guitar licks.

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20 Tasty Country Guitar - Free download as PDF File .pdf), Text File . txt) or read online for free. PDF Drive is your search engine for PDF files. As of today we have 78,, eBooks Cool Riffs and. Hot Lead Guitar Licks Cool Riffs and Hot Lead Guitar. His ability to create melodic guitar riffs and solos is easily illustrated compasses several essential lead guitar techniques. [email protected] .com.

Our solo spans 24 bars twice around the 12 bar progression.

In this lesson, we will learn the first half of our solo: licks In addition to the on-screen tab, there is an attached lesson sheet, featuring a full transcription of the solo in with tab and standard notation. Use the attached backing track to practice the licks, or to try out your own ideas.

Part 5 - Solo Breakdown - Licks In this lesson, we will learn the second half of our solo: licks Part 6 - Summary And Further Study I hope that the licks and ideas presented in this lesson package serve you well and find their way into your playing.

Regardless of the style of music you usually play, the influence of the blues is undeniable in all musical genres; from blues, rock and metal, to jazz, country and fusion. I say this to all of my students, but in order to play the blues, you need to be able to hear the blues. In order to hear the blues, you need to listen to it a lot.

This bluesy lick sounds great over an E or E7 chord. It incorporates double-stops two notes played together , hybrid picking and the use of the b3 from the minor pentatonic scale, in this case, the note G in E minor pentatonic E G A B D. Begin this lick on the upbeat of beat one, plucking the G and B strings together with your pick hands middle and ring fingers.

Barre your fret-hand ring finger across these strings at the 14th fret and pull it off to an index-finger barre at the 12th fret. Alternatively, you could fret the 14th-fret notes with the tips of your ring finger and pinkie. At the end of bar 2, bend the G string at the 12th fret up a quarter step by pulling the index-finger barre slightly downward, in toward the palm.

This lick is commonly found in what could be referred to as a modern country cha-cha groove.

Try to make all the notes in the first bar very staccato short and detached by releasing your frethand grip on each note immediately after you play it. The easiest way to perform the picking in this bar is to attack the D string with the pick and the G string with the middle finger.

To sound the double-stops in bar 2, pluck the B-string notes with your middle finger while simultaneously picking the G string with the pick.

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You can alternatively pluck the two strings with your middle and ring fingers. The challenging part is at the end, where youll want to keep the fifthfret E note on the B string ringing while bending and releasing the C note on the G strings fifth fret. Try to get a good pick-hand attack on the bend, as this will give the notes momentum to clearly ring through the release.

This is a common bluegrass-style run in the key of G, played in first position and flat-picked throughout, with the brief exception of a grace-note finger slide in bar 2. The second note, Db is the flat five of the key, which is known as a blue note. Notice how the B and the Bb notes the major and minor third, respectively ring together in bar 1, producing a fleeting dissonance.

This combined ringing of picked notescalled a floatie by bluegrass playersis a clever move that emulates the ringing licks that banjo and fiddle players like to play. The slide in bar 2 is best performed with the middle finger. This flat-picked single-note lick outlines a C chord on the lower strings in first position. The lines dancing contour and use of open strings, hammer-ons and pull-offs give it a nice rolling, swinging feel.

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The b3, Eb, is added in a couple of places for a bluesy feel, and the move from F to Eb to E on beat three of bar 1 4-b is a classic hillbilly blues move.

Bar 2 jumps over to the G string with a bluesy tumble back down to the C root note. This banjo-style lick is played with hybrid picking to better emulate the rolling sound of that instrument and facilitate the nearly continuous string crossing.

The key here is to allow as many notes as possible to ring together, so be careful to not inadvertently mute the open G string with the sides of your fretting fingers.

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You may find it helpful to practice the lick in four-note segments, then put them all together. Incorporating open strings into ascending or descending scales to create a harp-like effect is a common country guitar trick. This lick is designed so that, wherever possible, an open note replaces a fretted note. To get that harplike effect, try to keep as many notes ringing together as you can, at the same volume. Notice how the pattern moves across the strings in three-note waves.

There are a couple of wide stretches involved, so make sure your fret hand is limbered up before attempting the lick, and ease into the stretches, angling your wrist as you see fit to optimize your reach. This lick draws upon common elements of jazz guitar single-note phrasing, such as a swing rhythm, alternate picking and use of chromatic neighbor tones. The b3 Bb and b7 F are used as passing tones over a G7 chord to create a bluesy feel.

The position shifts in the middle of the lick might take a bit practice, but they provide the most practical fingering scheme.

This lick is a repeating phrase that uses hammer-ons, repeated notes and palm muting to create a percussive sound. The initial four-note pattern repeats three times in bar 1, followed by a quick pulldown bend at the third fret, best performed with the middle finger supported by the index. Bar 2 switches from hammer-ons to double pull-offs, resolving on an open D5 power chord.

Use alternate picking for the palm-muted notes, and make sure your hammer-ons and pull-offs are strong and clear.

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This sweet, pedal steellike lick is built around sixth intervals played on nonadjacent strings and features lots of slippery-sounding ascending and descending finger slides. Notice the half-step approaches going into the A and E chords. The challenge here is to get all the notes to ring as close to the same volume as possible. Youre looking for a seamless transition from chord to chord, so practice it slowly at first and strive for a smooth flow of notes.

This bouncy single-note line [FIGURE 12] dances around chord tones with upper and lower neighbors and is perfect as a fill or for ending a tune. Take note of the position shifts involved, especially in bar 2. Use whichever fingering feels right and doesnt tie your fingers in knots. FIGURE 13 is a first-position bluegrass lick that sounds equally good on acoustic or electric guitar.

Flat-pick all the notes that are not hammered-on or pulled-off, and strive for a seemless flow of notes. Gerry Rafferty — Baker Street Ive got an exam in school to perform and Im desperate to find some notes to the 12 bar blues on the alto saxophone.

I dont often have the time to take a lesson with a teacher, so the ability to download lessons is really invaluable. Must admit to being confused - are you looking for Blues-Rock numbers or Blues numbers Killer Blues instrumentals with an authentic Blues sound. The phrases are then used as the Thousands and thousands and thousands of jazz licks for free!

For sure www. Lets talk about the blues scale. Every jazz clarinetist needs to know some licks to throw into their improvisation. If you're a saxophonist interested in playing any type of blues based music including rock and roll and even jazz then you need to use the blues scale as your number one tool to make things sound right.

A few of the tools are: scales, chords, patterns, licks, songs standards and originals , training the ear, listening to records of jazz greats and any other thing which they feel will contribute to the growth of a well-rounded musician. Download a copy of Blues Scales in 12 keys for Saxophone. But if you want to save it to your computer, you can download much of ebooks now.

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They are the 5 notes of the minor pentatonic scale, plus one additional note. Alto Sax Music. This page contains jazz saxophone and flute solo transcriptions by numerous jazz masters. Players Should Know! Blues scale in all twelve keys AND learn the pentatonic scales as well. A flat Blues Concert C flat 7.

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A Blues In this one, a blues scale lick is performed on tenor saxophone. This is only for the music notation and does not include a backing track like the songs below.

The note added is the diminished 5th o5 measured from the scale tonic.

Blues Scales - Alto Saxophone. Tags: alto saxophone, blues licks, blues patterns, jazz sax, Mastering the Blues. Alto Sax. February 26, at 6: For more information and licks using the blues scales check out my two books on Mastering the Blues Scales. The list also includes solos for flute,clarinet and EWI. I will soon be adding some blues studies and licks.

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The student will be encouraged to mix in licks and scales into their improvisation. The minor and bues pentatonic scales that the blues scale are derived from, are everywhere in music and many melodies are based on them entirely. Get so it just jumps out of your sax. Some players have a memorised collection or repertoire of favourite licks that they will throw into a solo every now and then.

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Delve Deeper with Bobby. Listen to how it sounds. Hello I would like to start off and say thanks for reading.

Learn the 5 notes of the scale and memorize them. Best wishes for your development as an alto player; I hope I have helped.

Although there are several licks for you to learn and copy, this is not a book with lots and lots of licks for you to memorize and hopefully use in your playing.

This exercise can be used by both sax's. Gain flexibility in keys you may be uncomfortable with. Unless otherwise noted,all transcriptions are in the original key:tenor and soprano solos are in Bb key,alto and baritone solos are in Eb key. Download free popular sheet music.

The Saxophone Blues Scale.Your index finger will barre across the top two strings in each position. The pick hand pits the middle finger plucking the G string in opposition to picked downstrokes on the D and A strings, creating a lightning-fast wall of notes.

This should produce a pitchless snapping sound indicated in the notation by an X as the muted string ricochets off the fretboard. G Blues Concert B flat 2. The application contains video tutorials and demonstrations, PDF files with transcriptions and practice charts, audio tracks for practice and much more.