MUSIC ANO

PEFlFOFlMANCE
NOTES FOFl 75
HOT LEAD PHFlASES
JLJHN GANAPES
. e n i N C l U D E S 7 5 F U l l - B A N D T R A C K S
. U p - T E M P O A N O S l O W B l U E S
* J A Z Z - B l U E S
H U F F l E B l U E S
H A l l E O h U \ R ' O
CI~'K.\1~i: ':r!~N
Book $6.95, CD $ '$ I O .' ~S'' 15
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ISBN 0-634-00829-3
o 111~~m l~IJ IJ U IIII,
HL00695386
MUSIC PERFORMANCE
PHF!ASES
Other Hal Leonard books by John Ganapes:
BJuesYou Can Use
HL00695007
More Blues You Can Use
HL00695165
BJuesYou Can Use Guitar Chords
HL00695082
ISBN 0-634-00829-3
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TABLE OFCONTENTS
Majar and minar pentatonic scales, blues seale, daran mode, mixolydian mode,
dominant seventh-type chord - notes up to the 9th of the chord
Section 1~ Groovin~Easy #
l-bar blues progression in e $ #
!icks %-%" &
"utting together a solo from the licks with example %3
Section 2- Up- Tempo Bounce %"
Basic swing feel , %"
l-bar shuffle in A %"
!icks #$-%& %'
Section 3- Rockin' It Up (%
'ockin( )i-bar blues-rock progression 21
!icks 3)-*" + ((
Section 4 - A Bit of Flash (#
#-bar blues progression in , (#
!icks *$-$& (#
Section 5- ATaste of Jazz .3*
#-bar shuffle in + 3*
!icks '%-#" 3"
Where to Go From ere .40
Al%musi- -o!oposed and a!!an.ed by /ohn ,anapes.
0!odu-ed 12 /ohn ,anapes and Walte! Chan-ello!$ /!..
Re-o!ded at 3le-t!oni- usi-ians Wo!kshop$ 3W Re-o!ds$ inneapolis$ 4.
And at /un.le Root5 0!odu-tions$ inneapolis$ 46 3-ho a!tin7 3n.inee!
Mustclans:
/o1n ,anapes -..uita!
To!o Tan.e - ke21oa!ds
David Ha!!is - 1ass
/ason Santa 8u-ia - d!ums
9all .uita! pa!ts we!e pla2ed usin. a !ine-$ "od and Pod "ro
:the settin. used -an 1e found in the Tone-T!ansfe! a!ea of www.line'.-o!o;
tntroouctton 3
Who Can Use This Book-knowledge and skill level needed for this book .3
How to Use This Book .3
Audio Supplement-CD explained A
Review of ate!ials Used in the Book "
INTRODUCTION
Who Can Use This Book
;
El propsito de los azules Licks Puedes. El uso es dar a los aspirantes a guitarristas de blues y los
jugadores experimentados una gran parte del vocabulario del blues - en otras palabras, un montn
de licks.
Hay algunas cosas que usted debe saber. Usted necesita saber el Menor! Pentatnica y pentatnica
mayor escalas, as como las escalas de blues. Usted debe saber que en todo el diapasn, en todas las
posiciones, y en todos los tonos. Usted tambin debe saber los acordes bsicos utilizados en el blues,
por lo menos dos o tres voces diferentes (formas) de cada uno de acordes mayores y menores,
acordes de sptima, novena y acordes de menor importancia! acordes de sptima. Ms es mejor. Un
conocimiento bsico de la progresion blues de 12 compases es esencial.
Si bien no es necesario tener tremenda tcnica para comenzar a trabajar en este libro, tiene que ser capaz de
hacer que tus dedos hagan lo que usted quiere. De hecho, aprendiendo los licks contenidos en el interior le
ayudar a desarrollar su tcnica. A medida que avance a travs del libro, sin embargo, los licks se hacen ms
difciles y algunos requieren una gran cantidad de capacidad tcnica para llevarlo a cabo. No dejes que
los licks difciles te desanime. Sigue trabajando en ellos y estaran bajo sus dedos en poco tiempo. Si
usted no siente que tiene las habilidades necesarias para aprender el material de este libro, sugiero que usted
trabaje a travs de los dos libros fundamentales en esta serie-Blues que puede utilizar y More Blues que
puede utilizar. El dominio de la materia en estos dos le permitir abordar todo lo que encuentre en este libro.
Incluso si usted no sabe la totalidad o gran parte de lo anterior, todava puede beneficiarse de trabajar
a travs de este libro. Usted simplemente no va a entender muy bien cmo los licks estn trabajando, o
de dnde vienen. Ser mucho ms difcil, aunque no imposible, para tomar lo que est contenido en
este libro y aplicarlo a su propio estilo personal. Necesita al menos un conocimiento bsico de la teora
y el diseo de la guitarra para hacer eso.
Mira la revisin de los materiales utilizados en el libro ms adelante en esta seccin para ver
grficamente lo que usted debe saber.
Blues you can use y More Blues you can use le dar un conocimiento profundo del blues y llenar los
vacos que pueda tener. Sugiero encarecidamente que trabajar a travs de ellos si usted no tiene ya
un mandato de esos materiales.
Como usar este libro
Estos son lame reales. Se juegan por los guitarristas de blues reales =-cada uno a su manera. Aunque,
sin duda, reconocer algunos de los estilos que contiene este libro, se hizo un gran esfuerzo por
mantener los licks "genrico" y no exactamente como cada uno de blues especficas les jug muy
bien. Albert King y StevieRay Vaughan podran ambos han utilizado el mismo lick en este libro, pero
el rendimiento exacto de que lame seran diferentes ya que cada guitarrista individuo jug vez que
usted ha aprendido lame, debe escuchar en varias grabaciones para escuchar cmo los diversos
maestros les jugaron. Estilos de la guitarra de blues han evolucionado a travs de los nuevos
jugadores prestatarios contenidos de los maestros del pasado y poniendo sus propios giros en l.
different positions and scale pattems. Play it everywhere you can find it on the fingerboard. Then,
transpose it to every key. By working througb tbem this way, you'lllearn the fingerboard better and
know how to use each ick in any tune it fits.
Learn each lick slowly at first, gradually building up speed. Never playa lick faster than you can
control. Ifa lick gets sloppy, slow itdown. Once you have learned a lick as written, try playing it in
A
I I
ft
$%
I I
4
Conozca cada lick lentamente al principio, aumentando gradualmente la velocidad. Nunca toque un lick ms
rpido que usted puede controlar. Si una mano se pone sentimental, reducir la velocidad. Una vez que haya
aprendido un lick como est escrito, intente reproducirlo posiciones indiferentes y patrones de escala. Tenga en
todas partes se puede encontrar en el diapasn. Entonces, la transposicin a cada tecla. Al trabajar fde esta
manera, usted aprender el diapasn mejor y sabe cmo utilizar cada LiCk en cualquier meloda que encaja.
El siguiente ejemplo ilustra cmo ir sobre el aprendizaje de los licks todas partes se pueden encontrar en una
clave dada. Despus de haber trabajado un licks de esta manera, hacer lo mismo en todas las otras claves.
Posicion original otros lugares para jugar lamer ms arriba en el cuello ...
lugares para tocar el liCk debajo de la posicin original en el cuello
Suplemento de audio
El audio contiene todos los licks de este libro-una a una pista. En primer lugar, el lick se toca lentamente
(la mitad de velocidad) y luego a pleno ritmo.
La segunda pista contiene notas de sintona para las seis cuerdas de modo que usted puede tocar en
sintona con el audio.
Tracks 78-82 Pistas caracterstica. Los cinco acordes-progresiones en el libro se reproducen con una banda
completa para que pueda utilizar los licks que se aprenden en cada seccin en su propio solista. Cada
progresin se juega varias veces a travs. Usted debe tratar de usar los licks de una seccin a lo largo de la
progresin profesional de otro. Usted ganar una valiosa experiencia de transposicin de los licks y la
modificacin del calendario y siente para hacerlos encajar la nueva progresin,
Pattern ! - Minor
Patrern " - Major
Pattern # - Minor
Pattern 1 -$ Major
%lues scale&-fi'e pattems.
Pattern 1 - Minor
Pattem ! - Minor
Pattern #. - Minor
Pattern - Minor
Partero " - Minor

Pattern 1 - Minor
Pattern - Maj or
Pattern " - Minor
Pattern # - Major
Pattern - Minor
Pattern ! - Major
Revisin de los materiales utilizados en el libro
Los siguientes acordes, escalas, y los patrones que se utilizan y analizan a lo largo del libro y se
deben entender por el lector.
Mayores y menores escalas pentatnicas.
* Dorian modo-sobre la base de los cinco patrones de la escala pentatnica menor,
Pattem 5 - Major Pattern 1 - Major Pattem 2 - Major
Pattern 3 - Major Pattern 4 - Major
"!
11
"! chord
#"
,
.;
~
,. . . t'
roo! 3rd 5th ~7th 9th
$ n
n
11 ~
. . .
.
+
* Modo de Mixolydian - basado en los cinco patrones de la escala pentatnica mayor.
Dominante de tipo acorde de sptima - seala a la novena del acorde.
* No se preocupe si usted nunca ha odo hablar del Dorian y modos Mixolydian. Son muy tiles para
ms de blues-jazz como, pero no es necesario conocerlos bien para sacar el mximo provecho de
este libro.
J
C7
1 W r
I V
~.
Journeyman Licks and Tricks in the Key of e
The licks presented in this book are made up of smaller fragments called motives. or melodic .fig
ures. )s you work through the book, you'll see that many of the licks are made up of the same
motives-often changed slightly to fit the new lick or different chords.
Ifyou find that transposing the complete lick is difficult, try taking the smaller motives or frag*
ments of each lick and leaming them first. You can use them in any way that sounds good to you. If
you use them on the chords indicated, you' && certainly be +correct+ in your usage of them, )fter you
find the srnaller motives, try putting the whole lick together in the new key. ,emernber- learn
everything in every key if you want tbese licks to be useful ro you.
These licks can all be used ina +.uick-change+ $/-bar blues tune using the chords given below.
0et's take a look at the progression first. 0isten to it a few times to get the sound of it inyour head.
Yon can hear the band play it on track 71 of tbe accompanying C2.
+e 2ominant $/-3ar 4u5ckchange
6low 3lues in e
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IV $
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7
SECCIN 1
GROOVIN' EASY: LICKS1 - 15
Esta primera seccin contiene algunos licks ms cortos para ayudarle a empezar. Son bastante fciles
de jugar y utilizar en un blues lento, pero no reciben la impresin de que son aficionados lame-son no.
Usted puede utilizar estas en el escenario con los mejores. De hecho, algunos de los mejores msicos
de blues han utilizado mucho como estos licks en concierto y en CD.
Estn escritos en la llave de C, utilizando C7 (o C9) para el acorde 1, F7 (o F9) para el acorde IV, y
G7 (o G9) para el V. Es hasta usted para resolverlos en el otras llaves.
+Lickl
1
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El primer conjunto de licks se puede utilizar en la abertura de cuatro barras de la progresin. Licks 1,
2 y 3 estn construidos a partir de la direccin escala pentatnica C menor. Se dar cuenta de que
estn formados por muchos de los mismos motivos. Lick 3 est a slo dos compases y se puede
utilizar en cualquier lugar que encuentre un acorde 1 seguido de un IV. Se trabajar en barras 4 y 5,
as como en las barras 1 y 2.
Lick 4 est construido a partir de tanto el e pentatnica mayor y mi menor escalas pentatnicas. Se
inicia con el principal en el primer bar, se desplaza a la menor cuando se cambia al acorde IV en la
segunda barra, y luego regresa 10 la principal para el acorde I en el pick-up a la barra 3. Termina con
notas de tbe escala pentatnica menor en la barra final (el sptimo quinto y ~ O el 1 de acordes) y una
repeticin de la figura-string curva en el acorde IV....
Lick 5 se compone de notas tomadas de la escala pentatnica menor con una figura triplete estafa
repetida conteniendo una nota de paso entre el Eb y F (la E en el segundo bar completo, interpretado
por el IVchord). Usted podra jugar esa cifra por s sola en los bares 5 y 6, donde usted tiene dos
barras de un acorde IV.
+Lick4
"
pickup
D.
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(C7) .M._
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+iter the f irst f our "ars of the pro$ression, you coe to a t#o-"ar section of the )* chor!..,he f ol-
lo#in$ three licks (.-/) can "e use! there, or in any tune #here you ha'e t#o "ars of a )*7 chor!.
0ee"er1 these licks can "e use! in any tune #here you #ant a "luesy soun!-not strictly in a
12-"ar "lues son$o
Lick ., !eri'e! ostly f r3)Dthe inor pentatonic scale, akes use of an F91F6 co"ination (!is-
cusse! thorou$hly in More Blues You Can Use) in the f irst "ar. ,"is f irly esta"lishes that you are
44the )* chor! "ef ore o'in$ "ack to the 1chor! in the thir! "ar of the lick.
Lick 7 also coes f ro the inor pentatonic scale. 5hile it is a t#o-"ar f i$ure, either half stan!s
on its o#n 6uite #eU an! can "e use! any#here you ha'e the )* chor!.
Lick / akes useof "oth the rna7or an! inor pentatonic scales, 8lay the % a7or an! %9 chor!s
$i'en in the usic to see ho# the notes of the lick coe f rorn those chor!s.
9
Usted puede utilizar el lick en su totalidad, o como he mencionado anteriormente, se puede tomar un
pedazo ms pequeo de un lick a la hora de una o dos barras. Slo asegrese de que est utilizando el
fragmento de lick con el acorde(s) correcto . Por ejemplo, usted puede jugar la ltima barra de Lick 1
por s mismo siempre que sea un acorde que aparece en la meloda. no sonara muy bien jugado sobre
un acorde IV embargo, y sonara an peor en un acorde de V.
+Lick 6
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lo.i(+ lick' ca( ,) "la1)- t&)*). 2ou .ill *)call t&at t&) 1 c&o*- i' "la1)- i( ,a*' 3a(- $. /&)')
lick' .ill fit t&)*), a(- a(1 lick' f*om ,a*' # a(- $ ca( ,) "la1)- i( ,a*' 7 a(- 8 a' .)ll.
Lick ! i' I34.5tl1 ma-) f*om t&) mao* ")(tato(ic, u(til t&) c&a(+) tot&) V (o* IV) c&o*- i' a(tici0
"at)- at t&) )(- of t&) ')co(- ,a*. /&)( it'.itc&)' o6)* tot&) mi(o*o(7ot): t&) la't ,a* i' "la1)-
o6)* a IV c&o*- i('t)a- of t&) V c,o*- fou(- i( ,a* !. 2ou'll &a6) toomit o* c&a(+) t&i' ,a* i"1ou
u') t i( t&at "a*t of t&) "*o+*)''io(.)
Licks 10 a(- 1 1 a*) ,uilt f*om t&) mi(o* ")(tato(ic 'cal). 7otic) &o. t&) la't fou* (ot)' of Lick J J
flo. i(tofu) V! c&o*- at C&))(-. 2ou ca( u') t&at littI) f*a+m)(t of t&) tick tomo6) toa V c,o*-
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0i1n , +, -., u0in 3 t/, $-$6-$-6 tu8-.,un 7" t/, .n 10t cc881n 1n , f1un 7 in t/, lu,0 t17-5.
Licks 1# -n 7 J < 1t/ 0t-.t +it/ - 1n ,-,-t 2icku2 in -. 4 and IDOVe t/.1u3/ t/= 6 t1 t/, $6 c/1.7
in t/, n ,>t -.. :1t/ -l01 ,n 7 1n t/, fi.0t ,-t 1f t/, tu.n -.1un 7. ?/-t note c-n , c/-n 3,7 t,fit -
0t1ck tu8-.1un 7 li,k if 51u +-n t t1 u0, 1n , t/,.,. In Lick 1#, t/, n 1t,0 in t/, fi.0t -. -., 7,.iv,7
f.18 t/, G .n in 1. 2=n t-t1n ic 0c-l,-t/-t 1ft/, 6 c/1.7l ?/-t'0 @A; it +1.k0 (-0 51u +ill /,-.).
?/,n 5,u 81v, t1 t/, , 8in 1. 2,n t-t1n ic 0c-l, t1 2l-5 1v,. t/, $6 c/1.7 -n 7 fin i0/ 1ff t/, lick.
Lick 1< ,3in 0 +it/ n 1t,0 f.18 t/, G4 c/1.7, f1llB+,7 b- f.-38,n t f.18 t/, e 8in 1. 2,n t-t1n ic
0c-l, t1 l,-7 in t1 t/, $6 c/1.7. C1u c1ul7 in 0,.t -n 1t/,. lick 1. 81tiv, in t/,l-0t t/.,, ,-t0 1f t/,
lick ,f1., t/, tu.n -.1un 7.
Lick 1D i0 l1n 3,. -n 7 i0 2l-5,7 t/.1u3/ t1 t/, ,n 7 1f t/, tu8-.cun 7. A3-in , t/, n 1t,0 2l-5,7 1v,.
t/, 6 c/1.7 -., f.18 t/, G (6) 8in 1. 2,n t-t1n ic 0c-l,. ?/, .,0t 1f t/,lick i0 f.18 t/, , 8in 1.
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full full 1/4
While Lick 14 took us through the end of the progression, Licks 12 and 1 !rought us right up
10 t!e turnaround. "o# #e need a ti$k ro finish off the tune% the last ti$k in rhis se$tion #ill da
&ust that.
Lick 1' starts off #ith the first five notes spelling a (7 $hord, )ook at the $hord grid a!ove the
*usi$ to see #here the+ $o*e fro*. ,ou' -l find that.$hord tones are ver+ effe$tive inlead pla+ing,
espe$iall+ #hen *e $hord $hanges are faster (as the+ are inthis turnaround), "e.t, +ou pla+ th/ (
*inor pentat0ni$ until +ou get to the end, #here +ou pla+ a 17 arpeggio in the last two !eats of the
last !ar.
+)i$k1'
C7
turnaround .2fr
1
((7)
3
(07)
final $hord or !a$k 14 the
1 top of the progression
(C7)
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n
.n o .n
.n
12
Before we move on to the next section, let's take a look at how you 'can put these lides together to
build a solo. It's a fairly simple fask. Youjust pick what you like and place it within the proper bars
of the tune. You have to be sure to begin the licks on the correet beat.-or example, Lick. ! begins
on beat two of the first bar. Ifyou start it on any other beat "beat one, for example#, you'll be off
later on in the lick. $hat is not to say that you'Il necessarily be wrong% the tick rnight fit just fine
with sorne small adjustments later in the phrase to keep up with the cliord changes. &onetheless,
you.have to be aware of any adjustments you are making.
or the solo we're building. with the licks in this ehapter, we'Il start off witb Lick: !. $his will take
us through the first four bars of the tune. $here is a short rest at the end of the lick. $bat wil!give
us timeto get to the next l'ek, which will be Lick 8.
&otice that Lick ( begins with a one-beat, three-note pickup inbar four of the tune, Lick 1 doesn't
leave enough room for the pickup, so we'lljust leave it out. You tan dothat as long as it sounds
complete to you. 1think it works just fine.
)e .are now at bar *, wbere the tune retur+s to th, ! chord for two bars. -ooking through the licks
that will fit over the next two bars, we find-ick 10 fits well here. .ince the last lick actually runs
into the first beat of bar /, we have to decide whether to shorten the first note of Lick lQ or sbave
off the last three notes of Lick (-the ones that extend into. bar /. .0fter playing it both ways, ! de1
cided that it sounds best ro shorten LickB. Yen rnay decide to alter Lick. !2 instead, and you' d be as
right as !amo 3ithcr way works, so it's simply a mattcr of taste as to which way you choose to go.
)e4'reat bars ( and 5 now, and w,eneed a lick te play overthe 6-I6 chord movement, $Iike Lick 14
here, and it takes us a!!the way through the turnaround. 0t this point you cap either take a second
chorus, or the vocals, or another soloist can start their thing here.
$be next page has the solo written out for you to look ato
13
PUTTIN' THE PIECES TOGETHER
12-bar Blues inthe Key o e
Lick / starts here
C7
"
! - . ,
, . . . , . | . . - - . . . , . . - - - - . , . . , .

, . . , . | .
. . ,
| all
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. . . . . . a . .
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-
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| all
J
| a, ll.
+
. . . .
. . . . . .
,
. u a
,
Lick Ssiarts here (mimlSihe pick up}
F7
5 " - - - - ! - L . , . . ' !
-
| all
t
. u.
Lick 10 SlaT/S here (tast 3notes omitted}
C7
~.
7 A. | -
Lick /4 starts here
G7 r-.
! - f: f: ~ f: f: ~~ ~'"'~.
a
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f~
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t
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. . , . . . - = ~ f: ~I';. . . ! ! '-
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1n
The process that we weut throagh a oye takes place i nauiustaut wheuyoa are actaaliy playiug.
Yoa have to make those decisious as the solo is progressiug. If yoa kuow the licks well euoagh,
yoa caugra them iuthe liuk o| aueye.
As yoa work throagh these licks, pattiug t em together to make alarger chauk o| a solo, experi-
meut with their positiouiuthe taue to see what works aud what doesu t. Take yoar time workiug
with them aud alteriug t em. Aud dou t | orget to trarispose t e licks to all o| the other keys. Yoa ll
eud ap with uew licks ased outhe old oues, iucreasiug the size o| yoar ' ag' o| licks! Yoa ll also
get a mach etter auderstaudiug o| how they work with the di| | ereut chords.
! 4
SECTION2
UP-TEMPO BOUNCE: LICKS16 - 30
Swingin' Licks for a Shuffle in A
This section gives you a 10t of licks that can be used in a blues shuffle. You will recall that a shuffle
has a triplet feel where tbe eighth notes swing. Inthis style, the second eightb note of the beat is
delayed slightly, the first one having "borrowed" sorne of its time. The downbeat, however, is
steady and constant. Ifyou think of the beat as being divided into three smaller, even beats
(triplets), you can work out the rhythm ofa shuffle, Thefirst eightb note gets two of the triplet
beats and the second eighth note gets one.
asic count! 1 " # $
%ighth notes! (one&and) 'a) (two&and) (a) (three&and) (a) (four&and) (a)
(f this is confusing, listen to tbe audio for this section and f)( *ection +&especial(y the rhythm sec,
tion (fnll band) recordings (tracks -. and /"). (f that doesn0t help, there is a detailed discussion of
shuffle&type swing in Blues You Can Use, p.1..
1ere0s the chord progression in the key of 2, played by the band on track -. of tbe '3.
~ Shufile 4rogression in 2
5p&tempo witb a *wing6eel
1 IV 1
2.. 3.
1 \ 9
Pf.
. . - J'.
/'
I
I
,
I
le
I
/" I t ;-
I
l I
l7
I
(8
09
1 # # l'
1
A9
110 Ir
, e
' "
J
I I j
I I
y
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9: ..
IV
3.
1 IV
2. 3.
, "
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, .

,
; V
A9 E9
I
I
I
<0
I I
1I
Ir
t.:.==s

I I
7owfor tbe licks.
Lick 1= is played through the opening four bars of tbe progression, (t has a short pickup, which is
played either ina special "pickup measure" in the very beginning of the tune, or at the end of bar
1"ina previous chorus. Lick 1= is made up of notes from the 2 ma>or (in the pickup) and minor
pentatonic scales (in the second full bar). (t ends with a slide into tbe root and #rd of the 2 chord,
and tben moves down to tbe 9-tband .th of the cbord. The chordal notes are used as a sort of pune,
tuarion?&very effective.
15
Lick 17 is nearly identicaJ to Lick 16. with sorne changes in the notes. Most importantly, on the IV
chord, you bend up a half-step to a c~instead of the ct as in Lick 16. The !"6 combinat#on
used in Lick 6 is employed at the end. gain, the chord tones are used more as punctuation than as
a melodic continuation of the lic$.
+ %ic$ 16
pic$up
1
(A9)
r-.
IV
(09)
L
(A9)
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,%ic$ 17 1
pickup frorn (A9)
1 4
rv
(D9)
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(A9)
11. .. -t
lar
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56
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ro.
g
Licks 18 and 1! also run through the first four bars of the progression. Lick 18, made up of / otes
from the minor pentatonic scale, ends with the 'rd and ,7thof the 1 chord. They are the essential
notes of a se9enth chord :e;plained thoroughly in Blues You CanUse Guit ar Chords). Lick.79
begins witb double stops, barnmering on to the <th and 1=7thof the 1 chord. It continues with notes
from the ma7or pentatonic scale o9er the IV chord and ends with a slide into the 'rd and <tb of 7
:>? and 0 6 on tbe retum to the 1 chord.
Lick 20. played o9er bars 1 - <, comes entirely from the minor pentatonic scale until the end, where
it slides into the 'rd, <th and ,7thof tbe IV :/ 6 chord, @otice how the basic moti9e is repeated in
different positions on the nec$. Aou get a different feel in each position and the surrounding / otes
are different, ma$ing for different possibilities in your choice of tbe ne;t lic$s. Tbis lic$ can be
played o9er four straight bars of al cbord, as you sometimes find in tbe opening of a bJues tune.
+ %ic$ 18
.B &.. 11
I
:!7
~ ~ Jr -. . . .
B C
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(D9)
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+Lick19
r
(A9)
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3
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t
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+Lick~O
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ft
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Lick #1 $%&i' in$() 3 O,Il t*% 1c*+),, %-t%,' t*)+u&* fu% c*(&% t+ t*% I. c*+), i$()' / (, 0,
(, %,' $(ck +t*% 1 c*+), in$() 1. 23tic% t*% 'li&*t %*(&% i the fi)'t f+u) $()'= -f)+4 (5~,
6*ic* i' t*% /t* +f t*% 1c*+),, )+ 5~, 6*ic* i' t*% ~9,f t*% I. c*+),. It'' 7)%tt8 ,i''+(t, c)%(ti&
( l+t +9 t%'i+, $ut t*% t%'i3 i' )%l%('%, 6*%8+u )%tu)t+ 5~i$() 1.
Lick ## 4(k%' u'% +f +t%' f)+4 $+t* t*% 4(:+) (, 4i+) 7%t(t+ic 'c(l%', 2+tic% t*(t ( ;< i'.
u'%, +t*% I %*+), (,( C q .i' u'%, %=%) (). c*+),, &i=i& ( 't)+& '%'% +f t*% c*+), c*(&%.
A+t*%) lick t*(t c($% 7l(8%, it*% '(4% 7()t +f t*% tu%, Lick #3 (l'+ 4(k%' u'% +f t*% '6itc*
$%t6%% ;<(, ;>+t*% 1(, I. c*+),', )%'7%cti=%l8. lt ?".l@A 'li,%' it+ ( 1c*+),
(t t*% c*(&%i $()1-t$i' ti4% ( 7()ti(l A1 (t*% 3), - ;<, (, ~1t*- B) f)+4 +%
f)%t$%l+6.
Lick #4 't()t' +ut 6it* t*% +t%' +f t*% I.C c*+), (D, D<, A, (E, C ) (,'t*%c*(&%' t+ t*% +t%' +f
t*%.4i+) 7%t(t+ic 'c(l% 6it* t*% addition+9( ;<. It'%,' +(5(, D-t*% roer (, ~1t*+f
t*% . c*+), (5).
FLick#1
1
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11
+Lick22
l
(M)
pickupfrombar 4
IV
(D9)
1
(A9)
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pickup
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((9)
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+Lick24
IV
((9)
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3
1
(A9)
v
(,9)
Lick 2- p.a/0 arou%1 2it3 a +ariatio% of t3& ,'to ,'t3i%4 t3at 2& 0a2 inLick 20. 5ou ca% u0& t3at
fi4ur& o+&r a ! 6 c3or1 23&r&+&r it OCCU1'S ina tu%&. 73& r&0t of't3& %ot&0 com& from t3& A mi%or
p&%tato%ic 0ca.&, Lick 2- ca% b& u0&1 i% bar0 -- 8.
7b& %&9t t2o .ick0, Lick 2: a%1 Lick 2#, fit inbar0 -- 8. ;ot3 0tart ri4bt o% t3& ! 6 cbor1 2it3out a
pickup from t3& pr&+iou0 bar. 7b&/ ar& bot3 ma1& up of %ot&0 from t3& A mi%or p&%tato%ic 0ca.& o%
t3& ! 6 c3or1, a%1 mak& u0& of t3& <= 23&% t3&/ '4&t back to t3& 1 c3or1.
18
1,
-
Lick 28 is made up of motives that, by themselves, caD be smaller licks. The first lick inbar 9 on
fe V chord gets its notes from the major pentatonic scale. In the next bar is a lick that can be used
r
y place the I chord appears. It can even be extended to t!o bars to fit over bars " and #. The
ast t!o bars $the turnaround% contain the classic d.escending chromatic line from the root &'% do!n
ti the "th $(%.
ick 29 starts out !ith double stops consistiog of the root, )*th, and "th of the I chord $'%. It
thanges ro the major pentatonic !hen you reach the I chord inbar +,. In the turnaround, there is
)return to the minor pentatonic, !ith a C n on the + chord. -ou can see ho! important this little
.evice$&/ to &0 s!itch% is.
ick2"
r v
(D!L---_
u~r F'
+
(A9)
-.".-..... :~ ~
I " -F t( f1 (i r r fuf
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* +,
I ..... 341
1 1
ick2#
I V
(09)
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ick2*
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1 1
8
<he last group of licks brought us to bar 9, !bere the chord first appears in the progression, then
5 othe I chord in bar +,, and finally to the tumaround inbars ++ and +2. That;s !here this final
)oup of licks picks up.
p'ick 30 is a tumaround lick. It starts !ith an ' chord $&/9(9'% and then moves do!n through a
short minor pentatonic scale run to the root of the chord $(%.
+9
~Lick28
1
(./\9)
turnaround
r
~A9)
v
(E9)
3
~Lick29
rurnaround
1
(M)
1
(A9)
"'"
3
1
pickup (A9)
v
(E9)
IV
(D9)
IV
(D9)
3'
3 y
fuil 1(4 114
+Lick30
1
(M)
turnaround IV
(D9)
1
(A9)

(B9)
3
1/4
!"#"#$"r to %ork t&rou'& .all of fu" li"k( in all k"y() *&an'" t&"rn around) fiddl" %it& t&"#) an+
#ak"n"% on"()
20
SECTION .3
ROCKIN' ITUP: LICKS31- 45
Hot Bluee-Rock Licks in the Key ot E
Now let's turn our attention to another style=-blues-rcck. It's generally an up-tempo style ofmusic
that' s great. for dancing and a whole 10t of funl There are Iots j i flash)' rapidlicks! full of lots of
notes. "hile they often seem incredibly comple# and. difficult.when yo first $ar them! you'll see
in this seetion that! en closer e#aminat%on! many of them are simple and straightforward- though
.not a11of them are. They do go by fast! and you will need to de&elop a rapid picking! techni'ue if
you ha&en't already. In fact! (ust leaming and .playing these licks will help you de&elop speed in
your playing)
The licks in this section are written in the key of.* and they often make use of open strings. +orne
ofthe open-string licks wil, be difficult to transpose to ether.keys! but it is worth the effort.to try.
-ou'Il find that since * is the guitar key with the most open strings! it is perfect f.I this style. It
contains tbe Iowest! biggest sounding note .n the instrument for the root of the key! and there ate
10t/ o% 'uick licks that lend themsel&es 'to the open position on the guitar! Transposing from this key
will change the feel and fue sound more than ch0nging .from 0ny 1ther key!
$ost of tbe licks you use-in slower blues tunes and in shuffles can be used in an up-tempo blues2
rock style tune) a11you do is speed them up. +orne ate more closely associ0ted with this style! and
the licks included in this section are among those.
The chord progression we'Il use is only slightly different frorn the ones we'&e seen /)0 faro The only
change is that ir does not change to the I3 chord in bar 4. Instead! it stays on a I 5h.Td for tbe first
four bars of the tune! and then you cbange to the I3 chord (ust as you did inthe pre&ious progres2
sions! In th6 last two bars of the tune you(ust stay on the lchord. 7ere it is written 89.11)
: ;ocki,%' <lues =rogress%on
14-bar <lues-rock =rogress%on in *
[
*>
~fr!1"
r
.1 t
1
*>
I!==t=--="
1!..
l O l O f
' 0
f-
I ! I
3
B7#9
=? et@ ..
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A7
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I !! "#"!$
!.
!%:
T
&1
The first three licks are actualiy variations of the same two-bar lick. All three variations begin alike
on the 1 chord, and only change in that last half. How they end depends on the chord on which you
are ending. The first, Lick 31, stays on a 1chord. Lick 32 ends on a ! chord and Lick 33 ends on a
! chord. All tbree are bui.1tfrom an " blues scale. They can be used anywhere tbere is a 1chord in
the tune as long as you use the ending that corresponds to the ending chord.
+Lick31
r
#"$%
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J
1 1
a
t -
1 1
.t'
V
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-
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(87)
II.; i.
,
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-
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A .: , n .(, n
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*
The ne.t two, Lick 3+ and Lick 3/, are built from the " minor pentatonic scale.
Lick 3+, fingered in the twelfth position, ineludes a 01, the 3rd of the 1 chord #"%, and is played
either in the opening four bars of the progression, or in the two-bar stretch of the 1chord beginning
i nbar $. t can also be played an octave lower using open stri ngs, Try it both ways.
Lick 3/ can be played in tbe opening four bars of the tune or over the change to the ! chord, with
the pickup in bar +. )ike most of the open-position licks in this section, it can be played up an
octave at the twelfth fret.
Aso played in the first four bars of the blues-rock chord progression, Lick 32 and Lick 3$ are found
at the twelftb fret. As with the above licks, they can be played an octave lower at the nut.
22
Lick 36 malees use of double stops with notes primarily from the E minor pentatonic scale. Lick 37
also has double stops, taking the notes from a combination of the E major pentatonic and blues
scale. It is reminiscent of the '50's bluesrockers, and you should spend a lot of time playing and
changing around these double stops! transpose them to all keys, "hey are real#y$ery important to
the bluesrock style.
+Lick34
I
(E?) r-
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' )*llt
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el
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IV
(A?)
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23
Here are sorne more licks with double stops. This time the double stops are taken from the notes of
the chord over which you are playing.
Lick 38 makes heavy use of double stops, Begin with the root and 5th of the E chord and slide first
into the 3rd and 5th, and then the !tb and 3rd o" the E! cbord. #n the third bar of fue lick, you
change to the #$ chord and slide into the 3rd and !th, 3rd and 5th, and b!th and 3rd of the %!
chord. The lick ends on an E&the root of the ' chord. It really moves along the neck&all the way
from the twelfth position down to the nut. (ou can see that a good knowledge of chord construction
is essential to developing and understanding this type of lick.
Lick 3) is played on the change from the # ro the #$ chord, with the half&beat pickup in bar 3. The
three&note chords played over the #$ chord are partial %!b) chords. Be sure and transpose this one
playing over the ' and #$ chords in every key.
Lick *+ is pure flash and comes from the minor pentatonic scale.
+Lick38
,
-E!.
#$
-%!.
'
/E!.
;:;~ ~ ~ ~ ~.
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0 '#
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.~
24
The next two licks begin at bar 5, wbere the chord progression has moved to a IV chord.
Lick 41 starts on a C~(the rd o! the IV chord, "#, and moves thro$gh the root, 5th, and back to the
root in the !irst !o$r notes. %ollowing a descending r$n made $p o! notes !rom the & ' minor penta(
tonic scale with tbe addition o! a C), *o$ get to tbe second bar o! the lick which contains the root,
5th, and b+tb o! tbe chord, and a slide $p on a do$ble stop to the ~+tband rd o! the"+ chord. The
lick ends with a long, one' position r$n thro$gh the minor pentatonic scale pla*ed over the 1chord.
Lick 4, makes $se o! the chord tones $sed in Lick 4J, and ends with a !ast and !lash* r$n down to a
-' the root o! the V chord. .la*ed at the o$t, the mn so$nds di!!ic$lt b$t it/s not reall* tbat to$gh0
master this one and *o$/ll reall* impress *o$r !riends.
~1ick41
rv
("+#
.11./22 ,lt ~
/~' ' ' r
%
f~
%34!
I J
J
55~2' 2
~
E
" l
5
i d
!$ 11
t
. ,
e &
~ ~
v
t6
7
(& 8#
3~, lt . ~
'
~
~~~ ~ ~ !i,. ~ 9 1'
9 1' : ' ~
~~

' ' ' '
b3;< ' 1' 11
t6
!$ll
. ~ t . ~ >:
. . <9
. . . ~
o~ .~ 2~ 0~
. . . . . , . ~ . ~
o.
. <
=1ick4,
IV
C"+#
%i.> )? ~
~ ~ ,. ~ ~ ~~ ~ ~~ ~ 9 1' ~ h. ~
t6
fi . U r$ll !$ll
< e t < t . t e
. ;;,
.
' l/ l/ <
.9
<
..9
<
. .9 .
v v
.'
;
I
(& +#
V
(B?)
3" , . 9 9 1' ~ ~@ ;. :1 h. ,~
' '
~
' '
t6
A
-ti
A
. ~ .n on n ~ ~
. ;-;,
~
25
The next three licks take us from the V chord in bar 9, back to the 1 chord, and then to the end of
the tune.
Lick 43 rnakes use of double stops that are very similar to those found in Licks 36 and 37. o!ever,
they fit over tbe V chord here and are played in tbe seventh posit"on. #n the second bar of tbe tick,
fuere are one$fret slides 1 , 1 P to the b7tb %&' and 3rd %($sharp' of tbe )7 (V) chord. Then itmoves
throu*h an easy minor$pentatouic run do!n to the open lo! ).
Lick 44 also uses double stops on the V chord, creatin* +uite a bit of tension and dissonance. The
lick ends !ith a little open$strin* flash on the 1 chord.
Lick 4, actually starts in bar 1-, thou*h you could start ita bar earlier repeatin* the motive found
there. #t ends on an ). the root of the 1 chord. Very often in the blues$rock style, a chorus ends on
the root of the 1chord There are exceptions, thou*h, and !hen you avoid endin* the turnaround on
the root, you can create a sense tbat the solo is *oin* on for another 1 2 bars.
+.ick43
V
(.B7)
1
(E7)
" .. ~
...: l: : ~ .-
= : 1 -
..,
// 011 -r ~~;
2
114
.,
ft 1 ft ft
.,
t
:, .~ :, n
.,
:, .,
G
.,
01 01 314
. n
+.ick44
V
%57'
1
(E7)
" ji it
. 1 1 .. .... ". . b .. ~~I}-!: ~ .. ~.
.." ' . -
-
el
---
~~~
;
.~
';ij
.,
ft ;,
l6
.,
l 7
+.ick4,
V
%137'
1
(E7)
" .. ~
el
8/ /..
~d
j
2 _ D
..
~
- tr'~ !"
~
~ n
6s 1 po"nted out earlier, the open$strin* licks are often +uite difficult ro transpose, but see !hat you
can do$you rni*ht be surprised #$ !hat you can come up !ith.

l
26
SECTION4
ABITOFFLASH: LICKS46 - 60
Impressive Licks in a Slow Blues. in G
This section contains more slow blues Iicks=-ihis time witha little bit more flash. Instead of basic,
simple licks, these make use of a lot more notes in th same amount of time! The licks in this sec
tion are difficult; praetice small segmente of them at first. It's worth the effort because the are
e!citing and a whole lot.of fun to pla;
"ou should ha#e a prett good idea of how to use the lides at this point. $ather than go into detail
about where the can be plaed in fue tune, I'l% lea#e it, IIp, t& "'(ltQ . work it out. TIte chords are
still gi#en in the music, so ou shouldn't ha#e an problem. The are gi#en here in no particular
order so that ou can figure out where te put them in the l''-bar blues progression. The are written
in the ke of ). The following *+-bar ,uick-change progression can be heard -n track .*.
+/nother 0low1lues
*+-bar 1Ines 2rogress3on in )
IV I
4& G9
I
,-
!
l O le
l ::t-
i'
! 1"
I
I I f
,
IV
5 5 .
r
G9
Ir
t.==...l
r
j i '1
6 IV * I6 I 6
!:"
4& 09 4& G9 7&
r
l O I . .
#
I8'
J===--t.
w . , .
$
9
J %
,
-& ... .
"ou should also be able to anal:e the licks with sorne eilse now. The are no more complicated
than an of the pre#3ous licks, e#en though the generall contain more notes.
Licks ;< and ;= are both deri#ed from the rninor pentatonic scale. Lick ;< is a turnaronnd Iick end
ing on a 7=>& chord for the final 6 chord. Lick ;= gets its notes from a 4& chord on the changeto
the I6.
+%ick;<
IV ' *
t(rnar)(n* ?)&@
?4&@ ?A&@
+ ,,i.
r-;
-+ . 'B
-s-.
e
-/-/"
e)
&
I
'BC'B ... .D..!'..,;
. .
!(n t(l !
+ ++-
#
?,A&@
I
//4
. .
. 7
+=
~Lick47
f
(G9)
v
(D9)
" . 1 1
pickup
s: jr~ jr~

, . . . - . . _ _

~r--..-"\ i #
-;::l- . .
' "
-
-...,
'- - 3- - '
rull Iull full
r;,
" r
r;,
~
,~
" '-
,
r;,
;, ~ ;, ~ ~.
v
.>
rv
(C9)
turnaround
r
(G9)
3" . 1 1 . _ , r- - ~fL ~,.--..._ r-- /"\ r-

jI.- .
' "
I
J"
I
rull fuI!
r-. t
~ ~
"
.., ,0
I~'
/ Ir", ., ~
,~
r
Th !"# f$ur li%& (4'- (1 ) )r *uil# fr$+ #h G *lu& &c)l. T*, c)! * #rick, #$ pl), *c)u&
$f #h rh,#h+, )!% *c)u& -r,#hi!. .$& *, -r, /uickl,. T)k ,$ur #i+ )!% l)r! #h+ &l$0l,
)# fir&#, .r)%u)ll, *uil%i!. up &p%. Lick (1 c)! * u&% )& ) fill lick *#0! li!& $f #h
-$c)l -r&&.
+Lick4'
[
(G9)
(or !)
(29) $r (G9)
" c-. ;'\ :-'\ ;'\ c-.
_ #i. . 1 1 r- ~~lfL. f L .f'-. f L f L . f L . f L . f L . f L . f L . f L .
- . J - '""-'3 _ _ _ . . . J L_ _ ) _ _ _ J L. . - 3 _ _ . #__ 3_ _ _ _ J '- - 3- " #_ 3_ _ _ _ , #.- 3~ L- - 3_ _ _ , . . . _ $---$ ' -- 3- - ' '- 3_ _ , '- - 3~
full
,
~ r-\ c.
%' ;,
c. e: c. ' \
"' .
r-. r$
r>.
;, ~ ~ ~ ~ $
v v v
.....
.
I4
(C9)
/"--. f' ..
3" . 1 1 ~. . ~ ~~
fL
. - - 5- . .
- . J I
rull full
'- - 3- - - - - - ' L- 3- - - - . 6 '- - J_ _ _ '
.J _f
.,
~ -~
.,
. .
t:
&'
+Lick~
(C9)
- ~ --=-- - -
= =
-
foil
_t
full
_j
full
r.
T
(G9)
n.
full
+LickSO
pickup
+LiCk~l
(G9)
29
.J
+Lick55
I
(09)
~~~~~~~~~,~~~~,~~~ I
Jr.. -.. ~.---.. 11ft. s>:
J
full
t
.;, ;; ;, .
seqeence pauern J
rv (or 1)
(C9) or (09)
scquencc p:mem I
After a short pick-up, Lick 56 stresses an A, tbe 5th of the V chor (!"#, before mo$in% on to quick
b&ues-sca&e fi%ures throu%h the 'V an ' chors an the be%innin% of the turnaroun. Lick 5( is pure
b&ues-sca&e f&ash o$er the same chors.
+Lick56
) v
(09)
* -..... b....
(09)
./u!'
J!~ }!_~ J!~ jr~ jr~ .~ x>;
,,~
-' L--.+~
_3---.J
fu&& full
+ ~
,~ ,~ ,~ n~,~ .;-;---. t~

t:.
u v u v
~;, .
.'
-' I
xr-: ~~
b . . . .
J
:--... :. sr-. " ""'
,--#--,
---+--- L,..* * .----.J I
)/0
foi&
~J
foi&
f~~
)/0
+
. r: t t
~;,
~',;,

turnaroun
1
(09)
rv
! (C9)
JI
-,1
+)
~LiCkS7
-..__..;;
rull
run
_}
full
~ . ,
r=-:
r-,
. , . ,
e ~
. -' /,;,

rv
(C9)
tumaround
I
(G9)
3",. c-:

_--... ~~ I';..~"
eJ
.!
~.. ~ I
"-3--" "-3--"
1ull #ull
t
~
t~
e. < : . ;
., /
~ ~
. ,
~t:.
Lick $% i& a turnaround li'k ()i') re*eat& #ue &)ort moti+e in t)e ,e-innin- t(o more time& (it)
&orne +ariation. .oti'e t)e &lide u* #rorn a /, to a 0 at t)e tent) #ret and t)e irnrnediate retum to
t)e /~ at t)e t)ird #ret. 1,i& i& tri'k2, and (ill mo&t l3kel2 take &orne *ra'ti'e to -et do(n.
Lick $9 mo+e& around t)e #in-er,oard a ,it, t)rou-) di##erent *attern& o# t)e ,lue& &'ale, and #inall2
arri+e& at a &e4uen'e at t)e end. 1)e &trin- rake at t)e ,e-innin- o# t)e re*eat &)ould ,e *la2ed
)ard, makin- a &tron- a''ent.on t)e #ir&t note o# t)e &e4uen'e and 'reatin- a *o(er#ul ending to
t)e li'k.
5n t)e #inal ti'k o# t)i& &e'tion, Lick 60, (e )a+e anot,er &e4uen'e. 6n t)e la&t re*eat, it"& altered in
a (a2 t,at &*eed& u* t)e r)2t)m and -i+e& a &en&e o# motion to(ard& t)e end o3 t)e li'k, 1)e
motion &lo(& do(n a& 2ou rea') t,e &lide into t)e 9 ')ord at t)e end.
+Li'k$%

tumaround (G9)
IV
~. (C9)

(G9)
v
(D9)
",. "-
r-.""-""",, r-;

~~
"
.~77--..
~ .,..- - ; .~. : ---. . . ........-.... . .
.
eJ
-
".
~3---. J
#ull full #ull #ull 1/ 8
!
. ,
!""""""""
! ., "in !
. ,
! r>; !
"" .
.> . , . ,
~ ~
"
~

J J . ,
, . ,
./ ,/
v v
.
" g
32
+Lick59
IV
(C9)
I
(09)
,-ir- --
- v- __.." ~.
.4
-
+Lick60
rv
(C9)
I'~
1/2
J
f u n
--
ru n
variation o r puttern sequence pauern
[
(09)
/;'..
3_A_lt. ~L~ _ ,
=
1/2
J
L . . . . . I . J
-
ru n
.E:::::,
33
SECTION5
ATASTE OFJAZZ: LICKS61 - 75
Jazzy Licks and a Shuffle in F
The blues has spawned a great many styles of music over the past century OL SQ, frorn rock 'u' roll
and rbythm & blues to jazz and popo Once those styles have becorne firmly established witb charac
teristie lieks of tbeir own, tbey often find their way back ro the blues witb an infusion of new ideas!
This leads to the evolution "# the blues!
$e%ve seen sorne e&amples of the blues'rock style, and now, for the final section of this book, we%ll
look at sorne jazz'style blues licks! They very often are formed from the chords more than from tbe
blues or pentatonic scales!
(s with the last section, the licks are not in any particular order, )ou%ll see by the chord symbols in
the music where they fit in the cbord progression! *emernber that, for the rnost part, the licks in a
shuffle are played witb a strong swing feel!
Tbe chord progression we%+l be using for these +icks is a ,uick'change shuffle in the key of F. )ou
can hear it on track -. of the /0! 1ere it is2
+#.'bar
ShuffleinF
I IV r
F9 Bb9 F9
f~'i
l' ~/' l'
#
I
!
j
, . .
#
l O , . - l O
i'
#
' 0 j l'
' 0
IV r
~&
3b4 f9
O
l'
; 0
i
#
l O

t'
i'
#
, .
' 0 r ; "
I
l O
"
l'
l O
i
V +5 # rv # 5
~&
C9 3b4 f9 Bb9 F9 /4
j l'
l O
#
l'
j.
l' 6%
I
, " .
' 0 l'
#
6%
l O I
#+
J i !
Lick 7#, the first of the lieks inthis section, is played over a + chord! Itgets most of its notes from
the 8 blues scale until the end! There, you slide up one fret to the 9:th and ;rd of the 8: <#= chord,
(t the very end, you slide back down one fret to the ;rd and 9:th of the 3k: chord <+5=! >otice
how the lower note <?9=, the b:th of the # chord, moves down to a 0, the ;rd of tbe +5 chord! (t the
same time, the ;rd of the + chord <(= slides down to (b to beeome the 9:th of the +5 chord! Tbis
lick could be used as a short ending lick if you stop "" the ?96(double'stop at the asterisk inmea
sure .!
Lick 7. is a coollick with notes from botb the 8 major pentatonic and blues scale!
Lick 7; is played high up the neck in the thirteenth position, and is derived primarily from the
minor pentatonic scale! !
34
+Lic.k61
1 .~~ N
(F9) lO stay on I (Sb9)
8 1 1 0 - - - - - - - - - - - - _ - - - - - - - - - - - - - - - - - - - - - - _ . . - - - - - - _ . . - - - - - - - - - - _ . . - - - - - - - - - - - - - - _ - _ . . - - - . . "
11. 1 ro---
tJ .. ..
.. ...._ ., ....___....

..,
" ' _
r; .. .. .:
.0: .0:
~Lick62
IV
(Bb9)
1
(F9)
J
(F9)
pickup
11
3
~
~
it,
F!t"31
J Iv
~J ~J
#$
tJ
. . . . ..
#
114
t
~
_% ;, .. ;,
& ;, .. .. .. .. ..
"
..
...
.. "
..
" "
~ '
(
' ' v u
~Lick63
1
(F9)
I)
' (Bb9)
':
~ ~~ ~ ~~ ~ ~ 'r; ~ ~ *' # ~ ~+ 11
.. ~
..
tJ
fu , ull fu!
t t t
... .0: .0: ..,
% " ~ " ~ +0: ...
"
."
...
...
.' .~
#
-". /.0t t", .. lick1 $.t 231t 3* t".i, /3t.1 *, 32 t". 2i/3, p./t4t3/ic 1c4l.. &t t". ./! 3* Lick 64,
t". /3t.1 4, . *, 32 4/ F5 c"3, !. -". p", 41. b.$i/1 6it" t". 3, ! $n t%& b.$i//i/$3* t". *3u, t"
b4, 3* t". lick, 23'.1 3/ t3 t". , 33t 4/! 3, !, t"./ *i/4ll7 !36/ t3 t". ~5t" 4/! 9t" 3*
t". c"3, !,
8"il. Lick 69 i1 4ll 2i/3, p./t4t3/ic, Lick 66 t4k.1 13, /. 3* it1 /3t.1 frorn t". F 243, p./t4t3/ic
4/! blu.1 1c4l.1.
~Lick6: I -) J
(F9) (Bb9) (F9)
8 vo - - - - - - - - - - - - - - - - - _ - _ . . - - - - - - - - - - - - - - - - - - - - - - - - - . . - - - - - - - - . - - - - - - - - - ,
~
'$()u'
" '*
1
-
##
tJ
#:1 #:1
;# #:, #
'--'"
*u 11 , ull
t ...
."
t
+ .:' _ .0: ... ..,
" .,~
...
#
35
+Lick65
IV
(B~9)
1
(F9)
, . b . . _ ) . , . . . . 1 ~. . _ )
. J
-
. . .
" - ~ . . . I
1/4 1/4 ]/4
) )
. J
full 1/4
t t
. '
. , . ,
. '
+Lick66
V
, .
(F9) (C9)
. .
. J
-
-
full full full full rull full
t t + t t t
. . .
"
A
. . .
g
IV l V
!
(B~9)
~
(F9) ("9)
I r
r
r
#
~J
I tJ
J
I r
'E
E

r r r
F
lE
$
=-
r
11
j j
%
1 &
'
14 11
4 ' 4 ' 4
4 ' (
)it* % +,-. /, u,u.u' l ,/t+., Lick 60 f/ll/1. t*+ V t/ IV 2r/gr+..i/, ,ic+l3 % +f/r+ r+tur,i,gt/ '
% lu+.-.c' l+ figur+.
Lick 68 t' k+. it. ,/t+. i, t*+ fir.t t1/ % ' r. fr/4 ' B~15 c*/r-, ' ,- fr/4 ' , F0 c*/r- int*+ t*ir-
' ,- f/urt* % ' r.. 6*+ c*/r- t/,+. ' r+ gi7+, int*+ 4u.ic. 8/u c' , fi,- t% + ,/t+. in t*+ c*/r- -i' 9
gr' 4. ' % /3+ t*+ 4u.ic.
Lick 69 i. -+ri7+- 2ri4' ril3 fr/4 t*+ F % lu+. .c' l+.
~Lick60
v
J K 9)
IV
(b 9)
_ .
li- - - - - ~
full
+
full
~
1/4
t
--& 0
. . .
A
, . :
1
tu4' r/u,-
V
5, .
(F9)
~. , . . . . . 1
("9)
1
. J
1/4
)
. ,
~
56
+Lick68
IV
(B1>9(13
Bb13
_ 1 2 &
"
.- fL ~
~.
'~
-A ~ fL ~~ ~~
-
V
Bb 13: 3rd lLth 5th 13th root 3rd 5th 3rd 5th 9th b7th
,~
... ,e . <e ...
.v
..
...
F7
1
(F9) or (F7)
. 1 3fr
3" Jf~ ~ fL
)r_ ,..
I
..---....
V
I
F7: 3rd 51 h !" 3rd r##$ 5th 1 >71 h !" 3rd root
~ "%1
,e
.~
. "
'"
.~
+Lick69
1 V
(F9) (&9)
Bva - - ------- ------- -------- - -. ----- - -- - ------- - - -- ----- - -- -- - ----. - -. - -- --- - .-- ----- --- -- - --- - - -- --. -.- --
----' ----- 1 1 _ l LC:_
( (
~
.1
)!ll )!ll
.~~ t
'"
t
,., ,.
.v
.-* .. _..~
_ ,
IV
$1 >9)
1
(F9)
t!r+,ro!+d
-
(&9)
3
8va---- ---- --- ---- _..------ ---- --- -- -_..---- -- _..-- -- --- -_..--- -- -- ----- ..-- ---- ---- --- ~
.,%.. ..-- 3---.
1 1
~b#
---
_ .,
--
~~J
.
~
3
---
3
-
3
1./
1/4
11"

t .., ..l
." .v
.. ... ,0 !.
.v
.e
.v
1)ter re2e,ti+3 , te+th-2oitio+ )i3!re )ro4 the r+,5or 2e+t,ro+ic c,le i+ Lick 70, 6o! le,2 do7+ to
the )irt-2oitio+ )i+ih 7ith , tri+3 r,ke ,+d , )i3!re e+di+3 o+ the 3rd o) the 1 chord.
Lick 71 be3i+ 7ith , re2e,ted be+t do!ble to2 ,+d 4ov e do7+ thro!3h the 4i+or 2e+t,to+ic
c,le to the 3rd o) the 1 chord.
Lick 7/ 4,ke !e o) , e8!e+oe 2l,6ed 99the 1 ,+d $- chord, ,+d theo 4ov e thro!3h , 4,5or
o!+di+3 r!+ (!i+3 the F :i;ol6di,+ 4ode-3iv e+ i+ )!e i+trod!ctio+) to the 3rd (<) ,+d root
(B0) o) the $- chord.
37
~Lick70
r
(F9)
IV
(Bb9)
1
( F 9 )
It
- - - -
lr'~ ...--:o_ br~_r- ~ ~ J
-
...
3 3
. .
r ake - - i
""""
"r . ~
_., _
ft ~
. . ,
+Lick72
I
(F9)
IV
(B1;9)
It ~ ~ ~ fL
. ;
J
~
" "
t: e
"
e
"
e e
"
e
"

(F9)
IV
(Bl>9)
4 _1 1
t
_ 1 ! : _
~
_._
_j
_ _ . ,
. ; ~
. .
I
.
" n .
"
~ e e
o
" "
Lick 73 starts wit trotes !ro" te"i#or $e#tato#ic sca%e, &eca#'eto te1cor( intetir( bar
o! te%ick o)t%i#es a# F "i#or cor(, wic creates (isso#a#cewe# $%a*e( o+er a# F7 cor(.
&at,s beca)seteF "i#or cor( as a -~(a b%)es* so)#() a#( teF7 co#tai#s a -.. Tr $%a*i#'
te" to'etber (tbir( sri#', se+e#t !ret a#( seco#( stri#', !o)rt !ret) to ear teso)rce o!te (/s0
so#a#ce. &e%ick is te# "i1e( wit #otes !ro" te"ajor $e#tato#ic we# *o) reac te2 cor(,
a#( it "o+es back to te"i#or $e#tato#ic at tee#(.
Lick 73 starts o)t wit a# F "i#or $e#tato#ic sca%ewic ca#'es to a# F b%)es sca%eo# te4
cor(.
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(teroot o! te42 cor() (ow# to 6 (te3r( o! te4 cor(). &e)$$er #ote(F), wic (oes#,t
ca#'e, is te7t o! te42 cor( a#( teroot o! te1 .
38
1-
+Lick 73
IV
(Bb9) (F9) or (F7)
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turnaround
IV
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3
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39
WHERE TO GO FROM HERE
Suggestions for Continuing Your Studies
Now that you've finished this book and have played everytbing in every key and in every position
on the guitar, you will probably want to move on to further studies. You may have a clear idea of
what you want to do next, or you may not be sure. Whatever the case, you will want to have a
somewhat organized approach ifyou don'twant to waste a 1t of time.
!he first thing 1 would suggest is to listen to a lot of blues guitarists. "isten to the.new #where tbe
blues is headed$ and the old #where it has come from$. "isten to all styles. %or starters, listen to
&uddy Waters, 'ohn "ee (ooker, )lbert *ing, +.+. *ing, %reddie *ing, !,+one Walker, and
)lbert -o11ins.!hese are the essential players to study,
)lso very important are .l mote 'ames, &agic /am, 0tis 1ush, (ubert /umlin (Howlin' Wolf''s gui2
tar player$, 'ohnny Winter, and -larence 34atemouth3 +rown. )dd to tbal list /tevie 1ay 5aughan,
+uddy 4uy, and 'imi (endrix #if you haven't already been listening to thern$.
!hese guitarists will give you a well,rounded education in the origins of electric blues,a sort of
3+lues 4uitar 11.3 !he first group will give you a good start, but if you rcally want to leam the
blues on your guitar, you need to listen to the otber players mentioned aboye. !here are more, but
you can take your time discovering them after you've gone through the aboye.
"isten to them with your guitar in your hands as often as possible. Whenever you hear a lick you
like, try to 6earn tright then and there. 7lay along. 7ay close attention to the subtleties, like slight
delays and their sense of time.
You should also learn basic harmony,how chords are built and how chord progressions work. You
can learn it your own, from a book #like my Blues You Can Use Guitar Chords, also from (al
"eonard$, or with a teacher. ) good teacher can make things a 1t clearet and easier. ) basic knowl2
edge o8 chords and progressions will open up a whole world of possibilities t you. !he two core
books of this series-Blues You Can Use and More Blues You Can Use-will give you a good foun2
dation in how to use that knowledge in your playing, with many examples and exercises.
9on'tlimit your listening to the blues. "isten to rhythm : blues recordings. &any of the great
1:+ p6ayers started with the blues, and the 1:+ style itself is an outgrowth of blues, /orne impor2
tant rhythm : blues guitar players are -urtis &ayfield, -omell 9upree and /teve -ropper #from
+ooker ! and the &4s and many more$, to name ;ust a few. "isten to ;azz<blues<1=cli crossover
guitarists /onny /harrock and "ucky 7eterson, too.
"isten to ;azz as well. /orne bluesy ;azz guitarists include *enny +urrell, 4rant 4reen, 4eorge
+enson #he crosses over to 1:+ as well$, and my favorite, Wes &ontgomery. !hey play ;azz, but
they have a lot of blues intheir playing,with lots of b6ues licks.
%inally, playa lot> 7lay with friends. /eek out otber musicians to ;am witb. !bey don't a?bave to
be guitarists. 7lay with piano players, bassists, and boro players. 7lay with anyone who's interested
in the blues. "ook especiallyfor players who are better than you,you'lllearn more fr069 them.
7lay at open ;am sessions at your 'ocal night,clubs, if you can. 7layas much as you can with any2
one you find to keep up with you. 'ust be sure you have fun doing it>
40