30-MINUTE LICKBAG

Jamie Hunt of BIMM Bristol brings you a new and varied selection of licks to learn at easy, intermediate and advanced levels.

EXAMPLE 1 TED TURNER (WISHBONE ASH)

This riff uses the open D Major chord shape and slides it to a range of positions along the fretboard. Look out for the sus4 chords within the sequence. On these variations, add your fourth finger to the first string, a fret above the usual note within this chord shape. Also, take note of the Ebsus#4 in bar 3. Here, we stretch the fourth finger one fret higher than the typical sus4 shape. Use your bridge pickup and enough gain for some grit, then, add chorus and a splash of reverb.

EXAMPLE 2 TAYLOR YORK (PARAMORE)

This riff uses octaves, along the fifth and third string, to create a smooth melodic sequence. To control the un-played strings, let the tip of your fretting fingers touch against the neighbouring, thicker string, ansd let the underside of your first finger touch against the un-played, treble strings. This allows you to attack the downstrokes and drive the phrases along. Use your bridge pickup, select the drive channel on your amp, set a medium gain level, and add reverb.

ROOTS)

This lick features a descending sequence in B Minor Pentatonic, while including the 2nd/9th (C#) for further interest. Each phrase in the sequence lasts three beats. So, this causes the pattern to displace against the 4/4 groove. Familiarise with the hammer-on, pull -off passages, as they bring fluidity to the faster subdivisions. Select your bridge pickup, set your amp to the drive channel, turn the gain up just above halfway, and add some treble for clarity and definition.

This E Blues scale lick uses semitone slides on the third string to maintain pace and fluidity. It’s easy to run ahead of the beat when playing phrases like this. So, focus on the duration of each sliding note and try to hear the 16th-note triplet subdivision (six notes per beat) as you tap your foot to the pulse. This provides an accurate and consistent reference point. For the sound, use your bridge pickup, select the drive channel of your amp and dial in a decent amount of gain. If you have a delay pedal, set it to repeat at a quarter note (90bpm). This thickens your tone and brings extra weight to the notes.

This passage is built around a blues in A and targets the IV7 chord (D7), plus Ebdim, Gbdim, and Abdim. These chords create movement and tension before resolving back to the I chord (A). Each phrase uses the corresponding arpeggio, to reinforce the chord changes. Make sure you include the pull-offs, hammer- ons, and slides as they maintain the bluesy phrasing within the jazz-inspired note choices. For the tone, use your bridge pickup or two pickups together, and add a light amount of gain from the amp. This enhances the dynamic range and sustain of the notes.

This lick begins with phrases in C# Phrygian Dominant. Rather than alternate pick everything legato and sliding sequences are used for variety. The 4th bar contrasts this by featuring a full-on alternate picking sequence on the first string. Look ahead to the notes up at the 21st, 20th, and 19th frets. This will help you to land these notes with accuracy. Use a hi-gain distortion and add a quarter note delay to bring further size to the phrases. Use your neck pickup for a smooth tone during the C# Phrygian Dominant phrases (bars 1-3). Then, change to the bridge pickup for the closing alternate picking sequence. Enjoy the shredding!