Learn a lick and use it tonight in your solo! Ready to Use! All 101 licks are notated with fingering and picking direction, to allow learning them with minimum effort.No confusion! All 101 licks are tabbed and played in the key of A, so that you can learn them fast in a key most guitarists are familiar with and with no confusion due to key changes.
101 BLUES GUITAR TURNAROUND LICKS HOW TO
They are organized in a logical way, so that you will learn easily how to adapt them to any playing situation. Not Just a collection of Licks! Lick construction is briefly expained at the beginning of each chapter and for each lick.Fans of Eric Johnson, Guthrie Govan, Scott Henderson and Frank Gambale will find a lot of awesome ideas from this book to expand upon their stock blues licks and phrasing ideas and take their blues soloing to a much higher level." Tommaso does a great job of breaking down and integrating a common metal guitar technique into the structure of the blues style, enabling guitarists to play blues with the highest levels of creativity and expression. "The first book of its kind to cover an innovative approach to blues playing is here. Harness the melodic power of the Diminished and Superlocrian arpeggios for a modern Blues sound.Discover why the pentatonic scale does not work on Turnarounds (variations of the Blues chord progression) and what to use instead.Learn how to use Repeating Licks and Exit Strategies to add emotion to a solo.Learn how to avoid "kinks" in your solos by connecting scales and arpeggios seamlessly.Learn how to modify "classical" arpeggios and make them sound Bluesy.You can do it too, it's easier than you think! By Reading this Book You Will: The only thing that you hear is a melodic, coherent, solid solo. As you see, I am not ripping through the fretboard, and in fact you may not even be able to tell that I am using Sweep Picking at all. Check out the video above, where I improvise using some of the licks included in the book. When you do this, you do not HAVE to play it fast to make it sound good (though you CAN play it fast if you so desire). Rather than blazing through arpeggios, melodic players use Sweep Picking to blend scales and arpeggios together. The difference is that they use it in a different way than "hair metal" players. I COULDN'T HAVE BEEN MORE WRONG! Sweep Picking is in fact one of the best kept secrets of "melodic" players. I was actually surprised to discover that, since I thought sweep picking was a technique used only by shredders like Yngwie Malmsteen to play blazing-fast solos. Here is one of the "nuggets of gold" I discovered in my years of research: most Bluesy players whose solos I liked used a techniqe called Sweep Picking. You can read this book now and be able to use some of the licks included literally by tonight. So today, many years later, I have organized my experience in this book, so that YOU won't have to go throught the same slow, tiring process I was going through. And I would have loved even more to have this collection organized in a logical progression and with an explanation of how each example was composed. My problem was that nobody gave me any examples of how to make things work! I would have absolutely loved to have a collection of licks that worked in real-life playing situations. IT WAS EVEN WORSE THAN THAT! My solos lacked melody and spice, they were too bland since I always played it safe, but every time I tried something more daring I ended up with a trainwreck! I know I was supposed to play some notes outside of the scale, and I even knew precisely what notes, but somehow every time I tried using them they sounded hopelessly dissonant. My solos were all sounding alike, and not in the good "it's my style" way, but in the bad "I finished my tricks bag" way. I too was struggling for a long time trying to break out of my 3-4 licks that I was using all the time. If any of these three things above sounds familiar to you, then I know precisely how you feel. Not knowing how to seamlessly move from a scale to an arpeggio and vice versa.Not knowing how arpeggios relate to melodic lines and "justify" notes out of the scale.Having only one approach to Blues soloing (for instance, knowing only one scale pattern).There are three main reason that cause these problems: Have you ever heard a guitarist play something really cool in one of his Blues solos while you were thinking: "I really wish I would be able to do that?" Did you tried to reproduce the sound of great players only to discover that they are not playing the usual "box" pattern, but something more complicated and you have no idea of what it is? Are you frustrated to find yourself playing the same old stale blues licks over and over again?
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