Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing this video lesson and today I want to teach you how to play a lick from The Sultans of Swing. It’s Mark Knopfler lick and a really cool recognizable arpeggio lick. So be sure to click on the link in the description for the tabs and let’s get close up and take a look at this.

Mark Knopfler Lick – Fretting Hand

All right, so to start off, let’s look at the sequence that you’re doing with your left hand. You’re going to take your first finger and you’re just going to barre it at the 10th fret across the B and the high E strings. And then you’re going to take your pinky, and you could use your third finger I guess, but I think it’s easier just use my pinky and I’m going to put it that on the 13th fret. So the sequences is gonna be 13 pull to 10 on the high E string and then it’s going to be the 10 on the B string back to 10 on the high E string…

So it’s a group of four and its 16^th notes; so it’s like one e and uh… So you have a whole measure of that and then what we’re gonna do now is that the note on the B string is going to go up a half step, so just use your second finger. So now you’re going to pick 13 pulled a 10 on the high E to the 11th fret on the B string back to the tenth fret on the high E string… You have a whole measure of that same timing; one e and uh, two e and uh and then you’re going to take that shape and you’re going to move it up. So now its 15 pull to 12 and then your middle finger gonna be here on the 13th fret of the B string… And then the whole thing just repeats as far as what we’re doing with this hand; not too tough, but it’s what he does with the picking hand…

So you could play this with a guitar pick. So you’re going to pick, pull, but it doesn’t quite sound right and I also think it’s like really hard to play it this way; at least is for me. Because if I start with a down stroke, if I go down, pull, up, down, now I’ve got another downstroke if I want to alternate pick it. Or if I want to keep that same sequence if I alternate pick it down, pull, up, down, up, pull, down, up… that’s kind of awkward too.

So I want to show you how to do it like how Mark Knopfler does it. He just plays with his fingers.

Free Killer Practice Routine

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

Mark Knopfler Lick – Picking Hand

So how I’m going to do this is I’m going to play the notes on the high E string with my first and my second finger and then the note on the B string I’ll be playing with my thumb. So if I come back up into this first position here I’m going to use my middle finger to pluck the high E on the 13th fret to pull to 10 and then I’m going to use my thumb to play the B string and then my first finger to play 10 on the high E; so it’s second, pull, thumb, first… I think it that sounds a lot better. That’s a pretty tricky technique and I’m not really super great at and I cannot play it up to tempo that way, but I think it’s just a very cool lick and kind of a unique sound. Even if it isn’t a thing that you are going to play with your with your fingers, this is really good for working on your skills of hybrid picking. So playing this particular thing with hybrid picking I believe is for me is really, really hard because now I’m gonna use my middle finger to pluck, pull and then my guitar pick to play the B string and then my middle finger to pluck again… That seems really awkward as well, so I personally believe this is kind of the easiest way to do it.

So to work with this to build up your speed what I’d recommend you do is just work on really breaking it down. You want the notes even so you could count it as just one, two, three, four. Practice it with a metronome until you get smoother at it…

Mark Knopfler Lick

So the whole sequence, starting here in our first position. 10th fret, 13^th, so one e and uh, two e and uh, three e and a, four e and uh. Now we’re gonna move that note up on the B string to the 11^th fret, so I’m gonna use my middle finger… So on that last one there, he does the 13 pull to ten, back up to 10. Now when it goes to 13 this time, the last one 13 to pull… it’s almost like a muted note… so I’m not sure if that was something that he did on purpose, but it really fits good and sounds really good. So that’s our first two measures.

Now we’re going to move up so we’re basically moving that whole shape up a whole step.

So that’s going to put me on the 13^th fret of the B string, 12th fret of the high E and then the 15th fret of the high E string… Now this one has two measures; so one e and uh, two e and a, three e and a, four E and A, one E and A, two e and a, three e

and uh, four e and uh. So at the very last one comes back to the tenth fret; ten on the B string and then ten on the high E string and then the whole thing would just repeat. That last part there is hard. I catch myself like completely skipping out on that part. It’s just kind of a strange transition… So we just practice this separately… pick, pull, scoot down, ten, ten…

Okay, so another thing you want to look out for when you’re playing this is that if you’re playing with a really clean tone it’s not going to be as noticeable and this is played with a clean tone. But just for this type of playing sometimes I’m just working on these strings I don’t want these strings making noise. So I’m actually just resting this part of the palm of my hand here, the ball of my thumb. I just have it resting there in a spot so these strings are muted, but I have access to these higher ones…

Conclusion

All right, so there you have it, little lead guitar lick in the style of Mark Knopfler. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe the channel and hit that notification bell so you don’t miss any of the content we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing you this video lesson and today I want to show you a couple of pentatonic interval bending ideas for licks that you can hopefully incorporate into your own playing.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description for the tabs and let’s get close up and take a look at this.

All right, so you can see on the tabs, staff one, which is just a single measure; measure one is one idea and measure two is another idea and they’re not in really any particular order. These are movable since there aren’t any open strings so you can move this around into whatever key you want.

Interval Bending Lick-1

So this very first one here we’re going to look at we’re going to start off with a slide from nowhere to the 13th fret on the G string. So I’m going to use my middle finger to do this and the reason for that is that the following notes after that is 12 on the B string and then 14 on the B string… So what we’re going to do is we’re going to slide from nowhere to 13 and this whole thing’s got like a triplet, one two three, one two three, feel to it. So we’re going to do that slide from nowhere to 13 and then follow that with 12 on the B string and hammer to 14, one two three… Okay so now the next part here starting on the second beat this is where the interval bending comes in. So what I’m saying by interval bending is that I’m going to bend this note up and I’m gonna play it over the top of this note here. So if I bend to where it was pretty hard to bend like a unison bender where you’re bending to the same pitch here we’re bending because we get that cool interval. You can make some really neat sounding stuff that kind of emulates, like in country music, that pedal steel sound. So slide from nowhere to 13 to 12, hammer to 14 and then I’m gonna drop my pinky onto the 14th fret of the high E string; so I’ve still got my third finger on the 14th fret of the B string, but you want to keep your first and second fingers down here too so it’s easier to bend and you get all three fingers to give you the leverage to bend easier. So we’re going to bend this note up the whole step… and what we’re trying to get is that inner third sound there. So how I’ve got it written on here and this is for an idea so it’s like one two three… to the one two one two three and then starting on beat three you’re gonna do the bend again and then you’re gonna do bend and release… Then the 12th fret on the B string your first finger and then just let it roll up to get both the B and high strings together… Now you could change that around, you know speed it up, slow it down or you could increase the length of the bends… whatever you need to do to kind of make it fit whatever you’re playing…

Interval Bending Lick-2

All right, and then for the second one, it’s more or less the same concept, we’re just going to move it down a set of strings. So now we’re going to do our slide from nowhere to the 13th fret on the D string and now I’m going to use my third finger to do this because the next notes are going to be 11 on the G string hammer to 13… So here we have… and now we’ve got… Now for the bend on this one we’re going to bend that up a whole step on the G string, but then we’re going to be playing it over the 14th fret of the B string with my pinky… same concept of on the other one. The only difference is we’re on different strings and now we have to be up a half step on the note we’re playing over the top of. Now when we end this one… we have this 11th fret here on the G string and instead of going to 11th fret of the B string we’re going to go to the 12. So we’re getting that same fourth interval that we got here, but because the B string is a half step lower than the other string so you always have to compensate for that… So same thing you can elongate it…

Combining The Licks

Now you could try doing stuff where you hook the two things together, and again it kind of depends on what you’re playing over the top of. I would experiment with it so like here when we’re here… it’s like a B major and then we go to like an E… Now when we go to this one we’ve got an F sharp down to a B. And to the other one we had the five, so if you wanted to think of it that way it’s like E and F sharp; so one four five. But anyway you can move this around into different keys… wherever you want to do it… Anyway, this is just one idea of lots of different things you can do. My recommendation for like experimenting and finding these intervals is if you just take the pentatonic scale and you could do the same thing going into the lower strings, it just doesn’t really sound as good in my opinion. Anyway, if you take the pentatonic scale and you’re bending this note we already know we can do that that unison bend there we can do that there we could skip over a string… So in that case you have to hybrid pick, but that could be a subject for a whole other video.

Conclusion

All right, so there you have it, a couple of interval bending ideas for licks that hopefully you can apply it to your own playing. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing this video lesson and today I’ve got two more pentatonic sequence licks like the stuff we’ve been working on in the past. We’ve got one for descending and one for ascending.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description for the tabs and let’s get close up and take a look at these.

About The Licks

All right, so the first one here we’re going to start with the ascending one and this all right out of the minor pentatonic scale. So this is movable and you can do it in different places to play in different keys. I’m not going through the entire scale; it’s just a small section of it. So you can take the idea of it and you can move it around within the scale.

Pentatonic Lick Ascending

So here we’re doing it in E and we’re going to start here on the on the 14th fret of the D string with my third finger and then my first finger is on the 12th fret because we’re going to pick 14 pull to 12 and then hammer back on to 14… So this is all a triplet feel, so it’s like one-yel-low. And then we’re gonna go on the downbeat of two to the 12th fret on the G string with your first finger back to 14 on the D string and then back to 12 again on the G string… So we’ve already done one that was very similar to this with this same idea; this is just another way of hooking it together. So that’s the first half, the first two beats of the first measure… Now what we’re going to do is starting on beat three we’re going to shift up and we’re going to start on the B string. So now I’m going to pick 15 on the B string and pull to 12, because remember we’re out of the minor pentatonic shape, pattern one. So we’re going to pick 15 pull a 12 to 14 on the G string, so that’ll be beat three, three-yel-low and then on the B string 12 to 14 on the G back to 12, and that’s our first measure… Now starting on the second measure we’re going to start the sequence again, but now we’re moving up a string; so we’re going to start on the G string and I’m going to do 14 pull the 12 back to 14 as a triplet and then to 12 on the B string, back to 14 on the G string and then back to 12 again on the B string and that’s beat two. And then for beat three we’re going to come up to the high E string and we’re going to pick 15 pull to 12 and follow that with 15 on the B string and that’s beat three. And then for beat four we’re going to go back to 12 on the high E string and then back to 15 pull to 12 on the B string and that’s beat four… And then we’re going to end it by barring the 12th fret of the B and the high E string…

Pentatonic Lick Descending

All right, now let’s look at the descending version. So the descending version we’re going to start at the top of the scale and we’re going to pick 15 pull to 12 and then follow that with 15 on the B string; so again this is all triplets one-yel-low. Then we’re going to go back to 12 on the high E and then 15 pull of 12 on the B string and that’s beat two… 

Then we’re going to go to the G string 14 pull to 12, back to 14, back to 12 on the B string to 14 on the G string and back to 12 on the B string… Then on the second measure we’re going to be moving it down. So just like on the first one where we shifted up a string; now we’re going to shift down. So we’re going to start on the B string 15 pull the 12 and then we’re going to go to that 14 on the G string, back to 12 again on the high E string, back to 12, 14 pull to 12 on the G string. So that’s the first two beats of that second measure. Then we’re going to go to the D string 15 or excuse me 14 pull the 12 hammer to 14 and then back to 12 on the G string to 14 on the D string back to 12 and then finally ending on the 14th fret of the D string…

Moving The Licks Around

All right, so I was saying you can move these around. You could take the first one and starting it on the on the D string, the ascending one rather, and you could start it on the low E if you wanted to… however we want to do it just so it follows that same sequence. All of the notes that we’re playing are all in that E minor pentatonic scale. You can also move this around wherever you want since it’s out of that scale anywhere that you can play the scale you can play that same sequence. Now the further you go down the neck this way since the frets are further apart in your arms and more of an awkward position, it’s a lot harder. It’s a lot easier to play these licks at a higher fret. So there those are pretty cool, they’re just some ideas, hopefully this gives you some more ideas of things you can do in your own improvisation, so feel free to take any of this stuff and just dissect it make it your own.

Conclusion

All right, so there you have it, another installment of a little series on pentatonic sequences. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody this is Darrin with GuitarControl.com bringing you this video lesson and today I’ve got a kind of a cool pentatonic sequence for you. It’s a kind of a long descending run and we’re not using any open strings in this so it could be transposed into other keys and easily kind of slid around.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description for the tabs and let’s get close up and take a look at this.

Blues Pentatonic Lick In C

All right, so we’re starting up here we’re on the 11^th fret the B string with your first finger and we’re going to pick that and then do a hammer-on to the 13th fret and then pull back off to 11 and then follow that with the 12th fret on the G string. So this is all set up to where it’s in groups of four, sometimes it’s groups of two and sometimes it’s a group of three. So this one is a group of four and we’re gonna go to the 12th fret on the high E string with your third finger. So this is kind of an awkward and then slide up a half step to the 13th fret. So that 12 to 13 is a group of two and this is a group of four and then two… Then starting on the 11th fret or excuse me the 13th fret of the B string and your first fingers here on the 11th we’re gonna pick and pull and then back to 12 here on the G string… And then we do that 12 on the G string we’re going to slide down to 10… So that already by itself is kind of a cool lick and as usual to any of the stuff that’s in here if there’s like a particular part of it that you like or whatever, if it gives you an idea to do something else run with it…

Now we slide down to 10 there on the G string it’s with our middle finger then we’re going to go to the 10th fret on the D string, but we’re going to use our third finger because we’re going to follow that our first finger is going to go to the eighth fret on the G string and then to the ninth fret… We go to that nine and then we’re gonna go to the 10th fret on the D string and we’re going to pick to eight pick and pull to ten on the A string… Okay so we do the 10 pull the eight on the on the D string and then we’re going to go to the 10th fret on the A string and back to the eighth fret on the D string… Then we’re going to go to the 10th fret on the A string then to the ninth fret and then to the eighth fret and slide down to six… So we slide down to eight or excuse me down to six and then we’re gonna go with our third finger reach up and grab the eighth fret on the low E string and then we’re going to go back to the six on the A string and do a hammer-on to seven… So this whole section right here I’ve done a couple other examples that had a very similar idea, it’s like a really kind of a cool bluesy rock lick…

So after we have six back to seven on the A string then you’re gonna pick up the tenth fret of the D string you want to use your pinky and that’s kind of a big stretch… Okay so we get there, that’s like on the very downbeat of the third measure, then we’re gonna go to the eighth fret on the low E string. So how I do it from here because my pinkies playing the tenth fret here on the D string is I’m going to use my middle finger and we’re gonna grab that eight and we’re gonna slide down to six and then to three… Then we’re gonna go to the D string first fret and pick and hammer to the second fret and then the first fret on the B string to the third fret on the A string to make it resolve to C… this particular one is in C. So that last part of it after we do the… then we’re gonna go eight, six, three and then to the first fret of the D string and hammer the second fret and grab the first fret of the B string and then that makes it resolve to this C chord… So like I said you could transpose this into another key. So like if you wanted to do it in D then you just move it up a whole step… the spacing and everything since we’re not using any open strings you can kind of move it around wherever you want.

Conclusion

All right, so there you have it a pretty cool descending pentatonic lick, if I don’t say so myself. If you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing you this video lesson and today I’ve got some more lead guitar stuff for you. Today we’re going to be looking at the harmony outro solo on a Hotel California. So I used to think that this was completely just Don felder’s baby, but then recently I’ve read some things that are kind of conflicting to that. So I’m not really sure of the story. I always thought it was just Felder, but then I read something that gave me the impression that maybe Joe Walsh wrote this part of it, I don’t know. Also it sounds really good and it’s a really good exercise for arpeggios and to see kind of alternative ways that you can use them. And it’s so melodic because it follows the chord progression of the song.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click the link in the description for the tabs and let’s get close up and take a look at this.

Iconic Don Felder & Joe Walsh Solo

All right, so this one we’re starting off with this B minor arpeggio. So a lot of these shapes are ones that we’ve done on other lessons in the past. Or maybe you already know or from other songs. So what I’m doing is I’m on the 14th fret of the high E string with my pinky and then I’m on the 10th fret of the high string of my first finger. I’m going to pick 14 and pull to 10 and then follow that with the 12th fret on the B string and it’s a 16th note… So that’s just like a cool lick in itself. There’s so much stuff in here you’ll be able to use in other things. Okay, so we’ve got that and we do that for a whole measure. So we’ve got one, two, three, four and then the last note is an eighth note so it rings out for just a little bit longer because this is where we’re going to transition to the next part.

So for the next part we’re just going to move down so now we’re going to be on the 12th fret of the high E string with your pinky the ninth fret of the high E string with your first finger we’re going to pick and pull 12 to 9. Now we’re going to go to the 11^th fret on the B string… So we went from this shape… so remember that because we’re going to be repeating a pattern of that. So we do this one once and we switch here… and then we slide all the way up to the 18th fret of the high E string… So that’s the basic idea of it and then it’s just somewhat going to be repeating that same concept as we’re working our way down. Okay, then we’re going to come back down to where we was and we’re going to pull 12 to 9, but instead of going to 11 on the B string we’re going to go to 10. So now we’re back to another different shape; as we go along this will make more sense. I’m getting a little ahead of myself. So now we’re gonna do the exact same timing, but now we’re going to shift down into the next pattern. So instead of 12, 9, 10, we’re going to go 7, 10, 9… So we’re back to that other shape, the second shape we did… So do the same idea, but this time we’re going to slide up to the 16th fret. So, so far we’ve got… Okay so now we’re going to come back to here again we’re going to do like what we did before and we’re going to go 10 to 7 and now we’re going to go to eight instead of going to nine, same timing again as what we’ve been doing… So when I’m doing these two by the way I pick the down stroke, whole, up stroke on the B string and then just… that seems to be the easiest way for me to do it. So now we’re gonna stay on ten, but now it’s gonna be awkward as we’re going to go 10 to 5 to seven on the B string… and then slide up to 14.

Then we’re going to move all the way down so we’re seven and three on the high E string and five on the B string. Then we’re gonna move back up to nine six and seven and then that’s like the halfway mark…

So to make that transition we’re going to come up to the 10th fret on the high E string with your middle finger and your first finger on the ninth fret and we’re going to go 10, 9, 10, 12 and then that’s going to put us back to the very first arpeggio again. So like I said that’s the halfway mark and then on the second half of this is just the same thing. There’s just some parts that are changed there’s some like little bluesy kind of licks almost and this whole thing is being harmonized. So this is the part I believe that Felder plays and then the harmony is what Joe Walsh plays, but I could be completely backwards, it doesn’t really matter. I really like this. They’re both great players and it’s just more great examples of how to write a solo like this that is very memorable. I think it’s one of the best ones ever, but that’s just my my humble opinion.

So now for the second half do the same thing. We’re going to 14 pull to 10 on the high E string to 12 on the B string. So we’re going to do a whole measure just like we did before, but now what we do next is the difference. Now we’re going to come up to the 17^th fret on the B string with your pinky and then to the 14th fret on the B string and we’re going to pick and pull and then we’re going to use our middle finger to go to the 15th fret on the G string, third finger to go to the 16th fret and we’re going to bend and hold that and then use our pinky to grab 17 on the B string and then do a slide from nowhere to the 18th fret of the high E string just like what we did before… S      o this second half is harder than the first half in my opinion. I can play the first half of it much better than I can play the second half. So that being said if you’re somewhat of a beginner just play the parts that you can play. Those are pretty big stretches and kind of tough and I’ve got little hands so if I can do it anybody can do it. But they might be really hard at first so just play the parts you can and have some satisfaction with that. Okay, so after we do that slide up to her up here to the 18th fret now we’re going to do the arpeggio a little bit different. We’re going to start on the 17th fret of the B string with your pinky and then you’re going to take your first finger and just barre the 14th fret of the B and G strings… same kind of idea that we’ve been doing. Now we’re going to move that down so we’re 15 pull the 12 and do another little another little lick it’s on the B string. 15 pull to 12 to the 13th fret of the G string with your second finger to the 14th fret and do that same bend and grab the 15th fret of the B string and then do the slide from nowhere again… Okay, so now after you do that slide to the 16th fret on the high E string we’re on to the next position. So now we’re on measure 13 so I’m going to be 15th fret on the B string with my pinky and I’m going to use my first finger barre the 12th fret of the high E and the B string and the G string on the 12th fret; same idea, pick pull, a whole measure of that. Then we’re going to shift clear down to 10 and pick pull and we’re gonna do the same thing that we did before, but this we have to do a little bit different this time. All right so we’re going to do that 15 pull to 10 on the B string to the 11th fret on the G string with my first finger and then I’m going to use my first finger just to move up to the 12 and do the bend, because otherwise it’s really awkward to do, it’s super awkward to do it anyway. You may end up finding an easier way to do it then how I’m doing it. Maybe you know if you have bigger hands it’s obviously going to be an advantage here, but yeah, that’s the most awkward part, and then slide to 14 and we’re just doing like what we did before. Now we’re back down to seven, pull the three to five and then we’re gonna move up to nine to pull the six to seven on the B string… and they slide out of it. Now on the audio on the studio version this just keeps going on and on and they fade it out. So I just ended it kind of like what they do on the live version of it… we come down and just do a regular old B minor chord, but if you barre all the way across then you get this little F sharp and it sounds nice and full…

Conclusion

Alright, so there you have it, the outro, melody, arpeggio lick, whatever you want to call it from Hotel California. So you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing this video lesson and today I’ve got three more fun licks for you in the style of Mike Campbell.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description for the tabs and let’s get close up and take a look at these.

Mike Campbell Lick-1 – It’s Good To Be King

All right, so all of these examples we’re using are from Tom Petty and the Heartbreakers songs. So this first one here to look at is a lick from It’s Good To Be King. So the whole thing about this is it’s just another pentatonic sequence idea. There’s one part in here that I mess up on a lot because he does it exactly opposite of how my hands naturally want to do it. So with this we are in E minor pentatonic, so we’re just using this first pattern here, pattern number one. So I’m on the 15^th fret of the B string and I’m hitting this on the and of four; so it’s like one, two, three, four and… So we’re gonna hit this and bend it and it’s tied to the downbeat of one of the second measure and we do a full step bend and throw some vibrato on there. Now we’re gonna pick 15 and pull to 12, still on the B string, and we’re gonna pick 15 and 12 again, but this time we’re going to pick both of them; so we’ve got pick, pull, pick. Then we’re gonna go to the 14th fret on the G string and we’re going to do a bend and release to 12 and then to the 14th fret of the D string. So that’s like a Mike Campbellism right there, he does that kind of thing a lot. Then we’re gonna go back to the 12^th fret on the G string and then to the 14th fret and then we’re gonna pick and again and bend and release… Then we’re going to go to the 12th fret on the B string to the 15th fret and then back to 12. So a lot of these sections in there where he’s picking everything and a way that you can kind of make it your own and take stuff from this is and change some of the stuff where maybe he’s picking everything to do hammer-ons or pull-offs or maybe there’s places where he does a hammer-on and you can change that to a pick or a slide. This is all just really kind of basic stuff out of the pentatonic and he is the absolute master of taking something that’s really simple and just making it sound awesome and it really serves the song… Okay so now we go to the 12^th fret on the B string to the 15 back to 12 and then back to the G string and we’re going to pick 14 pull to 12 hammer to 14; that part right there I want to start on 12 and go 12 to 14 back to 12 and he does it the opposite. So then back to 12, 14 on the D string and then 14 on the G string and that’s another one of those cool rolling finger ideas. And then back to 12 and we’re going to do a quarter step bend so you want to pull this just a little to put a little stank on that note and then back to 14 on the D string with some vibrato… So if you really slow it down like that it just sounds like a really neat blues lick, but he does play that quite a bit quicker. On a lot of the older material from Tom Petty and the Heartbreakers he did a lot of things that were faster than what he did later on.

Mike Campbell Lick-2 – Breakdown

All right, so the next one to look at is from Breakdown and this is one of my absolute favorites of his. I think this is just really awesome the way this is laid out and it’s really simple, but it’s so melodic and sounds so good; it’s just like a really kind of cool unique way to use the pentatonic scale. All right, so I’m going to start here on the 10th fret of the B string and I’m using my second finger. So I’m going to pick that and slide to eight and then back to ten. And then I’m going to follow that with the ninth fret on the G string with my first finger, and this is like one and, two and, three, and then on the downbeat of four we’re gonna do the same thing, but now it’s going to be on the G string. So I’m going to pick this nine, slide to seven, back to nine and then to seven on the D string… Okay, then we hit that seven there on the on the D string with some vibrato and that is coming in on the and of one and it’s a dotted quarter note so it’s the and of one plus all of beat two. And then starting on the downbeat of three, we ended here on the seventh fret on the D string, so we’re gonna pick that slide to five and back to seven… and then on the and of four to the seventh fret of the A string. So you can see we’ve got like a pattern here… Okay, so we hit that seven here, we’re hitting that on the and of four and then on the downbeat of one, well actually I’ll be one of the third measure it’s a rest and that’s going to give you just a second to come up to this next part. So we’re gonna do this kind of a rake thing on the downbeat of two. I’m just barring the fifth fret of the G, B and high E strings, but you don’t want like that… you want… I just kind of palm mute a little bit as I ascend it to make those notes softer. We’re going to hit that and then we’re going to go to the eighth fret on the B string and that’ll be on the and of two and it’s tied to a dotted quarter note so it’ll ring out through the downbeat of four and then on the and of four we come back to the fifth fret of the B string… Then we’re going to play the fifth fret of the B string again to the seventh fret of the G string… and then the sequence kind of starts over and has just a little bit of a different ending…

Mike Campbell Lick-3 – American Girl

All right, so the last one we are gonna look at, it’s on the very outro of American Girl and again you know it’s another way, in this case he’s playing something that’s a lot faster, but this is like actually not too hard to play quickly. So we’re gonna start here with your pinky on the 10th fret of the B string and then I just take my first finger and I just barre it across the seventh fret of the first three strings. You know we’re not playing the high E string, but just put it like that, and then we’re gonna pick ten pull to seven… and then follow that with the seventh fret of the G string. So we’ve got ten pull to seven, and then we’re going to take our middle finger and put it on the eighth fret and I do it as a down stroke; down, pull, up, down, pull, up… So that’s basically the sequence as far as the timing and the technique and then we’re just going to move it up a whole step. So now we’re picking 12 pulling to 9 and then 10 and each one of these sequences you repeat four times… Okay, so for the next one we’re going to move it up a step and a half so now first fingers can be barre 12 and pinky is going to be on 15, but we do have one slight difference here. So we’re gonna do the 15 pull to 12 and now instead of going 13 we’re going to go 14, so it’s going to be your third finger, so same technique. Then we’re going to move it up again a whole step from there so now we’re barring at 14, picking 17 and pulling to 14. And now we’re back to the original shape so it’s going to be a half step up on 15 with your middle finger and then the whole thing would just repeat…

Conclusion

All right, so there you have it, three more fun, not too terribly difficult licks to play in the style of Mike Campbell from Tom Petty and the Heartbreakers. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing you this video lesson and today I want to do another continuation on this series we’ve been doing on licks and Lead styles of different players and today we’re going to be looking at Don Felder.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description to the tabs and let’s get close up and take a look at these.

Okay, so Don Felder a guitar player, one of the guitar players, from The Eagles. So this is the first half of the solo for Hotel California. So this is just the first half of the solo and then Joe Walsh shows the second half; so we’re just gonna be looking at the first half of Felder’s. This is one of my all-time favorite solos. I think that this is just really great melody and he makes everything follow the chord changes of the chord progression, which is really cool.

Don Felder Licks

All right, so we’re going to start off we’re going to do a slide from nowhere on the G string with your middle finger to the 11th fret…  So it’s kind of weird and we actually rest on the first three beats and then we rest on the first 16th note of beat four. So this is actually coming in on the e. And then we’re gonna go from there to the 10th fret of the B string and then the 12^th fret with your third finger; one, two, three, four and…  All right, so we’re gonna do that bend up here on the 12th fret of the B string with your third finger and this is the very last of beat four. And now starting on the downbeat of one, we’re still holding that note, but we’re going to bend it up a step and a half and hold it… then we’re going to go back to the 10^th fret. So when we hold this it’s a dotted quarter note so it’s getting all of beat one, the downbeat of two and then on the and of two we’re gonna go ten to twelve on the B string… we go 10, 10, 12 and then you’re going to take your middle finger and you’re going to grab the 11th fret of the G string and we’re gonna treat this like a slide from nowhere. So it’s like a little ghost note on there and we’re gonna slide to nine. So you’re picking and sliding like simultaneously… and we just throw the vibrato on there… Then starting on beat number four we’ve got four sixteenth notes again, so we’re going to go to the seventh fret on the G string with your first finger and we’re going to pick that and hammer to the ninth fret and then we’re going to follow that with this the seventh fret on the B string with your first finger and then back to seven on the G string with your first finger so you got this and we’re gonna do that rolling technique that we’ve looked at before… Then we come to the third fret on the G string on the last 16th note of beat four of the second measure we’re going to pull that just a little bit of a quarter step bend and then on the downbeat of one we’re gonna pick up the eighth fret. So we’re just going to take our middle finger and move it you know so just a half step up, but on the D string we’re gonna hit that with some vibrato for all of beat one and then we’re going to go to the ninth fret. So this part can be a little awkward because we’re going to have to completely change our hand position. We’re playing eight… but now we’re going to want to go nine. So we’re gonna move up and use our first finger on nine and then we’re gonna pick nine and hammer to twelve and pull back off to nine… so just quick looks like a triplet and then back to seven and we’re gonna do a half step bend and release and then we rest on the very last of that because that’s kind of the end of the phrase…

All right, so then that leads us to measure four. Now measure four we’re going to start on the seventh fret of the G string with your first finger and we’re going to pick that and hammer to nine and then we’re gonna go to the seventh fret on the B string. So I’m just going to do that rolling technique and then back to seven with a quarter step bend… So that’s beat one and there are 16th notes; so like one e and uh… Then starting on beat two we’re gonna go to the ninth fret on the D string with your third finger, to the eighth fret with your second finger and then back to nine with a little vibrato on there. Then we’re gonna do that same exact thing again, so the seven hammer to nine, roll your finger to seven on the B string back down to seven and then this time we’re gonna go to instead of going nine eight nine we’re gonna go nine, seven, nine and we’re gonna pull it off… And then from there to the seventh fret of the G string and that’s all of measure four… so all of it is sixteenth notes with the exception of beat number two. Now we’re doing that nine eight nine on the D string and this is all 16^th notes; one e and uh, two e and uh, three e and uh, four e and uh…

All right, so now uh we’re gonna go to measure five and this is kind of like a another awkward part because we’re gonna have to shift up a little bit. So what we’re going to do is we’re going to shift up to the 10th fret on the B string with your third finger and we’re gonna bend. So I just have my second, first finger behind it, on the ninth and the eighth frets and now I’m gonna bend that a whole step and I’m gonna use my pinky to pick up the tenth fret of the high E string… so we the high E string hit the B string again and release the bend… Then we’re going to go to the seventh fret on the B string, tenth and then to the eighth and we’re going to bend that up a half step.

So if you noticed all of this very planned out. He didn’t just wing it. He completely composed this based around the chords and everything. And it’s like I said, I think it’s one of the most memorable solos, I really, really like this and hopefully this will help you to be able to get better melody in your own playing.

All right, so when we hit that bend that is right on the last 16th note of beat two and then it’s tied to a quarter note. So we we let that ring over beat three and then starting on beat four your first finger is already right there on the seventh fret. So we’re gonna go seventh fret on the high E string to the seventh fret of the B string; so again, that rolling technique. Then I’m gonna go to the tenth fret on the high E and do a full step bend… So we hit that on the and a four and then it’s tied to the downbeat of one… Then we come out of the bend, and you don’t want to hear it, it’s not a release, we’ve just got… so we’re still at ten and we pick it again and bend and release… Then we’re gonna go to the B string tenth fret and we hit it twice, well actually we hit it three times, and on the third time we bend it. Then we’re gonna do that kind of that same idea that we did earlier, we’re bending this up on the tenth fret and I’m going to use my pinky to grab the tenth fret on the high E string. And then we’re gonna hit that again on the B string, release the bend and end on the eighth fret of the B string. Then after that we have another kind of a what you might think of maybe as a little bit of a weird transition to get to this next part. So we’re coming from that… then we’re going to go to the ninth fret on the G string. So what I do is I just reach up with my middle finger and grab it and then bring my first finger up too so I can get some leverage because we’re going to bend this. And then we’re gonna do that same thing we were doing earlier, but now we’re skipping the strings, we’re bending the G string and then we’re going to pick the tenth fret on the high E string and then pick the G string again… Then we’re going to go to the seventh fret on the G string, so I just use my first finger, and then we roll to seven on the D string. So that’s we’re going to kind of cut this that little phrase in half… and the reason is as we hit this and this is on the last 16th note of beat two and then we’re going to go back to the seventh fret on the G string and we’re gonna pick that and pull the six. So what I do is I just switch my finger. I’m

going from the bend and first finger comes down and gets a little roll and then I switch to my second finger so that way I can pick that and do the pull off to the sixth fret with my first finger… So we do the pick and pull back to that seven with some vibrato and then we’re going to hit the sixth fret on the G string again, to the ninth fret on the D string and that’s kind of transitioning this to the next part.

All right, so after you do that, six of the G string so the ninth fret on the D string, then we’re gonna go seven on the G string hammered in nine with our first finger on the seventh fret of the B string. So we’re just doing this little half step bend and this thing is kind of this is done a couple of times here. So we’ve got the seven hammer to nine and we do that bend, so one e and uh, we rest the last 16th note on beat one and then we’re gonna do that bend again… and then bend and release… Now we’re gonna go to the ninth fret on the G string; so the eighth fret back to nine then that’s seven again with rest and two bends in a release the G string nine to seven. So this is kind of like that part at the beginning of it… Then this leads us to the very last phrase from this and this is a really cool lick and you’ll kind of recognize it just from other things that we’ve done in the past, it’s kind of a garden variety lick, but the way he that he does it I think is really kind of interesting. So he’s just taken an idea you like that Chuck Berry thing we’ve done different variations on. So we’re going to bend the starting on the ninth fret of the G string we’re going to bend that a whole step to the seventh fret on the B string to the tenth fret… then we’re gonna do that again… but this time instead of going the 10^th fret we’re just going to hit the B and the high string together. So then we’re going to do that bend again and release, seven, still on the G string, back to nine for a full step bend with some vibrato… Then at the very last of it he bends the nine and releases seven and then nine on the D string then that’s where it transitions into the next solo, the Joe Walsh solo. All right, so the whole thing…

Conclusion

Alright, so there you have it, a fun solo with licks in the style of Don Felder. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing you this video lesson and today I’ve got three fun and easy pentatonic licks in the style of Jimi Hendrix.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description for the tabs and let’s get close up and take a look at these Hendrix licks.

Hendrix Licks

All right, so the first thing as you’re playing through these is you’re probably going to notice that there are tons of similarities between these sequences of notes that were in some of the other ones we’ve looked at; Billy Gibbons, Jimmy Page and stuff. So a lot of this is just out of that regular minor pentatonic box pattern that you already know. But what makes Hendrix different is the choice of the notes, the sequence. He’ll do like a lick that’s very similar to the other ones, but it’s the note choice and it’s his phrasing that makes a difference. So these are some really good examples and as you’re working your way up through, you know being able to solo and improvise, that the melody that you create is what’s going to make it stand out and is going to make it sound different than something else.

Hendrix Lick-1 – Hey Joe

So the first Hendrix lick to look at is from the beginning of the solo for Hey Joe and it’s just in E minor pentatonic. I don’t recall, I meant to write this down when I did these, but some of them are tuned down a half step and I don’t remember which ones. It doesn’t seem like this one was tuned down a half step, but the other two are for sure. So it’s possible that this could be tuned down a half step.

So as I said we’re just in this box pattern of minor pentatonic number one. So we’re going to start off we’re going to bend the 15th fret here on the B string we’re going to bend up a full step with some vibrato. Now we’re going to do that, it’s a quarter note so it takes care of beat number one and then we’re going to follow that with this little sequence here. So we’re just going to start on the 12th fret of the high E and we’re just going to descend the scale. So from the 12^th fret to the 15th fret on the B string to the 12^th and then to the 14th fret on the G string. Now when we get to that 14th fret on the G string we’re going to bend that up a full step and then we’re going to release it and pull-off to the 12th fret and then we’re going to follow that with the 14th fret on the D string and then back to the 12th fret of the G string with some vibrato… okay, so that was our first measure. So the second measure starts off the same way, we’re going to start off with that 15^th fret on the B string bend and then we’re going to follow that with the 12th fret on the high E to the 15th and the B to the 12th and then to 14 on the G string just like we did before with the bend, but this time instead of bending and releasing we’re going to bend and hold and then go right to the 12th fret on the B string, back to 14 on the G string… Then to 12 on the G string and then back to 14 and pull to 12 and then we’re going to put a little slight bend, that’s a Hendrix kind of sound right there. And then there to the 14th fret on the D string and that’s in the third measure. So the whole sequence is basically the meat potatoes; it’s what’s in the first two measures…

Hendrix Lick-2 – Little Wing

So the next Hendrix lick we’re going to look at is from the solo for Little Wing. So this is actually played from the same scale and it’s in the same the same key and it starts off the same. We’re going to bend that 15th fret on the B string up a full step, this time it’s a half note.

So this solo is slower and it’s more melodic, but it uses just a whole bunch of the same notes. So this is a really good example of how you can have two things that you have similar notes and a similar sequence, but by your timing and your phrasing can completely make it sound different.

So we’re going to start off, we’re going to bend that, so that’s a half note and that takes care of the first two beats; one, two. And then starting on beat three we’re gonna bend it again and we’re going to release it and then to 12. And then we’re gonna pick 12 and hammer to 15 and then back to 12. So that’s our first measure, plus the first beat of the second measure… So like I said we hit that 12 there and that’s on the down beat of one and it’s tied to the downbeat of beat of two; so it’s like one, two. And then on the and of two we’re gonna bend the 15 and release to the 12th fret on the G string… Then we’re going to go to the 14th fret on the G string and bend that and then grab the 15th fret of the B string. So I’m using my pinky to grab that 15th fret of the B strings and some bending with my third finger. Then we’re gonna go back to the 14th fret on the B string and we’re already in that bend… we release… Then we’re gonna go to the 14th fret on the D string, back to the 12th fret on the G string. To the 14th fret and we’re going to bend and release twice, back to 12 on the G string and then finally resolving on 14 on the D string. So it’s just like the first the first lick, it’s very, very similar, but the timing is different and the phrasing and that’s what makes it sound different and more unique. A lot of these little things in here, these little nuances, is how Hendrix really got a big part of his sound…

Hendrix Lick-3 – All Along The Watchtower

All right, and then the last Hendrix lick to look at is the little opening lead on All Along the Watchtower. So this one is different, we’re in different keys, sort of like a different position. And it doesn’t just primarily stay in that one box pattern, it kind of moves a little more horizontally. So we’re going to start off we’ve got to slide from nowhere to the 13th fret on the G string and you’re going to want to use your middle finger to do this reason because the next note is 12 on the B string and then 14… So we do that slide from nowhere and it’s coming in on the and of three; so one, two, three and, four and. Now when we go to the 14th fret we bend that up full step and it’s just an eighth note on the and of four. And then if you look at the second measure it does it again on the downbeat of one, the and of one plus all of beat two. So you got this… Okay so after we do that last one, you know it’s one and two, and then on the downbeat of three it’s actually just a real quick rest and then we’re gonna bend that 14 and release it and then go to 12. And then we’re going to do a slide starting at about at the 11^th fret, but it’s like a slide from nowhere, it’s one of those slurred slides and we’re gonna slide back to the 13th fret on the G string. Now when we slide back to that and then we’re gonna go to the 11th fret on the G string. So how I do it is I just move my middle finger from there down to the 11th fret and we’ve got one and, two, three and. Now on the and of three we’re gonna go to the 11th fret on the D string, but he actually does a slide from nowhere. So that third measure. Do that slide to 11 and then we’re gonna go to nine on the G string and then 11. So this is and four and now we’re gonna go one and two. So what’s happening here is it’s the same timing as like on the first one, it’s just in a different position. So now we’re on 11 on the G string and we’ve got one and, two, three and, four. And then on the and of four we go to 11 on the G string and back to 11 on the D string… Okay and then the last measure and this is the part that I have the hardest time with because it’s one of these things I’ve talked about before where he’s playing the same scales, the same sequences and things that I do, but just the way he does it is so different than how I play It’s kind of awkward for me. So what happens here is we’re going to come up to the ninth fret on the B string and we’re going to pick that and do a hammer on to 11 and pull back off to nine and then to the ninth fret on the G string. So the best way to do it is to put your first finger, just kind of barre it so it’s picking up the ninth fret of the G and the B string and then we’re going to pick that, hammer & pull and then we’re gonna go to the 12th fret on the B string and do a full step bend with some vibrato for the rest of the measure… So doing that part isn’t where I have the issue, it’s getting set up to it… making that transition is just really challenging for me… So when I when I try to play it more up to tempo I try not to think too much about it and just let my hand kind of figure out what needs to happen there…

Conclusion

Alright, so there have it, three pentatonic lick sequence ideas in the style of Jimi Hendrix. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing this video lesson and today I’ve got three fun and easy licks for you in the style of Mike Campbell.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description for the tabs and let’s get close up and take a look at these.

All right, so for any of you that may not be aware of this, Mike Campbell is the lead guitar player for Tom Petty and the Heartbreakers and he’s done solo stuff and other band stuff. He’s an extremely underrated player in my opinion and just does some really neat combinations of stuff that hopefully you’ll get something out of.

Mike Campbell Lick-1 – Stop Dragging My Heart Around

All right, so this first we’re going to look at here is from Stop Dragging My Heart Around… So that’s the first part of it, we’re just in E minor pentatonic. So I’m here on the 15th fret of the B string and I’m going to bend that up a full step with some vibrato on there. Now that rings out uh for six beats, so it’s the whole first measure, and then it’s the first two beats of the second measure; so you have the one, two, three, four, one, two. And then starting on the downbeat of three we’re going to move to the G string. So we’re just moving right down in the same position into the pentatonic scale. So now my first finger is on the 12th fret and my third finger is on the 14th fret and I’m going to do a full step bend and release and then pull-off from 14 to 12. So that’s why we want to have both of these fingers down and you can even take your second finger and put it here on the 13th fret so you get more leverage for the bend. Then we immediately go back to 14 on the G string… and then we go to the 14th fret on the D string and we hit that twice; so that’s and two, three, one, two, three, four. So it’s tied into that next measure and that’s the first part… All right and then from there we’ve got this little, almost a little chord, on the 14th fret of the D string and the 12th fret of the G string and then the 15th fret of the B string. So we hit that and we let that ring out and then it does the same.

I added in one more little thing here, this is a little bit out of context, but this is just a little pull-off lick that he does in E minor pentatonic in the open position. It’s pretty easy to add ideas from this into your own licks. So we’re just going to start here on the third fret of the high E string and we’re going to pick that and pull to the open string and then we’re going to do the same thing on the B string. So now we go to the G string we’re going to move from the third fret down to the second fret and we’re going to do that on the G string, the D string and the A string. So we’ve got… however you want to do it, whichever finger. I seem to favor my middle finger a lot when I’m doing things like that.

Mike Campbell Lick-2 – Boys Of Summer

All right, so the next one here, this is something that I just recently found out. I didn’t know and I can’t believe I’d never heard of this before, but I think it was Don Henley, if I’m wrong let me know in the comments because I’m just brain farting right now, but Henley had a song in the 80s, The Boys of Summer. Well as it turns out Mike Campbell actually wrote that song. He wrote all the music for it and then he ended up recording it and producing it I believe. Anyway, at the end of that song it has this really neat melodic play out at the end of it that I kind of liked and then it turns out that it is Mike Campbell. So for this one here we’re actually going to be using an arpeggio shape that I’ve done a couple of different lessons on. So it’s the shape that looks like a regular D major chord, but we’re not gonna play it like that, we’re going to play the notes separately. So we’re going to come up here to the sixth fret on the high E string with your first finger, then we’re gonna go to the ninth fret on the B string with your fourth finger and then back to six again on the high E string… so that’s the first measure. So then starting on the second measure, with your middle finger we’re going to go to the seventh fret on the B string and then with your first finger to the sixth fret on the G string so we get that major arpeggio shape like we did before… Then after we hit that six on the G string we just go back to the seventh fret on the B string and then that whole sequence repeats three times I believe… All right, so I have to repeat that three times and then it goes into this other… I just think it’s really neat how we kind of mixed these different ideas together. So now we’re going to do is put your first fingers here on the sixth fret of the G string and then you’re going to want to take your middle finger and you’re going to want to put it on the seventh fret of the B string. So we’re going to pick the G string and then you’re going to do a hammer-on with your third finger to the eighth fret and then follow that with that seventh fret on the B string and then that just repeats three times… Okay and then at the end of it’s got this kind of a little climb; so either pick, hammer to the B string… Okay so that’s the first measure of this section. I guess it’s actually the third measure of the sequence here on the on the transcription. So then this last seventh fret here on the B string actually is on the downbeat of one of the fourth measure and then we go back to that eight on the G string, back to seven on the B string and then to nine on the B string and then to six on the high E, back to nine on the B string and back to six and then that that whole thing would repeat…

Mike Campbell Lick-3 – Refugee

All right, then the last one to look at here is this is from the solo for Refugee and he plays this kind of quick, but we’re gonna work on it slower because it’s something you’ll have to kind of work on to build up the speed and what’s just kind of neat about this is it’s just an ascending a sequence, but he’s doing it on a single string. So we’re going to start off, we’ve got this same kind of garden variety bend that we’ve been doing. So now we’re in F sharp minor pentatonic… So I’m on the fourth fret of the G string with my third finger and then I’m going to use my first and second fingers on the second and third frets just so I can get some leverage because we’re going to do a full step bend and down this far on the neck that there’s a lot more tension so it’s a lot harder. So we rest one, two, three, and. So on the and of three we’re going to bend that and then on the downbeat of four we go to the second fret on the B string and then the and of four we go to the fifth fret and we do another full step bend… so that’s like one, two, three and, four and. And then on the downbeat of one on the second measure, we go to the second fret of the high E string, back to that fifth fret of the B string, back to the second fret of the high E string. So this is one and, two, three, and then we start doing this climb. So we hit this on the downbeat of two and it’s tied. So it’s all of beat two and then it’s tied to the downbeat of three and then on the and of three we slide to the fourth fret and then on the downbeat of four we pick that four, we’re on the fourth fret and we pick that and slide to five on the and of four… Now we’re gonna go five to seven, seven to nine, nine to twelve, back and then 12 back to nine… And then finally… you’ll be ending here with your first finger on the ninth fret of the high E and then we’re gonna grab the twelfth fret. Again I’m gonna use my third finger here and my second finger on the 11th fret for leverage and we’re going to do a full step bend with some vibrato…

Conclusion

All right, so there you have it, three fun, not too terribly difficult licks to play in the style of Mike Campbell. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel hit that notification bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.

Introduction

How’s it going everybody? This is Darrin with GuitarControl.com bringing this video lesson and today I want to show you how to play the first part of the guitar solo for Eastbound and Down by Jerry Reed.

So right now, Guitar Control is giving away this really awesome daily practice routine to improve your lead guitar chops. This was put together by our very own Silvio Gazquez, a two-time Guitar Idle finalist. This routine covers the four main concepts that are necessary for lead guitar; alternate picking, legato, sweep picking and tapping. All the tabs and exercises are all included in this free ebook and there’s a link in the description where you can get yours.

So be sure to click on the link in the description of the tabs and let’s get close up and take a look at this.

Jerry Reed Licks

All right, so this is actually really cool. I think it’s a lot of fun to play and this goes along with the theme we’ve been doing lately with these pentatonic sequences. So here we’re going to get some experience with using some double stops. This has bending in it that’s clear down here on the second fret and it is difficult to get these bends, but when you hear this in the song it’s coming after some pickup notes.

So that’s what I’ve got on there is that one, two, three, four and, one; so just open, two, three, and then it goes into the riff. So that part’s optional. The actual main thing for this we’re on the second fret of the G string and we’re gonna bend it a full step. Now when I’m doing this sometimes you’re going to see me pull it and other times push it. It mostly just depends on how my fingers feeling at the time. On this particular thing it doesn’t really going to matter which way you go. All right so we’ve got that first bend, it’s a full step bend. Then we’re going to do it again bend and release to the open string and then back to the second fret again with another bend. Then we’re gonna go to the D string, open hammer, to the second fret and then follow that with the open G string. So that’s the second measure in the transcription, but it’s like basically the first measure of this riff.

Okay, then starting on the next measure, measure three, we’re going to bend this again twice and then pick and pull it open and then the second fret of the G string or excuse me the D string…  All right, so that’s the first three measures, the first part of the riff. And then starting on measure four we’re going to do the bend on the second fret of the G string and then we’re going to go open, hammer to two, pull to open and then it has a rest. Then do it a second time and the thing that’s different on the second time instead of having that eighth note rest you can go to the third fret on the D string… and it’s got a bend on it… Then we follow that with the whole fourth measure and then starting on the fifth measure open D string and now here’s where we’re going to get into the little double stop part.

So there’s a couple of ways that you can do this technique wise. So you hit that open D string and then we’re gonna need this double stop, this fourth dyad. So I’m just barring the third fret of the B and the high E string with my first finger and then we’re going to go to the fifth fret of the B and G string, so I use my third finger. Then we’re going to move that down to the third fret B and G string and then the G and B string open. So you can go… or you could hybrid pick it and this is more like Jerry Reed would have been playing; at least that’s what I what I believe to be true. So I’m going to pick the D string with the pick and then I’m going to use my second and third fingers to pluck the B and high E string and then use them to do the B and the G strings…

So this next part here is the most awkward part in my opinion. So after you do that and you play the open B and the G strings you have a 16th note rest there, it’s just barely a second of rest. So what you can do is move your first finger so it’s picking up the third fret of the D string and then a couple of ways that you could do this. You’re gonna go three and then you’re gonna go five on the A string and then four slide to three… So it’s kind of awkward to decide which fingers because as soon as you do that… then we’re going to come up to the sixth fret on the low E string and pick that and slide to seven…

So you know you’re gonna kind of have to work that out for yourself what you feel is the most efficient way to do that as far as fingerings… When I come up here for sure I want to use my third finger or at least my second finger because then the next note is the fifth fret on the D string… So that’s how I tend to do it, but I want to do that there so I can be ready for that because that’s moving into the next part. Okay so after we do that six slide to seven, and that is on measure six. So we do that six slide to seven, skip the A string, go to the fifth fret of the D string and then we’re gonna go to the seventh fret. So I’m going to use my third finger to go to that seven because I’m going to pick seven, slide to eight, slide to nine. The next notes are on the G string seven and nine so this way I can go… Now the next set is on the G string and it’s a slide to nine. Now normally I would probably use my first finger, but the next note is here on the eighth fret of the B string. So what I’m going to do is I’m going to use my middle finger and I’ll use my first finger there because the next thing is the tenth fret where we have to bend. So it’s all about kind of setting yourself up when you’re choosing which fingers you use to play something. Just because you see somebody else do it a certain way isn’t always going to be necessarily the best way for you to do it. So you kind of have to look when you’re figuring this out to see what’s coming in the next phrase so that way you can set yourself up. To do that you sometimes have to kind of split the difference of what you want to do versus what’s best for the segue… Now after I do that chromatic slide up from seven, eight, nine on the D string then I’m going to go to the seventh fret on the G string with my middle finger and slide to nine and then follow that with the eighth fret on the B string. I’m going to keep my first finger there on the eighth fret of the B string, but now I’m going to put my third finger on the tenth fret and then my middle finger is on the ninth so that way I can get that assisted bend. So now we’ve got two full step bends and then ten to eight, back to nine here on the G string with my middle finger. Now we’re gonna go back to 10 again and this is where we’re going to wrap it up. So we’re going to go ten, full step bend and release it and pick again. Then eight, and our first finger is already there, and then we’re gonna slide that down to the sixth fret… Then we’re gonna go to the seventh fret of the G string using my middle finger… Now I’m going to reach over and I’m going to barre to do another double stop here. I’m going to barre the fifth fret of the G and the B string and I’m going to bend that and release it and then shift my hand position back. So this is another part that’s really awkward and I’m not completely set in stone that this is the fingering that I’m going to use for it… Now I’m going to shift down a half step so my first finger is going from the fifth fret of the G string to the fourth fret and I’m going to set my middle finger on the fifth fret and we’re going to pick that and pull and then follow that with the fifth fret of the D string. Then we’re gonna go to the sixth fret of the B string so I use my middle or excuse my ring finger and then I’m going to do a double stop again on the fifth fret of the G and the B string. Then down to the third fret with a bend and then finally ending here on the fifth fret of the D string… Now the whole thing…

Conclusion

Alright, so there you have it, Eastbound and Down by Jerry Reed, by the late great Jerry Reed. So if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content we upload throughout the week. Well that is all I have for you today. Thanks for watching and have a great day.