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 you this video lesson and today I’ve got some fun pentatonic sequence licks for you in the style of Angus Young.

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.

Angus Young Lick-1 – Highway To Hell

All right, so this first one here we’re going to look at is the beginning part of the solo for a Highway to Hell. So it’s got this really kind of garden variety like bluesy Rock lick; Chuck Berry kind of thing. Angus Young uses this allot, especially in the older material. So it’s pretty simple we’re just going to take our first finger we’re going to bare here across the fifth fret of the B and the high E string and keep that there and then you’re going to take your third finger put it on the seventh fret of the G string and then I use my middle finger on the sixth fret because we’re going to bend, so I get a little more leverage. So we’re going to bend this up a whole step, so we’ve got… and then we hit the double stop twice, so… That right there… I mean if you get nothing else out of the all of this entire lesson, if you’re a beginner, that right there is a really versatile usable lick. Okay so after he does that one, two, three, four, five times… then we’re gonna do another double stop here. So now I’m just barring the seventh fret of the G and the B string with my third finger. So we’ve got that, we’re hitting that on the very last 16th note of four and then it’s tied to all of beat one plus the downbeat of two; well actually all the way through beat two, but we’re gonna on the downbeat of two we’re gonna bend it and then release it to the and of two. So it’s like one, two, and then down here to the fifth fret on the B and G strings and that will be coming in on the downbeat of three… And then on the and of three we’re going to barre across the seventh fret of the D and the G string this time. So we’ve got this… then the G string, seventh fret again to the fifth fret… So seventh fret of the D string, this is the most awkward part of this here that I struggle and play it where I’m satisfied with it. Seven and then down to the fourth fret with a little bit of a bend… then to the second fret, so you got this… second fret of the A string, pick that and do a pull-off and then finally ending here on the second fret of the G string. So it’s really that tough, but for whatever reason I just have a really hard time getting that timing at the last part of it unless I’ve got something to meter me I just kind of get kind of get out of whack on the timing.

Angus Young Lick-2 – Hell’s Bells

All right, so the next we’re going to look at is from Hell’s Bells and this is like the little part before it goes into the solo. It has this kind of little breakdown part and it’s just coming in off of A and then it comes into this part… So this is like made up of a lot of double stops, primarily of double stops. So we got the first one we’re playing on the G and the B string; so I’m on the seventh fret of the G, but the eighth fret of the B and we’re gonna hit that and then we’re gonna go to the seventh fret on the B string. So there’s a couple ways you can do it because you do that bend and then you’re gonna follow that with the fifth fret of the B string. All right, so probably the easiest way for me to do this, but I’m not really consistent about using my third and fourth finger and then just barre that one… and then we’re going to follow that with the seventh fret on the G string to the fifth fret, a little bend and then that resolves to the seventh fret of the D string… Then we’re gonna do a slide from nowhere here, you know like the fifth fret, one of these little slurred slides or you could do a pull-off and a hammer, but he does a slide on the recording. But I don’t consistently do it the same way, so that being said all of these things the big thing from this is you want to take is just the ideas to try to implement it into your own playing. Whether it be the technique or the note choices or the phrasing, anything like that, just you know use it and experiment with it. Try playing it over different backing tracks and different keys and just making it and tailoring it to fit what you’re playing. Okay so after we do the… we’re letting that that seven ring there with some vibrato on it, same for the D string. Then we’re going to go back up and we’re gonna barre the fifth fret of the B and the high E string and then the seventh fret of the G and B string…  Then we’re going to come here we’re going to do a quick bend and then hit it again and then that’s on the and of four and then it’s tied to the first one and a half beats and then while it’s ringing we’re just gonna pull it up there starting on the and of two…

Angus Young Lick-3 – You Shook Me All Night Long

All right, so the next one here is from the solo for You Shook Me All Night Long. So this isn’t starting at the beginning, I just really like this particular phrase. So we’re going to start off we’re going to do a slide from nowhere to the seventh fret of the G string. I’m going to use my middle finger because we’re going to follow that with the sixth fret on the B string; so we’ve got… Then we’re going to do the same thing, but we’re going to slide to nine and then eight and when we do the slide to nine we can just start there at seven. We still want to treat it like a slide from nowhere…  Then we’re going to go back to the ninth fret of the G string again, to the eighth fret of the B and then to the tenth. So I’m going to keep my first finger there and then drop my second and third finger because we’re going to bend; so we’ve got… Now this is one of the parts I really like, I really like this style of bending. So we’re going to do this bend and while we’re holding it I’m going to take my pinky I’m going to pick up the 10th fret of the high E string. I’m gonna hit that and then pick the B string again and release since you want that to ring out over each other… Then the very last part here and I think this is like one of the really neatest things about this is. It’s got this little melody… but he doesn’t play it like that, he does it with these bends… So we’re going to come to the 11th fret. We’re gonna bend that up a whole step. Then to the 10th fret and do the same thing; so bend, bend, release to 10 and then to eight and then nine on the G string and then back to eight here again to resolve…

Angus Young Lick-4 – Back In Black

So next we’re gonna look at the little lick from Back In Black. So this is the… so we’re just gonna be looking at that. So this particular thing is using these open strings so we’re kind of tied into being, you know, into that key, but I’m going to show you how you can use it; it’s just the box pattern number one. So we’ve got three to the open string and this is on the high E and I’m going to do the same thing on the B string and then we’re going to go to the second fret on the G string and we’re going to do a full step bend and release and pull to the open string…

Okay now if you wanted to do it, say an A minor, so we’re going to be fifth fret and the eighth fret on the high E string and then the same thing on the B string and then we go to the G string and it’s going to be seven, bend and release to seven, to five; so it’s the same… So you can see right there that’s a very useful, cool sounding little lick.

Angus Young Lick-5 – Have A Drink On Me

All right and the very last one this is one of my favorites. I’ve referenced this before in other lessons, but it’s a portion of the little intro melody, kind of main melody line to Have A Drink On Me. So we’re gonna start off, I’m gonna do a slide from nowhere to the ninth fret on the G string and I’m going to use my third finger and then when I slide up to that I’m going to take my second finger and put it on the eighth fret of the B string and let them ring out over each other with some vibrato… Then we’re gonna do that slide to nine eight thing again and then we’re gonna go back to the G string and we’re going to pick that and slide to seven. Now the tricky part here is that when you slide down you want to drop your first finger onto the fifth fret at the same time because then you’re going to pull-off to that and that’s a tuplet… So after you do that pull-off then we’re gonna go to the seventh fret of the D string and then we’re gonna do that Angus Young thing that it’s really, really common that we’ve talked about lots of times is the rolling finger thing. So he ends up here on the seventh fret of the D string and then it’s going to go to the seventh fret of the G string. So instead of moving his finger you just roll it up. So here I’m fretting it on the tip of my finger like how you typically would and then here I’m rolling it up; so I’m actually kind of playing it more with the pad part of my finger. And then to the fifth fret the G string with your first finger and seventh fret of the D string with your third finger and then the open A string… So to get that you might want to practice that separately…

Conclusion

All right, so there you have it, some fun, not too terribly difficult pentatonic sequence licks in the style of Angus Young. 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 and the style of Billy Gibbons.

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.

Billy Gibbons Lick-1

All right, so this first one here is the beginning of the solo on La Grange. So we’re going to start off here on the 12th fret of the B string and this is all based out of B minor pentatonic. So we’re going to bend this a full step and put some vibrato on it and this takes care of all of the first beat; so it’s like one, two, three, four… And then on the second measure it is completely made up of eighth note triplets. So we’ve got four sections of three notes so let’s break it down because it makes it easier to play. So we’re going to start off on the ninth fret of the high E string and we’re gonna go nine to the 12th fret of the B string and then to the ninth fret; so that’s like one yel-low… Then starting on beat number two we’re gonna go back to 12 so you wanna keep your first finger here on the ninth fret of the B string and we’re gonna go back to 12 and we’re gonna pick that and pull-off to nine… And then go to the 11th fret of the G string; so it’s like one yel-low, two yel-low. Then starting on beat three is where it gets a little bit kind of tricky, but this is a great example of that rolling finger technique that we’ve looked at lots of times. So starting on beat three we’re going to go back to the ninth fret on the B string. So instead of coming all the way up and grabbing it with the tip of my finger like that I’m actually going to grab it more on the pad part so that way I can roll my finger because the next note is on the ninth fret of the G string. And then from there to the 11th fret on the D string; so that’s like three yel-low… And then starting on beat four we’re on the 11^th fret of the G string so we’re just going to roll our third finger up to pick up that 11 and then to the ninth fret on the G string and then back to the 11th fret on the D string… That right there I think is a really cool section and there’s all kinds of really great ideas in there that you could implement into your playing… All right so we hit that and that’s on the very end of four and then it’s tied to a 16th note, the first 16th note of the beat one of measure three. So then we hit it again so we’re hitting this again actually on the second 16th note of beat number one, but it’s a dotted quarter note. So this is like really weird to count, but you let that ring… Then we’re going to go to the ninth fret on the A string and we’re going to pick that and hammer-on to 11 and this is a triplet again. So nine hammer to eleven and then nine on the D string then we’re gonna go back to the 11th fret on the A string and slide to nine and then seven and then finally ending on the 11th fret of the D string and that’s another whole note and rings out with some vibrato.

Billy Gibbons Lick-2

All right and then the next we’re going to look at here, I believe this is from Under Pressure, but don’t quote me on that, I I can’t remember for sure. But anyway this one is using some dyads where we’re going to have to skip strings so this is a commonly used thing in the Blues and Country; lots of guys do this. So we’re going to start off we’re gonna we’re gonna start on the seventh fret of the D string and we’re going to slide to nine, but we’re going to treat it like a slide from nowhere. So you pick and slide simultaneously… Now while that’s still ringing I’m gonna put my first finger down here onto the eighth fret of the B string and I’m just holding the pick with my thumb and my first finger and I’m going to use my middle finger to pluck that B string; so hybrid picking… Then we’re going to come down here to the fifth fret of the D string and we’re going to hit pick that on the and of four and slide to seven… And then with our third finger we’re gonna grab the seventh fret of the B string and pluck it and it’s the same timing… Okay then this is where it changes and gets a little bit trickier. This is one that wouldn’t be as easy to move it around into a different key because it does use some open strings. I’m not saying it’s not possible, but any time you have open string the changes you have to do to be able to play it become really difficult or impossible depending upon what it is. But here what we’re going to do is we’re going to come up here to the B string I’m going to pick this and this is on the downbeat of four and then on the and of four we’re going to go to the second or excuse me the third fret and we’re going to do a half step bend; so four and, and then that is tied to the downbeat of one of the third measure.

And then on the and of one we hit the open high E string and again I’m using hybrid picking. Okay so after we hit that open E string and again we’re hitting that on the and of one, but since it’s a quarter note it’s taking care of the and of one plus the downbeat of two and then on the and of two I come up here to the fifth fret of the B string and let that ring with some vibrato and that takes care of the rest of the measure… Then on the last measure we’re going to go come back down here to the third fret… and that’s on the downbeat of one and then we’re going to go to the second fret of the G string and we’re going to bend that a half step and release it and follow that with the open G string… Then we’re going to do another slide from nowhere like we did earlier. We’re going to start here on the second fret of the G string and slide to four; so again we want one motion. So pick and slide together to the fourth fret and then finally ending on the second fret of the string and that’s a half note so it takes care of the rest of that measure with some vibrato…

Billy Gibbons Lick-3

All right, then the last one here this is arguably one of the most famous lick ideas riff ideas and again we’re going to be doing that same thing with we’re skipping strings and we’re doing the hybrid picking. So on this one here we’re going to start off by going to put your third finger onto the 10th fret of the B string and then your second finger onto the tenth fret of the A string and we’re gonna pick A and then the B string. So I’m using my pick on the A string and my middle finger to pluck the B string. So we hit that and now this is like a strange grouping of notes. We’ve got quarter notes, but they’re tuplets, so you we’re actually playing six notes; one, two, three, four, five, six, but we just want this… and that’s our first measure. And then for the second measure our third finger just stays here on the tenth fret of the B string, but the note on the A string is going to move down a half step and we’re just going to move that down chromatically. So we’re going to go from the 10th fret to the ninth fret so I’m going to switch and use my first finger and it’s the same timing and picking. Then we’re going to move that note on the A string down to the eight fret, same thing… And then on the last measure we’re going to hit the A string open twice, one and. Then we’re gonna go to the third fret and we’re going to slide to the fourth fret and this is quick and then and on the second fret of the G string and the whole sequence…

Conclusion

All right, so there you have it, three fun, not too terribly difficult licks to play, in the style of Billy Gibbons. 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 six fun and not too terribly difficult pentatonic sequence riffs from Tony Iommi.

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.

Pentatonic Sequence-1

All right, so this very first one is actually not just in pentatonic, it has a minor sixth in it, so it’s more like a natural minor riff than a pentatonic riff. But you could think of it either way because we’re not doing the major second either and that’s in the natural minor scale. So it’s like partially pentatonic and partially natural minor, but this is a really cool riff and it’s also a really good exercise just for picking. So it’s really easy, it’s here in G minor. So we have our first finger here on the third fret and we’re gonna play that three times and then we’re gonna go to the sixth fret on the E string and then we’re gonna go to the A string; three, five, six, three, five… Then back to the sixth fret of the low E, back to the third fret of the A string and then ending on the fifth fret of the A string. So that riff just repeats and like I said it it’s like a kind of a good picking exercise because you just want to alternate pick it.

Pentatonic Sequence-2

All right, so moving along to sequence number two, this time it’s a segment out of Iron Man and this is a really good example Tony Iommi style. He does a lot of these and they are like signature riffs and licks that he just uses a lot and this is one of them. So we’re going to start here on the 11th fret of the D string and partially what makes this unique is not the notes, but the timing, it’s kind of swing that he puts onto a lot of his things that he plays. So starting on the D string we go 11 to 9, then we go to the A string and we’re going to go 11, 10, and 9… Then we’re going to move down to the seventh fret and then we’re going to go to the low E string; seven, seven hammer-on to nine and then another nine and then that just repeats…

Pentatonic Sequence-3

All right, now on to sequence number three and this one is also from Iron Man. So now we’re going to start off we’ve got this B5 chord here; so I’m on the seventh fret of the low E with my first finger and then the ninth fret of the A string with my third finger. So we’re going to play this as eighth notes, so this is one. And now we’re gonna do this little climb up the pentatonic scale; so we’re going to go seven, ten. And then we’re going to go to the A string; seven, seven, eight, and nine. And then to the D string, seven, eight, nine… So you can take that idea and hook it together with the previous sequence because they’re both from Iron Man and they’re played back to back more than once and sometimes they’ll do the previous one first and then this one or vice versa.

Pentatonic Sequence-4

All right, now sequence number four here is just more of kind of a little lick, but this isn’t a thing that he uses in soloing, he uses he uses it in the riffs of songs. It’s really recognizable and it’s pretty easy to play and it’s a staple in the Tony Iommi sound. So we’re going to start here on the fifth fret of the D string with your second finger and then my first finger is going to handle the fourth fret. So we’re going to pick and then we’re gonna go four pick four hammer-on to five and pull-off to four. So the counting on this is really kind of weird because this is the downbeat of one and then starting on the and of one we’ve got this, but it’s a it’s a sixteenth note tuplet… Then we’re gonna go to the seventh fret on the A string… recognize that? It’s in War Pigs and tons of songs, even in the later material like Falling Off The Edge Of The world… He uses that particular type of timing all the time so this is a good one just to practice to kind of get down so when you see those riffs in songs as you learn them it makes it much, much easier.

Pentatonic Sequence-5

Now we’re on to sequence number five and this is another one that’s just a more of kind of a lick, but this is just something that he does a lot. One of the things about this that’s worth mentioning why this is a good one to have is that he’s taking a similar kind of lick that you maybe have done before, like a really common kind of a blues lick, but he’s kind of switched it up a little bit. So we’re gonna start off here we’re going to barre our first finger across the 12th fret of the B and the high E strings and then we’re going to go to the 15th fret on the high E string and we’re going to pick that pull to 12 and then follow that with the 12th fret of the B string. So this is triplets, so there’s like one yel-low and then it just repeats… easy to play quick. So like a common one like that would be the… so I just think that’s a little bit different than how I see a lot of other people play it.

Pentatonic Sequence-6

All right, so the sixth and final sequence and this one is another one that’s more of kind of a lick and you should recognize this if you’re a Sabbath fan. So it’s all pentatonic and we’re gonna start off here on the 12th fret of the A string and we’re going to pick that and do a hammer-on to the 14th fret. So I’m using my first finger on 12 and this is an E minor pentatonic box pattern number one. All right, so we’re going to start here on 12 on the A string and we’re going to pick that and do a hammer-on to the 14th fret and we’re going to do the same thing on the D string and then we’re going to hit that 14 again with some vibrato on it. So these first four notes are 16th notes and then when you hit the 14 on the D string a second time it’s an eighth note… Then we’re going to do that again on the D string and then go to the 12th fret on the G string… and he just does just a little tiny bit of a quarter step bend… Then you’re gonna go back to the 12th fret on the A string again, pick, hammer, pick, hammer on the D string and that’s our first measure… Now going on to the second measure, this is a another idea where he has taken a lick that’s like a common kind of a blues lick and he’s kind of changed a little bit and I really have difficulty making this sound good or being able to play it at any kind of tempo. So what he’s done you’ve probably done before, it’s a really common lick, but what he does is he starts off on the 12th fret of the G string. So it goes 12 and then 14 bend followed with the 12^th fret of the B and 12th fret of the high E…  it’s really hard to get that, I just don’t think I’d do it very well… And then on the 15th fret of the B string full step band with some vibrato… so the whole thing…

Conclusion

All right, so there you have it, six fun, not too terribly difficult, riff/lick sequences, however you want to look at them, in the style of Tony Iommi. 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 want to give you some more examples of the pentatonic sequence licks that we’ve been working on. Today we’re going to look at some in the style of Randy Rhodes.

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.

Randy Rhoads Lick-1

All right, so the first one to look at here is a lick that’s kind of a fill in the chorus on Crazy Train. So this is all right out of F sharp pentatonic minor. So we’re gonna start off we’re going to bend and we’re gonna take my first finger and I’m gonna barre across the second fret of the B and the high E string and then my third finger is going to go on to the fourth fret of the G string and we’re going to bend that and then follow it with the B and high E string… So this is really common one and we’ve seen it a lot in the Chuck Berry kind of a style thing. Then we’re gonna go to the fifth fret on the B string and we’re going to pick that and pull to the third fret. Then we’re gonna take our second finger go to the third fret and pick and pull to the second one. Then we’re gonna go to the fifth fret on the G string and back to that second fret on the B string and then we’re gonna go back to the fifth fret on the G string and we’re going to pick pull to the fourth fret with our third finger and then to the second fret with our first finger… Then we go to the fourth fret on the D string, back to the second fret of the D string, and that’s a little sequence right there. Then we’re going to go down to the second fret on the D string to the fourth fret on the A string back to the second fret of the D string and back to the A string again… Then second fret to the third fret of the A string and then first finger on the second fret and we’re gonna pick and pull and then end on the open A… So this is a movable shape and it’s much easier to play it a little higher up on the fretboard than it is down here. So I would transpose it… maybe up here; just make it so it’s a little bit easier to play especially if you’re a beginner it’s like when you when you’re down you’re trying to do stuff like that it’s pretty awkward.

Randy Rhoads Lick-2

All right, so the next lick we’ll look at is a lick from Flying High Again. This is like the very beginning of the guitar solo. So this is just a little repetitive sequence that’s just on the first three strings and again it’s out of the pentatonic scale. So this time we are going to be starting here on the 14th fret of the high E string and then we’re going to go to 17 on the B string and pull to the 14^th fret. And then we’re going to go to the 16^th fret on the G string and we’re going to do just a little tiny bend and it just repeats… Now it just keeps repeating that so this is something you again you can move this around wherever you want. So since we are above the 12th fret this is where I’ll start kind of substituting my third finger with my pinky you know because the fronts are close together, it’s just kind of cramped, but in this particular thing it’s actually easier for me to play it that way. So you’ll just have to kind of experiment and see what’s easier for you.

Randy Rhoads Lick-3

All right so then the last one to look at is a lick from Mr Crowley and this is similar to the last one we looked at as far as it’s just a little repeating sequence that’s just on the first three strings. So this time we’re going to be barring at the 10th fret on the first two strings and we’re going to be on the 12th fret on the G string and we’re going to bend that up a full step and then we’re going to go B, E, then to the 13th fret of the B string and pick and pull to ten… So that first bend rings out just a little bit longer than everything else does, but it’s like… So this is a cool lick. It’s easy to move it around into other Keys. It sounds really good when it’s played up to speed, although I didn’t really do it all that right there in the example, but as you can see that’s just a repeating sequence just like the ones we’ve previously worked on and this is very similar to the ones you’re going to see like with Jimmy Page and we’ve seen with Ace Freely. You can see with lots of players doing this very similar kind of a pentatonic sequence licks.

Conclusion

All right, so there you have it, three pentatonic sequence licks in the style of Randy Rhodes. 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. Today we’re going to take the sequences we’ve been working on and we’re going to apply them and look at some licks by Jimmy Page that use these same sequences.

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.

Jimmy Page Lick-1 – Stairway To Heaven

All right, so the very first one is the opening sequence from Stairway to Heaven. So this is in A minor pentatonic so we’re everything we’re doing is out of the same minor pentatonic box. So we’re going to start off here on the seventh fret of the G string and we’re going to do a full step bend and it’s a half note with some vibrato; so it’s like one, two and then that leads us into the next part. Okay so for the next part we’re going to start on the fifth fret of the high E string we’re going to pick that and then we’re gonna go to the B string and pick eight and pull to five. Then we’re gonna go to the G string and pick seven pull to five and then to the seventh fret on the D string. Then we’re gonna go back to the G string and do that seven to five pull off again and then we’re gonna go to the D string and do seven five pull off and then we’re gonna end on the eighth fret of the A string. And then adding in that note there on the eighth fret of the A string, that’s a note that’s not actually in the pentatonic scale, but it’s in the A natural minor scale so it’s in key sounds good. So in case you didn’t notice this is very similar to one of the sequences we’ve been working on.

Jimmy Page Lick-2 – Whole Lotta Love

All right, so the next we’re going to look at is a lick from Whole Lotta Love. So again this is just in the pentatonic, this time we’re in the E minor pentatonic. So this has more of the same kind of sequences that we’ve been working on. So we’re going to start off here, we’re going to take our first finger and we’re going to barre it across the 12^th fret of the B and the high E string with my first finger and then my third finger 14th fret of the G string and I’m going to bend this and follow that with the B and a high E strings. So this is a really common one we’ve looked at before and there’s going to be lots of these licks that we look at that have a very similar type of thing in it. So we’re going to bend that 14th fret on the G string up a full step followed by 12 on the B string, 12 on the high E string and then we’re going to go to the B string on the 15th fret and we’re going to pick that and pull to 12. Then we’re going to go to the G string and we’re going to go 14 pull to 13 and pull to 12. So we’ve got this little chromatic movement in there and that’s like a tuplet too. Then we’re going to go back to the 14^th fret, pick and then go to 12 back to 14 with a bend. So not too terribly tough of a lick and it sounds really good and it’s really usable. All of these licks by the way that we’re looking at are all movable, so you can you switch them around into different keys and then just slightly alter how they’re done and really kind of just make it your own.

Jimmy Page Lick-3 – Heartbreaker

All right, then the very last one to look at is a lick from Heartbreaker. This one is kind of similar to the Ace Frehley lick from Love Gun that we looked at the other day. So what we’ve got here is in A Minor again and it’s a minor pentatonic. I’ve got my first finger here on the fifth fret of the B and the high E string. So I’m barring it and then we’re gonna use our pinky to go to the eighth fret and we’re going to pick that and pull to the fifth and then with our third finger we’re going to come back to the seventh fret and pick that and pull to five. Then we’re going to go to the B string and pick eight and pull to five. So that’s the sequence, beat number one and then it just keeps repeating and this one’s really cool, especially when you get it up to a fast speed. I haven’t worked on this particular one a whole lot so I can’t play it really fast yet, but it sounds really good and you can move it around anywhere you want. So in any key it would be the same idea. So if we’re going to do it in E… So again, really cool lick. All these I think are really cool and that’s just a really good way to kind of see how all that stuff we’ve been working on goes together.

Conclusion

All right, so there you have it, three pentatonic sequence licks in the style of Jimmy Page. 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

Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson. Today I want to show you Breakout Of The Pentatonic Rut – Easy Exercise for the first pattern of the minor pentatonic scale, the box pattern that hopefully you already know if not, I’ll quickly go over it. What this exercise is going to do is kind of help you to break out, we kind of get stuck in just playing sequential notes up and down, so this is just a kind of a way to break it up, so that way you get where all the notes are and everything, but you can kind of utilize it more to be more creative in your soloing. 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.

Pentatonic Exercise Ascending

All right, so I’m doing this Breakout Of The Pentatonic Rut – Easy Exercise in the key of A, but this is movable so you can play this pattern anywhere. So we start off we’re on the fifth fret of the low E with my first finger and we play that note and then we roll up and play the fifth fret of the A string.

Then we shift over and we play the eighth fret of the low E to the seventh fret of the A string. So those are the first four notes, but instead of playing in sequence like that… we’re going to play five, five, eight, and seven, and then we’re going to just play the notes in the sequence.

So this whole pattern is based on two strings at a time. So we’ll do it on the low E and the A and then the A and the D, the D and the G, the G and the B, and then the B and the E. Now we just start the process over again on the A string, so again on the A string we’re five to five, on the D string to seven, on the A string to seven, on the D string and then we follow that with the fifth fret of the A string, a seventh fret of the A string to five and seven on the D string. Now we start the process over again on the D string; so 5 on D to 5 on G to 7 on D to 7 on G. Now we start on G; five on G to B or two five on the B string to seven on the G string to eight on the B string… and then we play those four notes. Finally the B and the E string; so five and five and eight and eight… So that is the ascending portion of it. So now let’s take a look at how we’re going to do this Breakout Of The Pentatonic Rut – Easy Exercise for descending.

Pentatonic Exercise Descending

So for descending we’re basically just doing it backwards. So we’re going to start at the very top, so here on the 8th fret of the high E and then I’m going to roll that finger back to the 8th fret of the B string and then over to the 5th fret of the high E to the fifth fret of the B and then those four notes in reverse; so eight, five, eight and five. Now we just start on the B string. So on the B string we’re eight and then to seven on the G string to five on the B string to five on the G string and then we play those notes… Now we’re going to start on the G to the D string; so seven, seven, five and four and then play those notes. Now the D and the A string; seven, seven, five and five and then finally the A and the low E. So seven, eight, five and five, so we put the whole the ascending and the descending together… just like that.

Conclusion

All right so I hope you enjoyed Breakout Of The Pentatonic Rut – Easy Exercise and you got something out of it. If you would like to check out some more variations and on the pentatonic scale, I did a lesson a while back that had some different variations of things you can do to really kind of help get both of your hands in sync and really get that scale under your belt so I’ll just leave a link for that here.

I hope you enjoyed that you got something out of it. If you like the video be sure to give me a thumbs up and leave a comment down below if there’s something you’d like to see covered in a future lesson either by me or one of the other instructors at GuitarControl.com.  Be sure to subscribe to the channel if you haven’t already and hit that notification bell so that way you don’t miss out on any of the content that we upload throughout the week. Well, that is all I’ve got for you today. Thanks for watching Breakout Of The Pentatonic Rut – Easy Exercise and have a great day.

For more killer information on the Pentatonic scale and soloing click here.

Introduction

Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson. Today I want to show you how to Spice Up The Pentatonic Scale With This Easy Sequence. 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.

The Pentatonic Scale

All right, for this example, I’m doing it in the key of E minor, but this is a movable shape, so it doesn’t matter what key you play it in, it’s always going to be the same sequence. So we’re using the minor pentatonic scale pattern number one starting on the 12th fret of our low E because we’re doing this in E minor. So really quickly if you do not know this sequence; we have 12 on the low E, 12, 15, 12, 14 on the A string, 12, 14 on the D string, 12, 14 on the G string, 12, 15 on the B string and 12, 15 on the high E. All right so if you don’t already know that scale pattern the first thing you’re going to want to do is just memorize the sequence.

The Lick

Okay so what we’re going to do is we’re going to break this into groups of six notes. Now this is not an Eric Johnson lick, but this is a kind of in the style he does, he does a lot of stuff in groups of six, so it’s this is just a really easy way that you can play the pentatonic scale and make it sound a little bit more musical and less like you’re just playing a scale.

The Lick Ascending

So let’s look at the ascending part of it. First what I’m going to do is I’m just going to ascend the scale. So you can do this by picking all of it or you could do hammer-ons or do both, you know just kind of whatever you feel like doing. So when I play this ascending I almost exclusively do it with hammer-ons because I just really like the way that it sounds. So i’m starting here on the 12th fret and I’m going pick and do a hammer-on to 15, then I’m going to go to the A string, pick, hammer and then to the 14th fret and then go to the D string, pick 12, hammer-on to 14.

How I’m doing this I’m going down hammer, down hammer, down hammer or you can alternate pick it, just either way it doesn’t really matter, just whatever is more comfortable for you to do. So that’s the entire sequence, so we’ve just played six notes and it’s based on three strings, it’s based on the fourth, fifth and sixth strings, now we’re going to start the sequence over again, but this time we’re going to start on the A string and we’re going to go the D string and then the G strings. So now going back to the A string. Now we’re just going to start the sequence over again on the D string to the G and B strings. And then finally we’ll start on the G string to the B and high E strings.  

So like I said it sounds more musical, more interesting than just ascending and descending the scale. Now you wouldn’t necessarily want to play the entire sequence, but this is something where you could take a part of this and combine it with something else. So maybe you combine it with something else to make it sound more interesting. So now let’s take a look at it for descending.

The Lick Descending

So for descending this easy movable shape it’s more or less the same idea, but we’re just going to do it backwards. So we’re going to start on the 15th fret of the high E with my fourth finger and the 12th fret with my first finger. Now you could also pick and do a pull-off, but for me it’s extremely difficult to try to do pull-offs with stuff like that because of having to switch strings, so this one I almost exclusively pick it and when I pick this I alternate pick it. So put both of your fingers down at the same time, it just makes it a little bit easier, so my first finger is on the 12th fret and my fourth finger is on the 15th fret of the high E and I’m going to do a down stroke on 15 and then when I go to 12 it’s an upstroke and then when I go to the B string it’s 15 with a down stroke to 12 with an up stroke and then to the G string 14th fret with my third finger with a down stroke to the 12th fret with an up stroke.

Okay so now we’re just going to do the same principle that we did with ascending, so now I’m going to start on the B string, 15, 12, to the G string, 14, 12, to the D string, 14, 12, again alternate picking, so down, up, down, up. Now we’re going to start on the G string, 14, 12, to the D string, 14, 12, to the A string, 14, 12 and then finally we start on the D string, 14, 12, to the A string, 14, 12, to the low E, 15, 12. So that whole sequence slowly.

Changing Keys

So again this is an easy movable pentatonic shape. So if you wanted to Spice Up The Pentatonic Scale With This Easy Sequence in a different key, let’s say you wanted to do it in G, then we just move up to the 15^th fret, because that’s where G is, same idea, like I said it does not matter what key you’re in, it’s just always going to be the same sequence.

Conclusion

All right, so I hope you enjoyed how to Spice Up The Pentatonic Scale With This Easy Sequence and you got something out of it. If you like the lesson give me a thumbs up. Leave a comment down below and let me know if there’s something you’d like to see covered in a future lesson by either myself or one of the other instructors at GuitarControl.com. If you haven’t already done so, please hit that subscribe button and hit the notification bell so that you get notifications in your inbox every time we upload new content, we upload several times a week and you don’t want to miss any of that stuff. All right, well that is all I’ve got for you today.

Thanks for watching how to Spice Up The Pentatonic Scale With This Easy Sequence and have a great day.