299INSANEGUITARLICKS

Matias Rengel

11 CHAPTERS 11 SCALES 20 TECHNIQUES TO CHALLENGE YOUR PLAYING

299INSANEGUITARLICKS

Matias Rengel

ACKNOWLEDGEMENTS

I would like to thank the following people for making this book possible:

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I would also like to thank:

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2015 Matias RengelAll Rights Reserved.

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All rights reserved. No part of this publication may be reproduced in any form, stored in a retrieval system, RUWUDQVPLHGLQDQ\IRUPRUE\DQ\PHDQVHOHFWURQLFPHFKDQLFDOSKRWRFRS\LQJUHFRUGLQJRURWKHUZLVHZLWKRXWWKHSULRUZULHQSHUPLVVLRQRI0DWLDV5HQJHOH[FHSWE\DQHZVSDSHURUPDJD]LQHUHYLHZHUZKR

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ISBN 978-1-5076-0464-9

Original copy published in 2010Re-published in 2015 CreateSpace.

CONTENTS

3 + 16

& Major Licks

12 Alternate Picking

15 Legato

17 Tapping

19 Slide

21 Sweep Picking

22 Bend

24 Hybrid Picking

26 Combined

& Minor Licks

32 Alternate Picking

34 Legato

35 Tapping

37 Slide

39 Sweep Picking

40 Bend

42 Hybrid Picking

44 Combined

& Minor Licks

48 Alternate Picking

50 Legato

51 Tapping

53 Slide

54 Sweep Picking

56 Bend

57 Hybrid Picking

58 Combined

& Penta-Mixo Licks

63 Alternate Picking

64 Legato

64 Tapping

65 Slide

66 Sweep Picking

66 Bend

67 Hybrid Picking

68 Combined

& Harmonic Minor

71 Alternate Picking

72 Legato

74 Tapping

75 Slide

76 Sweep Picking

77 Bend

78 Hybrid Picking

78 Combined

& Lydian Licks

82 Alternate Picking

83 Legato

85 Tapping

86 Slide

87 Sweep Picking

88 Bend

89 Hybrid Picking

90 Combined

& Mixolydian Licks

94 Alternate Picking

95 Legato

96 Tapping

97 Slide

97 Sweep Picking

98 Bend

99 Hybrid Picking

99 Combined

& Dorian Licks

104 Alternate Picking

105 Legato

106 Tapping

107 Slide

108 Sweep Picking

109 Bend

110 Hybrid Picking

110 Combined

& Locrian Licks

114 Alternate Picking

114 Legato

115 Tapping

116 Slide

116 Sweep Picking

117 Bend

118 Hybrid Picking

118 Combined

$ & Lydian b7 Licks

121 Alternate Picking

121 Legato

122 Tapping

123 Slide

124 Sweep Picking

124 Bend

125 Hybrid Picking

125 Combined

& Phrygian Licks

130 Alternate Picking

129 Legato

129 Tapping

130 Slide

130 Sweep Picking

131 Bend

132 Hybrid Picking

132 Combined

One of the things guitar players love the most is jamming. Jamming is a way of freeing your imagination; you just grab your guitar and play whatever you feel like. My experience as a teacher showed me that most students want to free their imagination and be able to improvise over any chord progression, but dont know KRZWRGRLWH\OHDUQKRZWKHSOD\WKHULJKWVFDOHRYHUWKHULJKWFKRUGEXWLWVWLOOGRHVQWIUHHWKHLUSOD\LQJH\OHDUQWKHRU\DQGKDUPRQ\DQGQDOO\XQGHUVWDQGKRZPXVLFZRUNVEXWVRPHKRZWKH\VWLOOGRQWIHHOVDWLVHGZLWKWKHLUSOD\LQJHSUREOHPLVWKDWWKHUHLVXVXDOO\VRPHWKLQJPLVVLQJLPLWDWLRQ0RVWVWXGHQWVusually forget about listening to a great solo and trying to play it just like the original recording; they dont do it. Many musicians fall into this wrong idea of I dont want to copy someone elses ideas. Imitation is as important as knowing how to play the right scales over chords. Imitation doesnt make you a cheater or less original; it helps you grow musically. Imitation, combined with other concepts such as harmony, improvisa-WLRQDQGDUUDQJLQJZLOOSURYLGH\RXZLWKWKHULJKWWRROVWRIUHH\RXUQJHUVDQGPLQG,PLWDWLRQZLOOKHOS\RXmaster the art of improvisation.

I usually teach basic jazz harmony to all my students. Many of them contact me and tell me I want to be able to improvise over any chord progression; and so I teach them about harmony, improvisation concepts, DPRQJPDQ\RWKHUWKLQJVEXWWKHLUSOD\LQJVWLOOVHHPVWREHODFNLQJVRPHWKLQJHDQVZHULVXVXDOO\WKHVDPHVWXGHQWVQHHGWROHDUQPRUHJXLWDUOLFNVDQGVRORVHUHLVVRPHWKLQJYHU\LQWHUHVWLQJDERXWOHDUQLQJKRZWRSOD\VRPHRQHHOVHVPXVLFXQGHUVWDQGLQJDQGDQDO\]LQJZKDWRWKHUPXVLFLDQVGLGKHOSV\RXXQGHU-stand what you want to do. For this book, I have composed 299 original guitar licks.

PREFACE

HOW TO USE THE BOOK

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Major Licks Blues Licks Minor Licks Penta-Mixo Licks Harmonic Minor Lydian Licks Mixolydian Lick Dorian Licks Locrian Licks Lydian b7 Licks Phrygian Licks

Each chapter comes with a jam track. It is very easy; choose a lick and play it over the chapters jam track. You FDQSOD\DVPDQ\OLFNVDV\RXZDQWIURPWKHVDPHFKDSWHUDQGXVHWKHPLQQRSDUWLFXODURUGHURXJKHDFKFKDSWHUKDVLWVRZQMDPWUDFN\RXFDQXVHDGLHUHQWRQHE\WUDQVSRVLQJWKHOLFNVWRWKHQHZNH\WUDQVSRVL-WLRQLVVSHFLHGLQHDFKVHFWLRQ(YHU\OLFNLQWKHERRNLVZULHQLQ6WDQGDUG1RWDWLRQDQG7$%

Licks for Everyone Symbols - Page 7

Hammer-On: The letter "H" and a curved line indicates a hammer-on. The first note is picked, while the rest of the notes (inside the curved line) are played by bringing the left-hand fingers down (hard), without using the pick. In the example, 3 is picked, while 5 is hammered-on; 0 is picked but 2 is hammered-on; 0 is picked while 3rd and 5th are hammered-on.

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NOTATION SYMBOLS

Pull-Off: The letter "P" and a curved line indicates a pull-off. The first note is picked, while the rest of the notes (inside the curved line) are played by pulling the finger off the fret, downward direction. In the example, you pick 5, position other finger in 3 and pull-off from 5 to 3 and then from 3 to 0. Then pick 2 and pull-off to 0. Finally, pick 5, position some finger in 3 and pull-off.

Legato Slide: The letter "sl.", a curved line and a slope line between fret numbers means legato slide. You pick the first note and then slide to the next fret, without picking it. In the example, you pick fret 2 and slide up to 4, without picking it. Then pick fret 5 and slide down to 3 and up 5, never picking the notes.

Downward Slide: a slope line going down means downward slide. You pick the note and then slide the finger down to create a kind of a fade effect. In the example, 4 and 2 are picked normally, and then 5 is picked and taken rapidly down, without taking the pressure off the frets.

Left-Hand Tapping: a curved line before a note means left-hand tapping. Without using the pick, take a left-hand finger down (hard and fast) to a fret. In the example, take a finger and bring it down hard and fast to the 5th fret; do the same thing with the rest of the notes.

Hammer-On: HOHHU+DQGDFXUYHGOLQHLQGLFDWHVDKDPPHURQHUVWQRWHLVSLFNHGDQGWKHUHVWRIWKHQRWHVLQVLGHWKHFXUYHGOLQHDUHSOD\HGE\SUHVVLQJWKHVWULQJWRWKHIUHWZLWKRXWSLFNLQJLW,QWKHH[DPSOHLVSLFNHGZKLOHLVKDPPHUHGRQLVSLFNHGEXWLVKDPPHUHGRQLVSLFNHGZKLOHDQGDUHKDPPHUHGRQ

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Licks for Everyone Symbols - Page 8

Right-Hand Tapping: a "T" above tablature and a "+" above staff means right-hand tapping. For this technique, take a right-hand finger and bring it down, hard and fast, to a note. In the example, take a right-hand finger and bring it down to fret 12, position a left-hand finger in fret 5 and pull-off tapping finger (up direction). Do the same thing for fret 13 and 7.

Tapping w/Fingers: If no finger is specified above the staff, then you must use 1 finger for all tapping. But if finger letters appear above "+", then it means you must use certain fingers for tapping. In the example, 10 is played using "m", the middle finger; while 12 is played using "a", the annular finger.

Legato Tapping: The letter "T" above tablature, the "+" above the staff, a curved line and a letter "H" or "P", all together, means tapping & legato. In the example, you must tap fret 12 with finger "m", fret 14 with finger "a", then bring down a left-hand finger to fret 5 and pull-off the tapping from fret 14 to 5. Then tap 12, 14 and 12 with right hand and pull-off to 7.

Slide Tapping: "sl." above tablature, legato slide symbol between numbers, a "T" above tablature and "+" above staff, all together, means slide tapping. In the example, the player must tap fret 13 and slide up to 14 and down to 13; bring down a left-hand finger to fret 7 and then pull off the tapping finger. Tap fret 14 using right hand, slide down to 13 and pull-off to 7.

Bend: a curved arrow next to a number, and a "full" or "1/2" above means bending. A curved arrow going down, this means "release". The player picks the note and can bend it 2 steps (full), 1 step (1/2) or more if specified. In the example, you bend 6 so that it sounds as fret 8, mute it and then pick 3 and 3. Right after, bend and release 5. Then bend 6, mute it and pick 6.

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Bend: DFXUYHGDUURZDQGDIXOORUPDUNLQJLQGLFDWHVEHQGLQJ$FXUYHGDUURZSRLQWLQJGRZQLQGLFDWHVUHOHDVHHSOD\HUSLFNVWKHQRWHDQGEHQGVLWVWHSVIXOOVWHSRUKRZHYHULWLVVSHFLHG,QWKHH[DPSOH\RXEHQGWKHVWULQJRQWKHWKIUHWHQ\RXSLFNWKHUGIUHW$HUWKDW\RXEHQGDQGUHOHDVHWKHWKIUHWEHQGWKHWKIUHWPXWHLWDQGSLFNWKHWKIUHW

Licks for Everyone Symbols - Page 9

Bend and Pull-Off: a curved arrow going down and a curved line means bend and pull-off. The player have to release the tension and rapidly pull-off to the indicated fret number. In the example, you have to bend 7, release it and pull it off to 5; then bend fret 8, release it, and pull-off to 5. The result is bend and pull-off.

Vibrato: a wavy line above the tablature and staff is vibrato. The player has to play the indicated note and, without taking off the pressure, barely bend the string up and down many times. The vibrato could go slow, medium or fast depending on the context. In the example, you must pick fret 4 and immediately bend it up and down (slight bending).

Grace Note: it can be distinguished by its size, smaller than regular notes. In this book grace notes are used as acciaccatura, short-time notes played on beat before a target note. In the example, the melody must sound as if you were playing fret 9 and then 7; but actually playing a very short 7 before 9, and a very short 9 before 7.

Picking Symbols: a " " means pick down, while " " means pick down. In the example, 2 is played with a down pick, 5 with a down pick, 4 with an up pick, 6 with a down pick, 3 with an up pick and 5 with a down pick. The symbols are usually placed bellow tablature.

Hybrid Picking: hybrid picking can be easily recognized. A right-hand finger is placed above staff, and there is usually no picking symbol nor tapping symbol, just the right-hand finger. These notes are usually picked with the finger specified.

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Vibrato: DZDY\OLQHDERYHWKH7$%DQGWKHVWDLQGLFDWHVDYLEUDWR

Licks for Everyone Symbols- Page 10

Palm Mute: a P.M. above tablature, or a P.M. followed by -----| is referred as palm mute. The player has to place the right side of the right hand, very close to the bridge, so that there is kind of a mute sound when playing. In the example fret 2, 4 and 4 are played as palm mute, the next 2 is play normally and finally the 5 is played with palm mute.

Finger Numbers: left-hand finger numbers are placed above the staff. In the example, 2nd finger is placed on fret 3, 4th finger on fret 5, 3rd finger on fret 4, 1st finger on fret 2 and for 0 no finger is placed.

Pre-Bend: a vertical arrow means pre-bend. The player has to bend a note, and then keep picking the note without releasing the bend. The player could also bend without picking it and just play the pre-bend. In the example, you must bend fret 12, and without releasing it, pick the 12th fret three times.

Tapping Pre-Bend: a vertical arrow and a "T" letter above the arrow means tapping pre-bend. The player has to bend a note, and without releasing it, tap the indicated note. In the example, you must bend fret 12, and without releasing it, tap fret 15, once again bend 12 and tap 15 without releasing the bend.

Tied Note: when a curved line appears on staff but in tablature there is nothing, it means there is a tied note. Also if a curved line appears on staff and a parentheses on tablature, it means there is a tied note. Tied notes must not be played, they are just written to extend the duration of a note. In the example, you pick 2, and once again 2, the pick 4 and 5. The (4) is not played.

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The structure of the Major Scale is: W - W - h - W - W - W - hThe backing track from this chapter uses the C Major Scale: C - D - E - F - G - A - B

Dorian: 4 frets up or 8 down Phrygian: 5 frets up or 7 down Lydian: 3 frets up or 9 down Mixolydian: 4 frets up or 8 down Aeolian: Play the licks as written Locrian: 2 frets up or 10 down

To use any of the 46 licks with other jam tracks, transcribe them as follows:

C Major Scale Diagrams

8 10 8

15 15 8

Licks for Everyone Chapter 2 - Page 32TU $PEF"""" *OTBOF(VJUBS-JDLT

Licks for Everyone Chapter 4 - Page 68TU $PEF"""" *OTBOF(VJUBS-JDLT

Licks for Everyone Chapter 5 - Page 80TU $PEF"""" *OTBOF(VJUBS-JDLT

Licks for Everyone Chapter 8 - Page 108TU $PEF"""" *OTBOF(VJUBS-JDLT

Licks for Everyone Chapter 10 - Page 121-*/)53"/ -ZEJBOC-JDLT

Licks for Everyone Chapter 11 - Page 130TU $PEF"""" *OTBOF(VJUBS-JDLT

atias Rengel is a graduate of Berklee College of Music, where

he majored in Music Production and Engi-neering. He has been playing guitar since 1999.

At Berklee, he studied with some of the best teachers around the world, includ-ing Tim Miller, Norman Zocher, Jim Kel-ly, David Fiuczynski and Andrew Maness. He was also part of the Berklee Singers Showcase which features some of the most talented musicians in school. His record-ings and productions were among the best, having one of them selected for the annual MP&E showcase.

As an entrepreneur, Matias co-founded ExpressDrummer.com a collection of KLJKTXDOLW\'UXP6DPSOHVUHFRUGHGDQGPL[HGE\KLP+HKDVDOVRSXEOLVKHGH$XGL-tion Guide, a book that helps Berklee applicants prepare for their audition.

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ABOUT THE AUTHOR

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