Cool Lick Exercise Guitar Lesson

Chapter 1: (00:54) Lesson Introduction In the last "cool licks" lesson, Dave taught you some arpeggio licks. These arpeggios outline chords that are diatonic to the B natural minor tonality. This time around, the licks that you will learn are based on A minor and E major chords. Am is tonic and E major functions as dominant in the A harmonic minor tonality.

These licks are inspired by shredders such as Tony McAlpine and Yngwie Malmsteen. Key elements of these players' respective styles are featured in the licks. Many of the licks incorporate techniques such as rapid scale runs and sweep picking. For additional help with sweep picking technique refer to lesson 8 from Matt Brown's Phase 2 Rock series as well as lesson 3 from Nick Greathouse's Speed and Technique series of lessons.
Chapter 2: (04:48) A Minor Lick Note: This lesson includes a JamTrack. This track can be found under the "Supplemental Content" tab. Once you master a lick, practice it along with the JamTrack.

Lick 1

This lick utilizes both the A harmonic minor and A natural minor scales. This lick begins in 12th position. However, there are a few position shifts that you must master in order to play the lick. The first part of the lick lasts for six beats. This segment is then repeated one octave lower. This is a very common compositional technique.
Chapter 3: (03:28) Diminished Ascending Lick Diminished Patterns

Diminished arpeggios and licks can be rather confusing at first if you do not have experience playing them. Fortunately, their visual fretboard patterns are rather easy to memorize.

Music Theory

The arpeggio used in this lick outlines a G# fully diminished seventh chord. This arpeggio implies the A harmonic minor scale. G#o7 is the diatonic vii chord in the A harmonic minor tonality. A diminished chord is constructed by stacking minor third intervals on top of one another. A minor third is found three frets up from any given starting note. For example, Dave begins Lick 2 on the note G#. The note B is a minor third above G# and is located three frets higher on the fretboard (at the 12th fret). This entire lick simply ascends a minor third at a time to outline the G#o7 chord.

This G#o7 arpeggio is played over an E major chord in the JamTrack. Analyze the notes within the G#o7 chord and determine how they function against an E major chord.

G#o7: G#, B, D, F
E major: E, G#, B.

If the notes from both of these chords are combined, an E7(b9) chord is formed. Consequently, by playing G#o7 over E major, the sound of E7(b9) is applied.

Lick 2

DMAC ends Lick 1 by shifting his second finger up to the 12th fret to play the final tonic A note. This shift sets up the best possible fingering for the diminished arpeggio that follows. Lick 2 begins in eleventh position. This means that the first finger plays the notes at the 11th fret. However, Lick 2 quickly moves through a series of position shifts. Watch carefully as Dave demonstrates each shift in this lick. Notice how you must shift up a fret each time when crossing strings. When switching from the third to the second string, you must shift up two frets since these strings are tuned just a major third apart instead of a perfect fourth. Chapter 4: (05:50) Lower Octave Diminished Lick Lick 4

Remember the form of the melody that Dave discussed in the second scene. First, Lick 1 is played. This is followed by Lick 2 (diminished lick). Lick 3 is identical to lick 1. Now, Dave demonstrates Lick 4.

Lick 4 is another diminished arpeggio lick. This time around, the lick begins with the low E note, which once again implies an E7(b9) chord. This lick climbs in the same stair step pattern as the lick taught in the previous scene. Once again, remember to shift up two frets instead of one when switching from the third string to the second string.

Like Dave mentions, diminished arpeggios and scales produce a very dissonant, ominous sound. They create a lot of tension that must be resolved. In this case, the diminished lick returns to the tonic tonal center of A minor.

Lick 5

This lick features many descending slides and position shifts within the A natural minor scale. Descending the scale in this fashion is a trademark of Hellecaster guitarist John Jorgenson. KK Downing from Judas Priest often descends scales in a similar fashion.

An optional trill can be added to the end of this lick. Trill between the notes A and B at the 5th and 7th frets of the 1st string. Also feel free to experiment with ending this lick in different ways to add your own personal touch to it. Chapter 5: (03:10) Another Diminished Lick Lick 6

Lick 6 features another diminished arpeggio. This lick is played on the 3rd, 2nd and 1st strings. It is built from a common diminished arpeggio pattern. You can finger this lick by beginning with the third finger or the fourth finger. Most guitarists choose to play this arpeggio with the pinkie instead of the third finger to eliminate any out of position stretches. However, Dave feels more comfortable playing the lick with the third finger. Once the initial arpeggio is played, the same fretboard shape is moved up three frets and repeated again.
Chapter 6: (03:06) Another A Minor Lick Lick 7

This lick is very similar to the first A minor lick (Lick 1). The only difference is a high tonic note played at the 17th fret of the first string. A large stretch occurs between this note and the note that follows at the 12th fret. The first and pinkie fingers must perform this stretch. If this stretch is too large for you, move it up several frets and gradually descend it back down. Don't hurt yourself by performing a stretch that is too wide for you. If you experience pain, stop what you are doing and take a break.
Chapter 7: (03:04) Moving on with the Lick Lick 8

Lick 8 adds another diminished chord arpeggio to the end of Lick 6. Essentially, you are just extending the lick by adding a new arpeggio figure three frets up from where Lick 6 ended. Also, some slides are added to the high E string portion of each arpeggio pattern. This slide requires a great deal of accuracy. Practice this lick very slowly at first. Then gradually build up the tempo. The conclusion of Lick 8 sets you up nicely for the final lick.
Chapter 8: (03:22) Minor Style Lick Lick 9

The final lick is based on an Am arpeggio played in 12th position. The arpeggio pattern demonstrated in this scene is a common pattern that can be transposed anywhere on the neck. It occurs in countless rock and metal guitar solos.

Practice and memorize each individual lick before trying to put them all together. Remember to practice with a metronome to ensure that you are playing in time. Then, try to play the licks along with the JamTrack.
Chapter 9: (01:14) Demonstration Dave demonstrates how each lick can be applied over a vamp consisting of A minor and E major chords. The minor scales and arpeggios are used over the Am chord. The diminished arpeggios are used over the E major chord.

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