Rock Sequences Guitar Lesson

Chapter 1: (01:37) Lesson Introduction One of the best ways to improve your lead guitar skills is by learning licks from your favorite players. These licks have already proven to be successful. Guitarists have a long-standing tradition of borrowing material from one another. Licks are exchanged aurally, and altered over time. For example, you have already learned how Ace Frehley and Kirk Hammett have used ideas originally played by Jimmy Page. Hammett and Frehley added their own signature styles to these licks and made them their own. Strive to accomplish this goal with your own playing.

Similar to the previous lesson, all of the licks presented in this lesson are examples of sequences. Sequences from Dave Navarro, Dimebag Darrell, and Joe Bonamassa are explained and demonstrated in the scenes that follow. Before advancing to the next scene, take some time to review the practical and musical purposes that sequences serve.

Sequences are easy to play at rapid speeds since they consist of simple, repeating patterns. Therefore, there is less to think about. Sequences are conducive to playing techniques such as hammer-ons and pull-offs. These techniques enable you to kick the tempo up a few extra notches.

Due to their repetitious nature, listeners can't help being drawn to them. This repetitious element can build tension at a climactic point in a solo. For this reason, sequences are typically used at the end of a solo. Check out the ending phrases from the following solos: Sad But True (Metallica), Ocean Size (Jane's Addiction), and Aeroplane (Red Hot Chili Peppers). Chapter 2: (08:51) Blues, Dorian, and Hybrid Scales The sequence presented in this scene is from the second guitar solo to "Ocean Size" by Jane's Addiction. A recording of this solo can be found on the Kettle Whistle compilation.

Hybrid Scales

Countless guitar licks combine more than one scale. The sequence from "Ocean Size is a prime example." This lick is derived from a combination of the E Dorian mode and the E minor blues scale. Frequently, these two scales are combined within a lick to create an interesting hybrid form of scale. Similarly, the Mixolydian mode and major blues scale are frequently mixed together to create new melodic possibilities.

Matt has discussed the minor pentatonic scale in previous lessons. By adding the b5 scale degree to the minor pentatonic, the minor blues scale is formed. In the key of E, the minor pentatonic scale is spelled as follows: E, G, A, B, D, E. In relation to the key of E, the b5 blues note is Bb. Consequently, the E minor blues scale contains the following notes: E, G, A, Bb, B, D, E.

The Dorian mode consists of the following scale degrees: 1, 2, b3, 4, 5, 6, b7, 1. This scale is often thought of as the natural minor scale with a raised sixth. In relation to the tonal center of E, the Dorian mode contains these pitches: E, F#, G, A, B, C#, D, E. Compare the spelling of the E Dorian mode to the spelling of E natural minor (E, F#, G, A, B, C, D, E). As you can see, these scales differ by only one note. E Dorian contains a raised sixth scale degree (C#).

Note: For more music theory information pertaining to the Dorian mode, please visit lesson 12 from Matt Brown's Reading and Rhythm set. Also, visit lesson 26 from Brad Henecke's Phase 2 Classic Rock series.

When the E Dorian mode and the E minor blues scale, a strange a new scale results. This scale consists of the following eight notes: E, F#, G, A, Bb, B, C#, D, E. Essentially, the b5 "blue note" from the minor blues scale is added to the Dorian mode. Listen carefully as Matt plays through this hybrid scale. How does the b5 note affect the sound of the Dorian mode?

Note: Tablature / notation to all of the scales discussed in this lesson can be found under the "Supplemental Content" tab.

"Ocean Size" Sequence

The hybrid blues / Dorian sequence from "Ocean Size" begins on the note D at the 15th fret of the B string. The sequence descends three notes through the Dorian / blues scale. Then, the sequence descends through three notes beginning with the note C#. This pattern continues until the end of the lick.

Watch and listen as Matt performs this lick at 02:50 in the lesson video.

Practicing the Lick

The lick is played in a steady sixteenth note rhythm at about 96 beats per minute. When you first begin to practice the lick, set your metronome at 60 beats per minute. Practice in eighth note triplets instead of sextuplets. Once you perfect the lick at a given metronome marking, increase the tempo by one notch. Continue with this process until you reach a metronome marking of roughly 120 beats per minute. Finally, work through the same process with sixteenth note triplets. Set the metronome back to 60 as you begin practicing this rhythm. Add pull-offs wherever possible. This will allow you to play the lick at maximum speed. Chapter 3: (02:35) Dave Navarro Lick The chord progression played under the solo for "Ocean Size" consists of the E, G, and A chords. When learning any new lick, always analyze how it works in conjunction with the chord progression it is played against. Matt demonstrates this chord progression at 00:30 in the lesson video. Record yourself playing through the progression. Then, learn the solo that Dave Navarro played on the original recording. This will provide you with an opportunity to learn some new licks. Finally, incorporate these new ideas as you improvise a solo over the chord changes.

Note: Tablature / notation to the "Ocean Size" solo and rhythm progression can be found under the "Supplemental Content" tab.
Chapter 4: (06:09) Dimebag Darrell Lick Cowboys From Hell Lick 1

The solo from "Cowboys From Hell" is a Dimebag Darrell classic. Towards the beginning of the solo, a rapid sequence is played to grab the listener's attention. This sequence utilizes the 12th position pattern of the minor blues scale. Each note played at the 12th fret of this box is approached chromatically from a half step below. The chromatic approach tone then resolves to the 12th fret note within the scale. Next, the note at the 15th fret is picked. This three note sequence is then repeated with hammer-ons. The entire pattern is then moved and repeated on the next highest string.

Cowboys From Hell Lick 2

Another lick from the "Cowboys From Hell" solo is comprised of a sequence. The 12th position of the minor blues scale is also utilized in this lick. Watch and listen at 04:22 in the video as Matt provides a demonstration. Pay careful attention to the left-hand fingering he uses. Also, notice how he adds hammer-ons and pull-offs wherever possible. These techniques will allow you to play the lick with maximum speed and control.

Note: Tablature and notation to both of these licks can be found under the "Supplemental Content" tab.
Chapter 5: (07:13) Joe Bonamassa Lick The final sequence in this lesson is a Joe Bonamassa lick from the G minor pentatonic scale. Simply, shift your favorite pentatonic box pattern down to third position when playing in the key of G minor.

The rhythm of this sequence can be rather challenging. A quintuplet rhythm is applied throughout. Five quintuplets equal a single quarter note. Within this grouping, five notes of equal value span a single beat. To count this rhythm, say any five-syllable word for each grouping of five. Some musicians prefer to say "hippopotamus" when counting. Matt prefers to count the rhythm using the word "university." "University" rolls off the tongue much easier than "hippopatumus." This sequence can begin on any starting pitch within the scale. Descend down five notes beginning with the starting pitch you have chosen. Then, start on the next note and descend through five notes.

Like most of the other sequences demonstrated in this lesson, use a slur whenever possible. Adding these techniques will allow you to play with a smooth, connected sound. They also enable you to play much faster.
Chapter 6: (07:23) Using the Licks and Changing Keys Transposition

All of the sequences demonstrated in this lesson and the previous lesson can begin on any note within the scale. When applying a lick to your own solo, you do not have to begin on the starting note that Matt has chosen. Feel free to experiment with the basic ideas Matt has presented. For example, you may want to play the Joe Bonamassa sequence using the second box of the minor pentatonic scale. Matt demonstrates this idea at 01:18 in the lesson video. As long as you know the pattern that defines the sequence, the sequence can begin on any starting pitch within the key.

All of these licks can also be transposed to all 12 keys. Simply shift the lick in question up or down the neck to transpose keys. Matt demonstrates this process with both of the Jimmy Page sequences. Originally, these licks were taught within the E minor pentatonic scale. Now, Matt transposes them to the A minor and B minor pentatonic scales.

Playing with Taste

Most guitarists have the tendency to overuse a new lick. Do not force a lick into a solo simply because it 'works' against the chord progression. The lick must work with other important musical features such as rhythm, dynamics, etc. With diligent practice and experience, you will begin to realize if a certain lick will work with a given chord progression. Only insert a memorized lick into a solo when it feels natural! Chapter 7: (00:59) Final Thoughts In the next lesson, Matt switches gears from lead techniques to rhythm techniques. In the rock genre, chords are frequently broken up and played as individual notes. The individual notes within a chord form an "arpeggio." Playing an arpeggio creates an altogether different texture from a chord progression. In lesson 14, you will learn how to play arpeggio patterns that involve multiple string leaps. Your new skills will be put to the test by three string skipping excerpts. These excerpts come from hit songs by Radiohead, the Smashing Pumpkins, and others.

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