Neoclassical Licks - Page 3
In a situation where three successive notes stay at the same fret each one on a different string (at the 5th fret in this lick), I lay down the fretting finger in a way that covers all these strings and press only the part of the finger against the fingerboard where a current note is going to be played.
Lick 12 - Using Quick Tapping
Each four-note sequence I play twice here. The last single note is played by tapping as well, you might add vibrato to it by any finger of the fretting hand while the finger of the other hand presses the string.
The lick begins by sliding from the 10th fret to the note at the 12th fret on the 1st sring. The notes under the legato notations are played in the following sequence, for example under the first curve:
I play the note at the 10th fret by the pick, instantly make a hammer on upon the 12th fret and pull off back to the 10th fret (like with the trill technique). So two first notes under the curve are very short and only the third one lasts some time.
At the end of the phrase I play the note at the 7th fret on the 3rd string and slide to the the 9th fret, striking the string by the pick just before that; while the last note rings I perform a slight dip and return with the vibrato arm and after this vibrate the string with the fretting hand.
Lick 14 - Using Two-Handed Tapping
This neoclassical lick consists of the following arpeggio progression:
Am .. E7 .. F .. G .. G#dim
Lick 15 - Flower of DesertNeoclassical/oriental lick
This slow beautiful piece will add a touch of middle eastern atmosphere to your soloing.In the first version of the lick I use the string bending technique.
All three notes are played in the following way:
bend → release → bend
In the second version I use the hammer on/pull off technique to perform trill like effect instead of bending.
The second note here belongs to the harmonic minor scale and this what makes the phrase sound in the typical middle eastern way.
At the third note, after the bending I make some vibrato. You can achieve very interesting effect if you generate some feedback from your amp on top of the vibrato!
Lick 16 - Spanish Guitar Classical Riff
This Spanish (flamenco) riff is supposed to be played with an acoustic or clean electric guitar.
And it can be very well integrated in a rock or metal piece as a bridge like in the song called "Innuendo" by Queen.
To make the quick tuplet notes on the 1st string easier to play, use the hammer on and pull off technique as indicated in the tab.
It takes time to master the switching between playing chords and swift "one note at a time" parts, start by practicing the riff in a very slow tempo but try to switch between the parts quickly.
The interesting thing about this riff is that if you record yourself playing it, and start improvising using notes of the A minor blues scale on top of the playback, they will fit.
Lick 17 - Irish Lick
Stricly speaking, this lick isn't neoclassical, but anyway can be useful in soloing.
Pay attention that the time signature is 3/4 here, if you use it with the 4/4 signature, add 2 additional eighth notes to each bar. Just repeat any notes from the sequence that sound appropriate.
Neoclassical Jam Tracks
As a small bonus you can use the following audio recordings for your imporisations:
• The 1st track is quite heavy and require paying attention to the chord progression, here it is:
Am .. G7 .. C .. C#dim .. Dm .. D#dim .. E7 .. E7
Style: Neoclassic, Heavy Metal
Size: 2.3 Mb
Made by: © Arthur Propishchin
• The 2nd track is soft, it is very generic and fits rock/pop ballad improvisation. The harmonic is very simple: Am x2 bars .. F x2 bars and so on...
Jaming with this track is very easy even for complete beginner
Chord Progression: Am .. F
Size: 3.6 Mb