Lead guitar monster licks

The main focus here in terms of vocabulary is classic rock, which we're going to define for the purposes of this study as pre-Van Halen, so you'll find no eight-finger tapping, no three-octave sweep picked arpeggios and no 32nd-note legato monster licks. What you will find, however, is a choice selection of medium-tempo classic rock phrases that are stylistically diverse, melodically flexible, and display a wide range of articulation and dynamic devices. They are all also completely useable to guitarists of many levels and in a variety of settings. It's arguable that it's this mid-tempo range phrasing that really establishes the character of a rock guitarist. When the tempo gets cranked up there are generally less workable options. You'll often find the same fingerings and melodic pathways being adopted by a large number of players, but it's the melodic phrasing and note selection that really allows their personality to shine through.
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Monster Licks: My Pentatonic Obsession — Breaking Out of the "Box"

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MONSTER LICKS INTERACTIVE TAB by Frank Gambale @ visitandrun.com

View Cart Checkout. Thanks for taking the time to read this article! This lick is a combination of essential techniques for lead guitar players. The tab for this lick is down below! The first part of the lick uses scale fragments in A minor. In measure 2, the outline of a B half diminished chord breaks the flow of the run. In the 2nd half of measure 2, hammer ons and pull offs outline A minor again.
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50 rock guitar licks you need to know

What I actually do with this scale is add the major 3rd, but I don't substitute it for the minor 3rd. I keep the minor 3rd in the scale. This is nothing new; all the blues greats have done it. I just give it a different spin by using the extra note to create arpeggios and more modern-sounding runs. Although I refer everything back to the pentatonic scale, if you're more inclined to the modal approach, this scale is essentially the E Mixolydian scale.
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What I wanted to break away from with my soloing and playing was the box form of the pentatonic scale and the repeated licks you hear everybody play. The sound in my head was very clear, but the challenge of making it a reality was huge. I started by combining two of the boxes and creating three-string arpeggios. From there, I started working on the transitions to combine them. The other big challenge was adapting new picking techniques to suit this style of playing.
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