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Old 08-28-2004, 11:14 AM   #1
Danfan3
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GUITAR LICKS (NEW COLUMN!) by Danfan3 (Andrew Lection) Installment 1, Part 1

Hi, and welcome to the first installment of ?Guitar Licks.? This is a new column that will come out every week in the Musician Talk Forum. Each week I will break down mostly the licks (and some riffs) and the theory behind these licks. I hope this will help you make some of your own licks in the style of your favorite guitarist! I will also give a simple overview of the tone most used by the guitarist.

This week?s guitarist is the great Jimmy Page. After playing with the band The Yardbirds, he went on to form the hard rock band Led Zeppelin. He is one of the most influential guitarists of all time so let?s start looking at some of his licks.

TONE:

Jimmy Page?s tone is sometimes a light distortion but it can also be a heavy overdrive. He might have his treble up a little bit, the middle sort of at 5, and the bass sort of around 3 but you should raise the bass more during the power chord riffs. The gain is adjusted for how much distortion the song needs. I want to focus on the licks more in this column but basically you need a fuzz sort of 70?s guitar tone.

SCALES:

Jimmy Page is largely influenced by many blues guitar licks. He constantly will use the Pentatonic Minor Scale and the Blues Scale.

Pentatonic Minor Scale/Blues Scale

Code:
|---X----|-----------|----------|-----0----| |---0----|-----------|----------|-----0----| |---0----|-----------|----0-----|-----#----| |---0----|---------- |----X-----|----------| |---0----|----#------|----0-----|----------| |---X----|-----------|----------|-----0----|


X=Root Note
0=Scale Notes
# = Blues Note

If you want to play the Pentatonic simply slide the root note on the 6th string to the same note of the scale you want to play such as if you want to play the A minor pentatonic scale then slide this scale shape with the X lined up on the 6th string, 5th fret. If you want to add some blues flavor to get the blues scale, all you have to do is play the pentatonic scale but add the # notes which is the flat 5th note which gives you the blues scale.

These two scales are not the only scales Page uses but most of the time he does play his licks around these scales, sometimes with added chromatic notes.

LICKS:

Now that we know some background on the tone and commonly used scales that Page uses, let?s look at some types of licks he uses:

Lick #1: ?Whole Lotta Love?

We are going to look at the opening lick from the classic solo in ?Whole Lotta Love.?

Measure 1:
Code:
E5 / / E|----------------------------12-------------------------------------| B|-----------------------12------15p12-------------------------------| G|---------------14b16 ------------------15p14p12-14p12------14b16vvv| D|-------------------------------------------------------------------| A|-------------------------------------------------------------------| E|-------------------------------------------------------------------|



Above we have measure one of the guitar solo. Page stays in the E minor pentatonic scale with the exception of a few chromatic passing notes. He plays in the E minor pentatonic scale because this goes well with the E5 chord vamp being played at the same time. The rhythm section does a simple syncopated 2 beats and then Page does a lick after that. This is a technique that could be described as ?call and response.? The band plays two beats on the E5 chord (call) and Page follows up with a lick (response) which sustains into the next call which is the E5 chord vamp starting over again. This goes on throughout the whole solo.

Let?s look at the lick in the first measure now. A great way that can begin a guitar solo is by bending the 4th of the scale up to the 5th of the scale. This is what Page does by bending the A (the number 14 in the tab) up to the B (the number 16 in the tab). Page starts out many other great solos like this including the famous ?Stairway to Heaven? solo which we will get to later. He then hits the important notes of the chord being played which is E5, and he plays the B and E note (the next to 12 numbers in the tab). It is always important in any solo that you play some of the chord tones because this makes your solo sound more convincible. He then pulls off from 15 to 12 which is the D to the B note. The D could act as a b7th note sound since an E5 chord was played before this lick. Once again the B note is a chord tone. He then plays a Bb on the 15 fret, 3rd string. This is where he adds a note from the blues scale which is the b5th note. He pulls off to the A note (14 number in tab) and then back to the the G note (the next 12 number in tab) which is another chord tone. He then pulls off again from this A note to the G note and back to bending the A note up a whole step to B with some vibrato. This is how he started out the lick and bending up to the B note and letting it sustain is a great way to lead into the next 2 beats of the E5 chord since B note is the 5th of the E5 chord. There are many other great licks in this solo but let?s look at some other licks.

Lick #2: ?Black Dog?

We are going to mostly be looking at licks in this column but we will look at some riffs. I thought we should look at the famous riff from the song ?Black Dog.?

Code:
E|---------------|----------------------------------------|-----------------------------------------| B|---------------|----------------------------------------|-----------------------------------------| G|---------------|----------------5b1/4---------7---9-----|-----5h7p5--------------5b1/4------------| D|--------5-6----|------7-------------------7-------------|---------------7--7-----------------7----| A|-----7---------|---------7------------------------------|-----------------------------------------| E|---------------|----------------------------------------|-----------------------------------------| E|--------------------------------------|---------------------------------------------| B|--------------------------------------|---------------------------------------------| G|-----------------------------------2--|---------------------------------------------| D|----5----7---7---------------------2--|---------------------------------------------| A|-------------------5---7----3---5--0--|---------------------------------------------| E|--------------------------------------|---------------------------------------------|


This riff is mostly based on the A minor pentatonic scale with some added chromatic notes. The riff starts out ascending from the E note ( 7 number in the tab) and goes to the G note (the b7th, the 5 number in tab) to the G# note (the 7th note, the 6 number in tab) to the A note (the 7 note in tab). This creates a chromatically ascending couple of notes from G to G# to A which contains many commonly used tones which are the b7th, the 7th, and then the root. This then goes back down to the E note where we started off. Page once again contains the chord tones which are the A and the E, from the chord that was played before the riff which was an A5. In ?Black Dog? the song does a similar thing as in the solo of ?Whole Lotta Love? where the band sustains an A5 chord with Robert Plant singing the lyrics which could be the ?call? and then Page plays the riff which could be the ?response.? Anyways back to the riff, he plays the b3rd note in A minor which is the C note or the 5 in tab. He then bends it up ¼ step which is a commonly used blues technique. This note creates the minor feel since it is the b3rd of the scale. He then goes back to the A note and then starts to go up the next a little bit with the D note (7, 3rd string of tab) to the E note (9 in tab). He then does a pull off lick with the C and D notes (5h7p5). This again highlights the C note or the b3rd note and also the 4th of the scale which is the D note. He then highlights the root note by playing the A note two times before going back into bending the C note up ¼ step again. Page is once again highlighting the main notes of the scale and wants to give it sort of a minor feel since he plays around the b3rd note. He then goes into a descending like starting with the A note to the G note back to the A note two times. This creates a bluesy feel by playing the root note, then playing the b7th note (a bluesy note) which is the G, and the playing the A note again. This shows how he contrasts the b7th note to the root note. He then starts to descend by playing the D note to the E note and then playing the C note on the 5th string, 3rd fret which once again highlights the b3rd note. He then plays a D note before resolving to the A5 chord to once again be sustained into the next set of lyrics.
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Last edited by Danfan3 : 08-31-2004 at 03:40 PM.
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Old 08-28-2004, 11:19 AM   #2
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Installment 1, Part 2

Part 2


Lick #3: ?Stairway to Heaven?

This is our final lick for today but it is a great lick. We will be looking at the opening lick and a few other licks from the ?Stairway to Heaven? solo.

Opening Lick:

Code:
E|-------------------------5--------------------------------|----------------------------| B|----------------------------8--5--------------------------|----------------------------| G|-----7^9---------------------------7---5--------7---5-----|----------------------------| D|---------------------------------------------5------------|--7-5-----------------------| A|----------------------------------------------------------|--------8vvvvv--------------| E|----------------------------------------------------------|----------------------------|


This is the opening lick from the famous solo from ?Stairway to Heaven.? This whole solo is mostly based on the A minor pentatonic scale. Page starts off his solo with bending up from the 4th (the D note) to the 5th (the E note). This is a common technique that he uses to start a solo, including when he also used it to start off the ?Whole Lotta Love? solo. He then does a common descending pentatonic scale run. He starts on the A note (5 in tab) and goes down mostly each note in the A minor pentatonic scale and then repeats again the D to C note while going into the next measure where he descends more now by going to the A note to the G note and then to the F note where he emphasizes this note by sustaining it and adding vibrato. Notice during the descending pentatonic run he plays many chord tones like playing the C note many times and then ending on an emphasized F note, while an F chord is being played behind him. Many classic solos have descending or ascending pentatonic scale runs like this but what makes each one sound different is how you emphasize certain notes.

Solo Lick #2:



Code:
E|--------------------------| B|---13---15^17^(15)p13-----| G|-----------------------14-| D|--------------------------| A|--------------------------| E|--------------------------|



This next lick is towards the end of the solo. Page repeats this lick very fast and he plays it 4 times for every measure but here I have it shown just once. The 15^17^(15)p13 means to bend up to the 17th fret from the 15th fret and then bend back down to where you picked the note on the 15th fret and then pull off really quick to the 2nd string, 13th fret. This lick is played many times to create tension before the final lick of the solo. Page plays this lick in a different shape of the A minor pentatonic box:



Pentatonic Minor Scale/Blues Scale (Version #2)

Code:
|---0----|----------|----------|-----0-----|----------| |--------|----0-----|----------|-----0-----|----#-----| |---0----|----------|----X-----|-----------|----------| |---0----|----#-----|----0-----|-----------|----------| |---X----|----------|----------|-----0-----|----------| |--------|----------|----------|-----------|----------|


X = Root Note
0 = Scale Note
# = Blues Note

This is a different shape of the pentatonic box starting with the root on the 5th string. Page plays this lick with the box starting on the 12th fret so the root is the A note, so he plays the A minor pentatonic box. He starts the lick by playing the C note (13 in tab) and then does the same bend he did when he started the solo, which is bending the 4th up to the 5th (the D note up to the E note). He then bends back down again to the D note and pulls off to the C note and then plays the A note. This C to A note creates contrasts between a b3rd and a root note. This creates the minor feel of the lick. He plays this lick really fast so altogether it creates tension. It will take practice to play this lick really fast but start off by playing it slow and build up speed.

Lick #3:

Code:
F Fmaj7 F Fmaj7 F / / / / / / / / E|---------20p17-----20p17------20p17-----20p17-----20p17------20^22--------| B|---17-----------17----------17------17---------17--------17---------------| G|--------------------------------------------------------------------------| D|--------------------------------------------------------------------------| A|--------------------------------------------------------------------------| E|--------------------------------------------------------------------------|

This is the final lick of the solo and it is the climax lick which leads into the final verses of the song. Page moves the minor pentatonic box (version 1) up to the 17th fret where he plays an A minor pentatonic pull-off lick. This lick is very fast and I play it by using the thumb for the 2nd string and the index finger for the 1st string. He creates more tension here in this lick by repeating this lick until he ends the tension by bending the C note up to the D note which creates a little more tension before the verse starts. The pull-off lick is commonly used in many guitar solos and Page uses some chord tones to go against the F and Fmaj7 chord being played behind him. He starts on the E note (17 in tab) which is the maj7 note and then goes to the C note (the 3rd of the F chord) and then pulls off to the A note (the 5th of the F chord). When you write your own solos try to using some of these minor pentatonic scale ideas.




Well we have come to the end of this installment of ?Guitar Licks.? I hope that you enjoyed it and learned many guitar ideas from our look at Jimmy Page?s guitar style. Tune in next week as we look at the bluesy guitar licks of Eric Clapton.
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Last edited by Danfan3 : 08-31-2004 at 03:42 PM.
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Old 08-28-2004, 11:21 AM   #3
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wow...
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Old 08-28-2004, 11:25 AM   #4
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this is great thanks for your time for wrinting this for us
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Old 08-28-2004, 11:26 AM   #5
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No problem I am going to do one of these every week, next week it will be Eric Clapton and I am more than happy to take suggestions for other guitarists in the future.
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Old 08-28-2004, 11:32 AM   #6
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yeah great but write with code for the tabs (just skip the spaces) [ code ] [ /code ]. maybe this should be 'officialized' or 'importanted' by the mods?
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Old 08-28-2004, 11:33 AM   #7
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I would like to request that you profile Lindsey Buckingham of Fleetwood Mac Fame.
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Old 08-28-2004, 11:39 AM   #8
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um, 2 things....

1.) did you ask one of us if you could do a weekly thing? (i'm not trying to be a being dick here...cause it's fine if you do one of these every week, it's a good idea. I just wasn't aware of it and don't know if you asked one of the other guys or not. and everyone else who has done something like this has at least asked if they could do an article series .... )

2. do you know how to use code? you really should man, it'd make the tab line up much better. the whole thing is good, just making all the tab nice and lined up and uniform would make it all the better.

3. I'll comment on the lesson overall later, as I have to go do some things now, but, it looks good so far



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Old 08-28-2004, 11:49 AM   #9
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good job its awsome
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Old 08-28-2004, 11:50 AM   #10
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Quote:
Originally posted by ZoSo_420
good job its awsome


Thank you Zoso
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Old 08-28-2004, 11:53 AM   #11
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no problem (yes it even gets a golfclap)
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Old 08-28-2004, 11:59 AM   #12
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hey dan, just replied to your PM... that should clear everything up lol.


*stuck*

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Old 08-28-2004, 12:14 PM   #13
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yayayayayayay STICKY!!! thanks cas
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Old 08-28-2004, 02:17 PM   #14
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can anyone post licks on here that are accurate and explain them or just danfan because i got alot of lick i would be glad to share
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Old 08-28-2004, 02:26 PM   #15
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Great!

One thing, in the pentatonic box shape you've shown there are two more root notes which you haven't written in. It might clear things up if you fix that. The rest of it is very good.
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Old 08-28-2004, 03:01 PM   #16
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Hey, Danfan, this is a good idea. Those are some good licks by the way. Great job man.
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Old 08-28-2004, 03:28 PM   #17
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Cool, nice contributin'!

BTW, could someone rename the thread? It's really messy and "obnoxious", lol, and it makes the forum look a tad untidy. Thanks.

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Old 08-29-2004, 12:35 PM   #18
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Quote:
Originally posted by Punkarse
Great!

One thing, in the pentatonic box shape you've shown there are two more root notes which you haven't written in. It might clear things up if you fix that. The rest of it is very good.


Thank you, I fixed the box shapes so now it shows all the root notes.
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Old 08-29-2004, 11:54 PM   #19
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Great job and great idea... I knew these licks already, but thats just a testament to Page's prowess as a guitarist/writer. Keep them comin!
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Old 08-31-2004, 09:06 AM   #20
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Sugestion on guitarists.......Angus Young and Stevie Ray Vaughn.

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