Modern Legato Licks v2.0
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Thread: Modern Legato Licks v2.0

  1. #1


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    Modern Legato Licks v2.0

    As requested by Chris, here's MG.org's answer to the 'modern legato licks' thread over on SS.org.

    Same deal...post up any interesting legato licks or ideas you have!

    To kick things off, here's a 'reverse angular' lick in B Dorian. All hammer-ons here, and four fingers per string!

    e--12-10-9-7-10-12-10-7-----------------------------------------
    b-------------------------10-9-7-14-12-10-9-12-14-12-9---------
    G--------------------------------------------------------11-9-7---
    D----------------------------------------------------------------
    A----------------------------------------------------------------
    E-----------------------------------------------------------------

    ------------------------------------------
    ----------------------------------------
    --14-13-11-9-13-14-13-9----------------
    ---------------------------12-11-9--------
    ------------------------------------------
    ----------------------------------------
    "The greatest power one may possess -- in any situation -- is simply not to care what happens.

    "In fact, it's the only power, all others being a semblance and mockery of it. But you must also not care about possessing the power itself. So fuck it."

    Thomas Ligotti

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  3. #2


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    Nothing revolutionary technique-wise here, but I've been messing around with the modes of the Harmonic Major scale recently, and here's a Dorian b5 pattern that covers 3 octaves and would be pretty useful in a rock/fusion context. Tap the last note by the way...

    e-------------------------------------10-11-14-17-----
    b----------------------------10-12-13-----------------
    G---------------------7-8-11--------------------------
    D--------------7-9-10----------------------------------
    A--------5-6-9----------------------------------------
    E--5-7-8-----------------------------------------------

  4. #3


    Join Date: May 2009
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    e--------------------------------10-----------------10-13-16-------------
    b-------------------------------------------------------------------------
    G----------7-9-10-9-7-10-13-16----16-13-10-13-16-----------13-16-19---
    D--------9----------------------------------------------------------------
    A---7-11------------------------------------------------------------------
    E-------------------------------------------------------------------------


    e-13-----------------13-16-19-----------16-----------------16-19-22-24(22bend)
    b------------------------------------------------------------------------
    g----19-16-13-16-19-----------16-19-22----22-19-16-19-22--------------
    D------------------------------------------------------------------------
    A------------------------------------------------------------------------
    E------------------------------------------------------------------------

    Derek Taylor inspired, first arp part is from a E7 lick of his, I just warped it to fit into an E phrygian riff. Still works over E7, gives an outside/altered sound because of the b9 and b6 that can act as a #5. Not TOO out there. The bend can also be a slide, both sound cool IMO.

    I like bumpin'. I will try to write up some others I have come up with, most are DT licks that I just personalized :3

    Also, try adding tapping to the lick, either adding a note a minor third higher after all the diminsihed arp ideas, or ad two notes, to continue the diminsihed shape. You ought to run out of tapping space, so either tap some harmonics, end 'early', or find a thimble and add some foot a la bumble to this lick. The lick could also descend dim arps, going down the neck and ending it there, or go down the neck and back up, or go up and doww the neck. What ever. Licks can be taken in all kinds of directions until it doesn't seem like the original licks at all. You could follow up with some sweep arps if you are into that, by sliding from the end of one of the dim arps into to a note of an arp, like E7 or G7. Woot.

    Now to go write my essay that I have put off until the due date.

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  6. #4


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    I've been playing around with this approach to extended arpeggios with three-notes-per-string string skipping recently... Kinda like the stuff Richie Kotzen used a lot in his shred days. Here's a D9 pattern...

    e---------------------------5--8-10--8--5----------------------
    b---------------------------------------------------------------
    G----------------5--7--9--------------------9--7--5------------
    D---------------------------------------------------------------
    A----5--7--9------------------------------------------9--7--5----
    E---------------------------------------------------------------

  7. #5


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    Here's one I was messing with last night, inspired by Devin Townsend. Basically it's just a three-note-per-string major scale that misses out the fourth, so it's root, second, third, fifth, sixth, seventh. Devin has the advantage of being able to play this all in one position due to his Open C tuning, but in standard it requires some shifting. Crank it up to speed with a ton of delay, and it sounds extremely Devy-ish.

    e------------------------------------------12-14-16-t17----
    b--------------------------------10-12-14------------------
    G-----------------------9-11-13----------------------------
    D----------------7-9-11------------------------------------
    A---------7-9-11-------------------------------------------
    E---5-7-9---------------------------------------------------

  8. #6


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    Here is one of my "pet scales," and I'm always mixed between legato and double-picking. What is it, exactly? I have no idea--I could figure it out, but that would destroy some of the fun. All I know is that I love consecutive whole-tones, and this hybrid scale has them.

    Note: this is primarily for ascending runs. I usually substitute the 7th fret on the B string for the G string 11th fret on descending runs, due to ease of fingering. A lot of times I'll end up hitting just the 7th and 8th frets on the B string on descending runs, which gives a nice feel after the 7-8-11 on the high E. Due to the symmetry of the fingering, all of this works great for legato. It also makes you sound like you know what you're doing.


    e------------------------------------------7-8-11----
    b--------------------------------8-10------------------
    G-----------------------7-9-11----------------------------
    D----------------7-9-11------------------------------------
    A---------7-9-11-------------------------------------------
    E---7-8-11---------------------------------------------------
    Last edited by jacksonplayer; 11-18-2009 at 11:37 PM.

  9. #7


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    Here's a cool way of playing 9th arpeggios that works with legato or economy picking... If you got the legato route, only pick the first of each four note grouping ascending, and hammer everything descending.

    e-------------------------------15--------------------------------
    b----------------------10-12-13---13-12-10-----------------------
    G-------------------12----------------------12--------------------
    D------------7-9-10----------------------------10-9-7------------
    A---------10-------------------------------------------10---------
    E---5-7-8--------------------------------------------------8-7-5--

  10. #8


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    Here's an A Phrygian Dominant lick based on the Shawn Lane trick of picking one note, then hammering two on adjacent strings. Only pick the first note of each three-note grouping and hammer everything else.

    e---5-------------------------------
    b-----6---5------------------------
    G-------7---6---6------------------
    D-------------7---7---7------------
    A-------------------8---8-------------
    E-------------------------9--5------------

    It also sounds cool if you play the same pattern ascending with a down-down-pluck motion, using the pick and your middle finger.

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