10 Must Know Rock Guitar Licks | Guitar Lessons By GuitArmy | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 4m)
    • 1. Course Introduction

      1:40
    • 2. Lick 1

      6:11
    • 3. Lick 2

      5:41
    • 4. Lick 3

      6:30
    • 5. Lick 4

      7:02
    • 6. Lick 5

      4:23
    • 7. Lick 6

      4:33
    • 8. Lick 7

      3:28
    • 9. Lick 8

      4:13
    • 10. Lick 9

      3:11
    • 11. Lick 10

      5:42
    • 12. Bonus | Lick 11

      11:45
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About This Class

When I first started playing guitar all I wanted to do is learn guitar licks and riffs just so I could play something that sounded cool. I've created this class to help you do that. In this class I will teach you 10 rock guitar licks that not only sound cool but teach you a specific skill that will be useful in your rock playing.  

What will you learn in this lesson?

  • 10 different cool rock guitar licks
  • you'll learn the most common rock guitar lick that can be used endlessly
  • a classic Led Zeppelin style lick that will be sure to impress your friends and bandmates
  • a sweet southern rock lick that will having you sounding like Lynyrd Skynyrd
  • an arpeggio lick that is right out of the playbook of Kirk Hammett from Metallica. 
  • a pentatonic pattern this is commonly used
  • an Iron Maiden inspired one string lick that sounds awesome
  • a common classic rock pentatonic lick that you can use in all different types of situations
  • an Eddie Van Halen inspired tapping guitar lick (R.I.P. Eddie)
  • a blues lick that teaches you how to use the blues note
  • another blues lick because you just can't enough of them

Charts you get with this class:

  • a PDF of the guitar tabs in this course

Why should you sign up for my class?

  • My name is Chris Rupp and I'm the founder of the GuitArmy.
  • I've been teaching guitar full time for over 20 years.
  • I have taught more than 35,000 individual private guitar lessons.
  • I teach guitar students online all over the world.
  • I have a bachelors of music degree from the world renowned Berklee College of Music where I studied with some of the best guitar players on earth. 
  • I created a successful line of guitar instruction DVDs that sold very well and garnered the attention of the "As Seen on TV" folks.
  • I love teaching guitar and helping students become better musicians through the guitar.
  • I will answer your personal questions and help you with learning the material in this lesson.

With GuitArmy guitar lessons on Skillshare you will learn: basic open chords, power chords, barre chords, scales, major scales, minor scales, learn to solo, improvisation, beginner guitar lessons, intermediate guitar lessons, advanced guitar lessons, guitar riffs, rock licks, guitar licks, rhythm guitar, songwriting, modes on guitar, how to read guitar tablature, play a guitar solo, triads for guitar, and much more. 

Why should I take your class and not just learn from YouTube?

You can try to learn guitar from YouTube but eventually you'll figure out there's so many videos out there it is very hard to put the information together in a coherent way. I have students come to me all the time that are tired of watching random guitar videos on YouTube and don't know how to put the information together. I have a whole series of courses here on Skillshare that will help you get down the basic skills for guitar. You will learn everything from one teacher and not random people on YouTube. I think you will find it to be a much better learning experience.  

Student Testimonial

Hi Chris, thanks so much for reaching out! I'm about halfway through lesson 10 of your Beginner lessons via Skillshare, so I was researching more of your teaching, and what's next... and found your GuitArmy! I've gotta tell ya, something about your explanations, your method of teaching, and the detailed resources provided, you've connected so many dots for me -- it's appreciated beyond words! I'm mostly self-taught, regret that I started so late in life, and have tried other online resources, but yours has been the most comprehensive! As a corporate facilitator to adult learners myself, I just wanted to express my gratitude!

Mel

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Guitar Lessons By GuitArmy

Your personal guitar teacher

Teacher

My name is Chris Rupp and I'm a guitar instructor and founder of GuitArmy. I am currently teaching live Zoom lessons to students all over the world. I'm a Berklee College of Music graduate and have been teaching guitar full time for over 20 years. I have taught more than 35,000 individual guitar lessons. I love teaching guitar and want to help students on Skillshare become better guitar players. 

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Transcripts

1. Course Introduction: Hey, this is Chris rope and I'm going to be the guitar teacher for this class. I created this class on rock guitar licks. Because when I was new to guitar, I'd like nothing more than to learn a new guitar lick. I can see that if I learned enough guitar licks and figured out how to put them together, I might just start sounding like I know how to play. The licks in this course are foreign intermediate guitar player. But that's not to say if you're a beginner guitar player, you kind of learn some of the easier guitar riffs. And if you're an advanced guitar player, the lift will be just fun to check out and play. Each guitar lick is designed to teach you a skill that can help you become a great rock player. And if you're not interested in rock guitar, the skills you will learn you can use in different genres of music. In each lesson, you will be able to see my guitar close along with the guitar tablature for the lift. Here's an example. Unit price move in this finger around as well as moving these fingers around. I have also included the PDF for all of the guitar licks, Just in case you want to print a map. I think you're really going to like this course if you are looking for an easy and fun way to play some cool rock guitar licks. I look forward to seeing you inside the class. 2. Lick 1: Alright, for this lick number one, what we have here, this, to me, that's the most common lick that there is in rock music. Goes back to probably the early fifties, 5060, certainly heavily used in the seventies. And it's just a great lick. If you're new to guitar, then this will seem pretty awesome. If you've been playing for awhile, you'll think out, come on man, and this is kind of boring here. This is basic 101. And the reason I put it in here, because I feel like this is a must know lick. And you can do a lot of different variations on it. But to me, I don't think as a guitar player and you won't play with any kind of rock or anything. I think this is just something you have to know how to play this link. So let's take a look at it a little closer. Alright, so we have one measure here. And what we're doing is it's the exact same thing for each four beats. They are triplets. So it's like you're going trip. Or 123123123123123. Or they may count it AAA, AAA, AAA. Either way. That'll get the job done. So what we're doing here on beat number one, we are on the third string, seventh fret, and we're going to bend that up a full step. So if you're like, well, what is a full-stack, Ben? What we're doing is we're taking this note here and we're going to push it up until it sounds like the ninth fret right here. Or it's going to sound, we're bending it up, selling this note here, that E. Or you could check it by playing this piece right here on the second string, fifth fret. So what I usually tell people, if you want to check your bend, bend this node up, and then play this note. When you, when it gets rid of the wavering, then that is where you're supposed to stop, where you're actually hitting the node exactly. When you play this lit, you can do it. Can you do it kinda fast? No one's going to notice whether you're doing exact perfect whole step, Ben. So I wouldn't worry about it too much. But if you're not used to doing bending, I would probably play this note. And then bend up to that night. There's not the worst sounding. Really don't wanna guitar player. It's constantly just not bending far enough it, you could almost hide it there. But when you're bending a little shorter, overreaching, it just it just sounds like it's out of pitch, out a key, it's not tuned. So you don't want to be doing that a lot. So you want to practice your whole step bend. So it sounds really good. Alright, so for beat number one, i'm doing this, bending this seven here up a whole step for this d up to E. And then I'm going to play this E here on the second string, fifth fret. And then I'm gonna play this a on the first string, fifth fret. So I'm gonna go seven, backed up by five. And what you'll notice here is I'm using my first finger here, two bar, both of those nodes. All right? So one thing I should say is when you do the bend. So what I do is I do the Ben and I let the, let the string come back down and touch my first finger because you don't want to hear. I should mention I do have, I had this fret rep laying around. Basically what this does. It kind of wraps around your strengths and keeps your string from wringing the open strings. So I'm not cheating. I just had it lay in there and I thought one of these links is going to be tapping. So I thought, hey, why not just put this on for fun? But it is not necessary that you have one of those. So what you're gonna do is you're going to bend this up, let it come back down and touch your first finger so that you can get. So if you put the basically you're just doing the same thing for four beat, you're going so that, that is the lick you just doing a four times. In reality you can do it however many times you want. It would make sense to do it four times in one measure. You doing four sets of triplets. Alright, so, so this is what it sounds like. The reason I think you need to get that, that really well is there's different variations. You feel. That's super early rock and roll, where you've gone, gone. It's the same lick. Except instead of playing 55, I'm I'm playing, there's two fives together at same time, still doing triplets. That's another great variation of that lec. So now I'm gonna go ahead and play played a bunch of times and I would like you to play along with me. 34. So together, 1234234. That was how you play lick number one. 3. Lick 2: Alright, for this lick number two, I'm gone. And to me that's kind of out of, I think it's a really cool lick that comes out of the guitar solo for Stairway to Heaven. It's in there. So how I had this notated is the idea here is that you're doing five notes in 1B. What you're doing is, and it's the exact same thing for each beat. You're starting on the second string, 15th fret. You're gonna take this, this D right here, and you're going to bend it up a whole step and then bring it back down. And then play the second string, 13th fret. Now when you watch me too fast, I'll go. I'm barely even picking anything. I'm doing a lot of it pull offs. We'll take a look at how I'm picking it them. But when you do it slower, you tend to pick at a little more. Because that's 13. I'm generally doing a pull off from doing the band. And I'm doing a pull off where I'm not even using this hand and just pulling him pulling away and I'm walking down doing a pull off. And then on the third string I'm going to play the 14th fret. And then on the second string of back to this, see here that's 13. And then you just have to do that four times and you have to get the five notes in one foot tap, right? So the way I'm able to kinda time it correctly, and not even exactly the exact correct way to how the guitar tablature, how I wrote it. But it sounded pretty close when I want to actually played it and guitar pro. Alright, so, so what I'm trying to do is I'm really focusing on the downbeat of each. Be like 12341234 on the downbeat of each B, I need to hit that 15, that Ben. And then I'm just trying to get the rest of the notes in there. That doesn't sound the super technical that way. But that's basically what I'm doing to me to make this lick work in sound great. I just have to hit that, that, that whole step bend on 15 on the downbeat. Alright, so why don't we go ahead and take a look at how I'm picking that. Alright, so let's go ahead and talk about how I'm picking this lick. What I'm doing is on that downbeat of the fit, on the downbeat of each one. I'm actually picking up. When I first start the lick, I'll start down. But vary by the second beat. I'm already picking that up. So I'm just going to tell you to pick up on the first beat there on that 15. I'm going to pick up. I'm going to pick up and I'm gonna do a pull off the 13 and the 14 on the third string. I'm gonna pick down, and I'm going to pick down on the 13 On the second strain. So I'm going up, down, down because basically that's kind of like a rake or a little mini sweep if you well, not a rake but up and going down. Now, instead of trying to do alternate picking, it's easier to just go down, down. So I'm going up or down. And so what ends up happening is picking wide, you're going up, down, up, technically, up, down, down, up, down, down. So it becomes this motion of just kinda going up, down, up, down, and it becomes very fluid that way. Now I'm gonna go ahead and play the Likud couple times and you go out and play with one with me. I should mention that this is not a beginner lick. Its an intermediate to advanced slick, going. Pretty fast hands to do that. So if you're a beginner, you might want to just, I would do it slow, Abigail. You can do it slowly and slowly work up just knowing that this is a really cool lick that you're going to be able to use in the future. So I would just, like I said, just play it slowly and know that if you keep playing it eventually you'll get it up to speed and all sound really cool. Alright, now I'm gonna go ahead and play through it a couple of times if you want to play along with me that the Great. Let's see. Yeah, I'm gonna go get some gonna go a little slower. I'm gonna go right here we go. 34. I think slower is a little easier. You can hear it better and said I was because that's just, I think it's kinda confusing and it gets a little sloppy. That fantasy. Yep. So let's go ahead and do it again. 34. And one last time. 34. That was lick number two. 4. Lick 3: Alright, so for this lick number three, I include one. My favorite sounds for plainly enough, I'm doing kinda rock, southern rock, country ish, kind of guitar solos. I love those. So basically where this comes from, as I'm doing this out of a, this denote a here. So basically here's what I'm doing here. This is a right here. That's the root of the key, or at least the lik where I'm gonna play it if I'm doing this over and over. And here's the root. This is the fourth. Note. This D here is the fourth major fourth above perfect fourth interval above this a year. And then this is your, this g here is your flat seventh, your minor seventh. So what I'm doing is I'm taking this fourth here and bending it up to E, which is a fifth. So then you're able to hear the fifth, the thin and a, an E and a G, or a fifth and a flat seven over this. Sorry if they got way too technical for you. But just this sound. You're familiar with this pentatonic patterns. That's, it's an awesome sound. Soon as I think of that, I think have limited scattered. Think of just going to just remind me very much of scattered songs or southern rock Allman Brothers. Just a great sound of a contract. And it kinda of a country type of thing. So that's why I included, I kinda created this like right around this is ID here. You might see me finger picking it. I do a lot on her. I like to do hybrid picking, where I'm playing the third string with length L. And then my middle finger is getting the second string. It sounds a little plucky or to me. But, you know, you don't have to do that for this leg. Alright, so this just a one measure lick. What we're doing on the first beat is were taken on the third string, seventh fret, Bordeaux. Bend this up all. At the same time, our pinky is going to be on the second string, eighth fret, and it's going to stay stationary. So you're going to pull this lick off. You're going to have to be able to do a bed, a keep your other finger still at St. time, your sect and let your second finger, your pinky here, your fourth finger. So what happens is people tend to get what's, let's just have a pretty cool, you have to train yourself to keep that finger still and then do this bend here. What I do this band, I'm using this finger to help push. And typically this my first finger here. What it's doing is it's keeping the string down below the fourth string from rain. So what you're gonna do is you're gonna do, you're gonna Take that hotplate at eight and this seven here and bend it up. And then on the downbeat of two, I have that, it's a pre-bid. That's why the line goes straight up. So what, you're, you're kinda going for you on the beat everyone, your strumming down, it's a quarter note. That while it's up, you go, while it's still ringing, you've got to hit it again. You've got to hit it again. Bring it down, and then you're going to pull off from this seven to five. So it's going to go, to go again, goes 77757. If you look at, when it goes to the seven on the fifth string, it gives a seven on the fifth string, then five on the fourth string. If you looked at those notes that you're going to see four dots in a row, that habit dot under the node. And that means that they are Paul muted. I could have just as easily. But I thought it was a way to add in just like another technique to the leg. So you're gonna go. And while I'm doing that, Paul Muni is as I'm playing it. I'm just letting my hand lay down here right above these saddles here. And you just have to practice that a little to get the right amount of mute. If I go too far up on the strings, dead, is it too much? I just have to find the sweet spot there where I could still hear the note. And it still rings a bell. Right. So that is going to go if I go at slow motion here, I'm gonna go. I think it's kind of like a Southern rock-like. But it has this, this sound. That's a really good sound to know when you're listening to guitar solos and you hear what you learned, this lick, you probably gotta recognize that lick and other guitar players pretty quickly. So now I'm gonna go ahead and play the Likud couple of times and you can go ahead and play alone. 34. Again. 34. And you'll hear each time I don't play it exactly the same. I have a tendency to rate. Instead of just going right to the notes. There's two notes on strings to a three. I've attends tendency to drag my pick across the, the muted string. Let's call it a rake. So sometimes you'll see me do that. All right. Let's do it again. 34. And that was how you play the lick number three. 5. Lick 4: So for this lick number four, I think this is a really fun lit, it takes a little while, I think, to get the picking dab. But once you do this, picking can be extremely useful. Not just with this look, but just many, many other types of licks. So this lick is out of E minor, E minor pentatonic. So what I, what I did here is when I'm basing this on the first measure, is it's an a C major chord, C, E, G. And that would be your flat six chord in the key of E minor. And so what I'm doing here is I'm going to just do enough for time. So it's straight 16th, those 10x and a 20x and a 1234, we end up, somehow I'm picking this for the first beat of the first major. I'm picking up. I'm going to pick up on their 15, they're going to pull off to 12. And then I'm gonna pick down on 13 on the second string. And then down on the first drink 12th fret. So I'm going to pick up, pull off, down, down. This may seem like this doesn't make says Why are we picking up on a downbeat? I was always taught to pick down on a downbeat, especially with 16. So you go down, up, down, up, down, up, down, up is because when, once this gets going faster and faster, it makes sense to be picking up so that I can go picking wise, I can go down, down, up, down, up. So we're going to start with the up and go up. Now, we're gonna do that one. It's basically a really efficient way to pick this leg. You can, you know, you can do it any way you want. I'm just letting you know to get up to speed, you're going to need a quick, efficient way of picking. And this is a great way to do it. Because it just feels like I'm just going down, up, down, up and being able to do those. Right? So for the first measure I'm doing it's a C chord here, CBG, CBG. Do that four times. Then I'm going to go up here and I'm going to outline a D major triad, D F sharp. And so it's the exact same thing we did down here, which is gonna move it up two steps to 1714171415. So you just do this one and slide it up to Fred. Alright, and then for the last measure, I'm outlining an E minor triad, E, G, and B. So I'm starting on the 19th year. Pulling away to 15, the ticking down on 17, and then down with 15 to I think I started maybe using this finger, but I think because it's a little bit of a spread here, you're definitely gonna wanna use your second finger. So they went with this lik, where I was going with this is think Metallica. If you play a lot of Metallica songs, he likes. He does this specific lick in, you know, I'm not exactly sure which song, but I could remember. I just mentally I log, oh, that's pretty cool. Ease outlining the flat six chord. These go into the flat seven chord, D major. Things going up here to the root, the one chord. I just thought that was a really smart way to run those arpeggios. So you can actually take this, this logic here. Like if I'm doing this C major, C, E, D, that's something I could use for a C major chord. If it's going to be C minor because it's the root third, fifth. If I wanted to do something over C minor chord, I can lower this E here down to an E flat or this third demo flat, darn, so here's major. Here's mine. If I wanted to do, I'm just saying that the four different types of triads. So here's major buy to play. Do some over and augmented, which is 13 sharp five. It would be that one pretty sharp guy that was, there was a C diminished chord. I could go one flat, three, flat five. So I could do major or minor, or augmented or diminish. So just this little, this little picking pattern and just a little bit of understanding of how to create your notes are in your different types of triads. This becomes very useful to place something over G major, a minor thing. You just have to know where the root is. When I say J, this is the note G here. So I'm creating that live based off the G-Major one 3-5 triad. So the point of me telling you that is just because you're learning this leg. It doesn't mean you only have to play it there. You can use that technique and use it all over the place. I was going to include this leg, as it must know, rock lick or but then I realized it's the exact same picking that I'm doing here is I'm going up, pull off down, down. That that's certainly a cool rock like here. Yes, it is a little different. And that's the same thing. So I can do that here. Or I can simply slow down. Or I can move it over and do it over here. Which sounds super cool. But since I realized it's the exact same picking pattern. And if you get lick number four down, you're gonna be able to do a lot of different. You can kinda do that pattern. You can do that picking pattern all over the place. So that was lick number four. 6. Lick 5: Okay, for lick number five, what I'm doing here is I'm using a typical pentatonic pattern, where i'm going back three notes in the pentatonic scale. Coming back one, going down three, back, one thing going down three, coming back, one's going down, coming back. So you end up with this. It's just a typical rock kind of pattern. So what I have here is for the first three beats, you see those 16th notes and they're bracketed by six there at the bottom. So what you're doing is, in my brain, you're basically doing two sets of triplets like triplet, triplet, triplet, triplet, curveball. I'm not gonna go 123456123456. I just think of it as triple that triplet, triplet, triplet, triple that triple, triple AAA, AAA, AAA. That's how I think of it. Alright, so in the first beat we're going on a five, 535 or, or trip. In the second beat we're going to go. So the first beat, second beat, the third beat one, we're gonna go. All right? So if you put those three together, you gotta go. And for B number four, we just saw in this a here, this fourth Street, seventh thread. We just have a quarter note and I put the wavy line there as vibrato. I'd like to end on end with a little vibrato went not. So after a little while, you, once you get really comfortable playing this lik, I like to do a lot. I like to do a lot of legato style where where a lot of time, a little bit of a lazy Picker a lot times on legged picking. I'm just, I'm just using this hand here for legato licks. So to me I think it's fine to go. Basically any note that you play higher, if it's going to be on the eighth, eighth fret or the seventh fret. I feel you can do a pool awfully. To me that's a lot faster, it's a lot smoother and it gets sounds cooler. But it doesn't really, it's not helping. You're picking it all. So I would pick it by gone. It's up to you. I'm gonna go down, up, down, I'm going to start down and basically alternate pig. So I could price start up if I wanted, but I'm just gonna start down and then once you get much more comfortable. So now what I'm gonna do is I'm gonna go ahead and play through it a couple of times and feel free to play along with me. 34. I'll go ahead and slow it down a little. Let's use a little too fast. 34. So at the beginning, I wouldn't really worry about, I would just try to play it that accurately in. I have avid set at 60 beats per minute there for the tempo, because you probably ought to practice. This would pretty slow. So let's go and do it one more time. 34. And that was how you play lick number five. 7. Lick 6: Alright, for this lick number six To me, this kinda reminds me of higher made from the eighties. If you play some of their songs, they'll do some things where they're bouncing around all one string. I always thought it was a really fun way to play it. It's kind of flashy and believe or not disliked is actually pretty easy. The anything is. If you can't pick really fast, then it's a little tricky. But it doesn't mean you can't go slow and then speed it up over time. It's more about the concept. So what I'm doing here is I'm just going down in E minor scale. And what I'm doing is so in the first measure, if you're playing a note than playing three opens, so you're gonna go, so what I, what I do if I was going to learn this link, I would memorize 12121087. So that that's on the downbeat of each be like or 134. And then after I play that, note that I play three open. So I'm gonna go down, up, down, up tens of picking. I'm gonna go down, up, down, up, little ordered it, pick the whole thing for each bead. I'm going down, down, up, down, up, down, up. So we'll kind of go and write down the scale for measure number one, for vision number two, I'm going to start here on eight and go 8753. So gone. In terms of how I'm fingering it. I think I think I just pick a finger and just use one finger, the always throw, but you can do it however you like. So the second measure was gone, a seven by three. For the third measure, I'm coming back here to seven, going 7532. So that's the third measure. And then at the end I just put an D power coordinate. Which is actually kind of annoying when you go to, It's kind of weird to be up here then instantly have to go to that power chord. But I thought it was a kuwait ended it, but actually came a little annoying. Trying to kinda record it and get it sound. You know, pretty much perfect. Alright, so this is, I think probably one of the easier lakes even though it might seem crazy hard at first. But it's really you just bouncing along, you know, notes on the first string. So I'm gonna go ahead and play it slow and go ahead and play along with me three or four, one more time. So with that link, you can take that idea of a and then apply it to any, any string, any scale. If I wanted to do something with a major. But could go D. D is a cool thing. And I was doing a D Mixolydian there. So you can apply that lick that skill to any scale on any string. And it just becomes a good fun licked and skill to have for planes of rock guitar. And that was lick number six. 8. Lick 7: So for lick number seven, what we're gonna do is for each beat, it's the exact same thing as in a bunch of these riffs are links. What we're gonna do is we're going to start on the third string, seventh fret. We're going to bend that up a whole step. And then we're going to play the second string, fifth fret. And then the first drink fifth row. This is basically the same Lick as in the first lick, lick number one, but we're just kinda expanding. Is it kinda changing and make it a little fancier? And then on the second string we are going to play this eight and pull off to the fifth fret. So we're gone. So the lift is just simply doing that four times going. So what I focus on is on the downbeat of one or the downbeat of each beat. 34. That's where I know I need to Ben. So what I do is I kinda work the timing so that I do the Ben and I try to do these pretty evenly. And then I just need to do the band on the next downbeat or where my foot comes down. So I've gone its mate seem weird at first, but I promise you if you do it a little bit, it's a really cool. This is out of a minor, this is our a minor pentatonic. But you can do it out of anywhere. If you wanna do it out of D. If you don't set the date, you just need to know where your root is. E, g up here at G. So to selling it gets old. Peanut. If you're fans or, you know, Ace freely is guitar work, then that's elected. He used quite a bit. Alright, so that is how you play. Lick number seven, I guess I'll go ahead and play it a couple times slow and you can play along with me three. For now, if you're saying that is not slow, but then you can go slow is your one. And you can go. Yes. I actually would advise doing it nice and slow enemies like still really slow and get your hands use to physically doing them and then worry about speeding them up later. So let's do it again. 34. That was lick number seven. A really cool, it's a great classic rock like from the 70 ish, seventies, eighties. I think. More BIM, Led Zeppelin II kind of slash kiss kinda guitar riff. That was lick number seven. 9. Lick 8: Alright for lick number eight, if you can't tell already, it's basically vein Haleine inspired, if you will. When the first, when I got to get taller, one of the first videos I ever bought was Van Halen live without a net and took it home and I put it in and I see this guy scenario and we're kind of doing all this topics up all over the place. Although it was absolutely amazing. And like I have to figure out how is he doing that. That's why I thought this would be kind of like a must know, kinda like just because of, you know, it's happening. It's a, it's a very, it's a really popular today, even though it was really big in the eighties. So let's go ahead and take a look at this specific link. If you're new to tapping, This is going to seem really weird, basically for the first two beats. So the first four sets of triplets, 16th of triplets. What I'm doing is I'm hammering with, I'm choosing, I still am so only a pic. So I'm choosing to use my middle finger. I'm hammering down on 12. That a cool way to hear the fourth note on the second string. And this is, this entire loop is all done on the second string. So gone 12 for an attack, hammering down seven. So it's tap on 12, coal away to for the hammer down on seven. So what I, what I tell students is you just have to start doing this. It's not that you're not gonna be able to, you're not gonna be able to do that right away and thinks you shouldn't be able to do that. Let's you just kinda get lucky. So you just do that pattern. Just keep doing it slowly to kinda get the mechanics of it down and then slowly speed it up. But actually when you go at certain speed, if it does feel differ, just feels kind of mechanical. But once you get it, get it faster does feel little different. Feels like you just go on. That's what some students do. You don't wanna just go. Cuz it's not gonna sound right. You have to get used to hammer, hammering down, pulling away, doing the hammer down with your other finger. So for the first, for this specific discipline, for times. And then you're going to slide these, these two fingers up and you're gonna go from 12, pull off the five and then Hammurabi nine. So yeah, warren. Alright, and then we're going to we're going to go up here to 151515, going off to seven, and then Henry data yet on ten. Then we're gonna go up here to, it's going to be 17 off the nine, that memory on 12. So you kinda wanna memorize where your fingers are there here than here. Then here, then here. And you can just practice. You'd do anything you want, you can move this finger out. Obviously, that note sounded horrible, but rather thinking about what scale element. You just practice moving this finger around as well as moving these fingers around. And just kinda come up with some different sounds. And it's a really fun technique. So that is how you play in the style of Eddie Van Halen tapping for lick number eight. 10. Lick 9: Alright, for this lick number nine, I kinda want to slow things down a little bit in case somebody that their lives were too hard for late beginner, intermediate. So I thought a slow this down and include a link with the blues node in there. So I'm doing, as I'm doing most of these links, I'm doing it out of a minor. So this is a, a pentatonic lake here. A minor pentatonic. So what I'm doing here is in the first measure, I'm going play a here, the root one, and I'll be number two, uh, playing the third string, fifth fret. These are eighth notes and then the fourth Street, seventh Friday. We want to understand what we'll want to add in terms of the scale. It's going to root, flat third root. And then on bead number three, they're both eighth notes. I'm going back to this, this fifth fret here on the third string, going 57, which is really flat, 34, C, D. I'm always thinking in terms of how those notes function in the scale flat 34. So, so far we have 123 and nice slide up to the threat. That's where your blues note is, that is your flat five goes, the scale goes from one to flat 3455 is right here. But that flat five, that is your blues note right there. So let's go 123 and sliding up the blues know your flat five on four and coming back down and four, and then going into next measure, it, that eighth node is held over so we don't play the downbeat of one. And then on the end of one, we played this c right here, which is the fifth fret on the third string. Then on the second measure we're going for beat number two. We're going to play a, which is the root. And we'll play it twice. So we're gonna go to, and it was just good for beats 34, which fill at that rate. So that whole thing is going to sound like. So if you want to count along with it, you're going to be going 123412. Just little bluesy lake that include your blues lick their the blues note. That blues no, right there. So that's why I included some of the blues note in it. And something was a little easier than some of the other stuff like the Tapping. So that is how you play lick number nine. 11. Lick 10: Alright, so for lick number ten, What we're doing here on the first beat, I should mention this is once again, this is out of a minor kinda work in this, this a minor pentatonic scale, or blame, a blue scale. So you could just as easily do this lunch. You could do this LinkedIn, any key. You just have to know, you know, kinda where you're rude. If I want to do it in D, I find d here and go just go ahead and do it down here. So this slick, I'm doing them all out of a most of these. So let's go ahead and take a look at how to play it. All right, for the first beat, what we're doing is on the second string, eighth fret were bending up all set. Try to put a little vibrato, whether you use your pinky finger, third finger. I think that's up to you for this, like for whatever reason, I kinda want to use my pinky, but it doesn't matter for a lot of my students say, I had, someone asked me one time, they're like how you put vibrato on a Ben. And I'm like, it was kinda hard to describe to them how do you actually do that without having it sound bad? Because you don't want to do the bed and you don't wanna be physically trying to push up and down. So what you actually have to do is I kinda shake my hand. I'm actually shaking the neck up and down, which seems kinda weird, but that's easier. It's easier to get a kind of an even vibrato that way. And then trying to, you don't want to like be forcing it by pushing up at them. So for beat number one, we're taking this, this G here, bending it up a full step and put a little more broad O-H on it. Then we're gonna go for being number two. These are all 16th note's gone. Two, we end up throughout this node here, that's your blue snowed. 587 on the third string. For the fourth beat. What's gets all 16th notes? And it's going to go five, say 56. It's gonna go 4n for yet. And I'm hammering you have gone to the flat three and warn them, or 5-7, this five, what I say five, not referring to the fifth node in the editor, a minor scale or blue scale. This is literally the fifth fret that we're having on the six spread. So what's happening here is out of this lake. That's to me, that's one of the key things in this lec, in rocket world, you get this and you get this a lot where you've taken this minor 30 years, the root minor third and they're having on hammering up to the major theme that you hear that a lot in blues into some rock. So that's why I put that in there. And then when we go into the second measure, first beat is, we're gonna go and that is going 75 on the fourth string. And then on the fifth string sentences this six right here, if you're like, well that sounds wrong. What that actually is, that's the blues node, just like we have the blues node here. We also have every year. So what I'm doing is I'm basically walking down, going to sinter seven. This is the fifth note. This E here is the fifth node in the a minor pentatonic. So what I'm doing is I'm walking down to the forth node here. And that walk down there, this node is your blues. And then going down to the third fret on the fifth string. That C is your minor third. Quota was going to play that and see right here. But I thought it was cool to get down arrow. You'll see a lot of guitar players do that. They'll get out and play the flat third down here, it's sort of appear. So I kinda wanted to add that in as a part of the link so you can get to learn something new if you've never done that. But the ending part of the liquid. So now I'm going to play it a couple of times and you can go ahead and play along with me. I think it went I went from five to six because it feels slower. I picked it. But I knew the hadron. But let's go and do it again. 34. And already again. If you really watch close, i do it probably slightly different each time where I might 5K, I might go from five to three or my slide down. You know, you can make those slight little adjustments yourself. But that is bluesy little lick number ten. 12. Bonus | Lick 11: In this lesson, we're going to take a look at Rock lick number 11 of my rock click Guitar series. All right, let's take a look at this rock lick number 11. To me, this was a new Betancourt inspired, Not that I can play anything like him, but I wanted to create something that sort of was in the style of him. Alright, so let's go ahead and take a look at how to play the first measure. Alright, the first metric is, and what I'm doing here, if you see for the first two beat those 8 16th notes, they're all paul mutant. You know, I'm just not letting it right. So you just want to mute the palm, mute that a little. And that just means that you're just letting your palm rest down near the bridge on your, on your string is just a little bit. All right, so on the first beat there we have 4 16th notes. It's gonna go one. Of course if you polymer mutant one. So I have the tempo at this at 1102. If you have a metronome, you can put it on in that way, can play along the exact speed that I'm playing it. I'm sure in the intro I just played it. However, I felt I didn't have a metronome going. But if you want to know the speed at which it was written is 110 beats per minute. Alright, so the first peak goes one or seven. You can look down at the tab down below for exactly what strings and plan. For beat number two, I'm going to end up or on the fifth string 765. So if you put those first two beats together and going for beat number three, we have to say they're database, they're not Did I just wanted to play I wanted to play short. So I kinda had those with like staccato markings so that, so it kinda sounds like kinda playing him and meeting request. Alright, so that's beat Number three for beat number for what we're doing is we're going to palm mute for notes. It's gonna go 40 endophytes. And that's going to be fine. Three 5's. So if I play that first measure, gans gonna go, it's 34. So one more time if I play that measure, it's gonna go 34. Now let's go ahead and take a look at how to play measure number two. For mission number two, what we start off with is three quarter note triplets. So we're on the sixth string and we're gonna go 3-4-5. I'm not gonna explain exactly how to count those out. You just got to space those evenly out over to beat. You don't planing on the downbeat of three. So the way I looked at it, as long as you get these notes in before the end of three. Like that sounds really cool. So I'm basically just playing nice three like that. I'm holding this box 3s coming in 34. So it's like you're going through. So I'll go ahead and play that measure slowly and you can play along with me. 34. Will more time. 1234. All right, now let's take a look at how to play measure number three. For measure number three, written wise, it's the exact same as measured number two, we have a set of coordinate triplets and then went up. We're holding over on the downbeat of three. So we're going and then on the and of three, we're coming up here in plan and octave on ten. And then for four and we're going into 1112. So what an octave is. The very first thing I'm playing is I'm coming in playing this d here. Then I'm also playing an octave above it up two frets and over to Fred. So I'm playing this d, two would over two. D right there. Physically playing it. It's my first finger is holding this D down and then I'm letting dispersed finger meat out the sixth string and string to 1234. So just this one finger alone is meeting out all the strings except the fifth string. And then I'm gonna put this finger down on the, put this down on the third string. So what I strong this should only be able to hear strings 35. So what I'm doing is I'm just going 567, which is D, D sharp E. So that's what I'm doing in the beginning. They're going and 43 and we're going to measure goes in the tanh is coming in on the and of three, then 11 is four, then only NDA for the 12th there, those a's. So I'm gonna go ahead and play that measure again. 341 more time playing vision number 33. For. Now, let's take a look at how to play measure number four. Measure number four, I'm just simply playing an a power coordinates and let it ring for four beats. That's the fifth string open. Then I'm playing the second thread on string 34, just barring out with my first finger, thumb to block out the six string. That way when I play it, I can strike and hit the six strings. And you're not going to hear the song. If the 6-3 is muted out, you're not going to hear it too much. Alright, so that is how you play measure before. Now we're gonna play the rip a couple of times and you can play along with me. 1234. Now. Alright, one more time for 234. All right, for this next section, what I'm gonna do is I'm going to explain basically the music theory behind this rock click in how I created it. So if you're not really interested in learning anything about music theory or, you know, creating links, then you might want to just skip this section, go to the end of the video. But if you are interested in creating a link like this that I want to explain to you how I did it. So the first thing I thought of is what would be a fun key to play him. I chose a minor. So I chose a minor because I like it and it hasn't. And then as that opened a there you can work with. So what I'm going like this, I'm really just playing it my brain, I'm just playing a minor pentatonic. I'm going totally turned the volume down a little. I'm playing one. These are, these are how the notes function. It's one flat, 7557. That's part of this, a minor pentatonic. So it's one flat 75, last seven, no cadet back down here to the fans, walking down flat 54. Then this is a flat three to see to flatten three in, in a minor. Three years. It's the flat third. And then these two fives are, those are a fourth one to flattery for batteries they were four. And then this pentatonics, there's four pentatonic notes are going to be one flat seven in the key of a, and this is a flat three. And that is four. So I am going for flat three, flat seven. This is just a minor pentatonic. Nothing fancy. And then I decided to go ahead and walk up. I love set to me, it sounds very Hendrik. See whether it sells at noon or not. I'm thinking Hendricks when I am doing this. So what I'm doing is I'm starting at the flat seven, chromatically walking up to a right here, which is the root. So I'm on flat 77. And I'm gonna move over and do the exact same revenue. So I think that sounds very 100 ksi, and which is flat 33 or so. And then I decided to go with octaves. So, which is basically five, I'm sorry, a four or a flat five, I like to think of it's flat five for Flatfile five, and I just did octopi, thought it would sound more dramatic. Put a little vibrato on that seven on the IAP, doesn't believe it or not, there's a bug in here and it just went in my mouth. Like unbelievable. Alright, well that was gross. I'll probably have to cut this out. Alright, so what I'm doing here, but those October, I'm going for flat 55 and I'm going to go up to ten, which is basically I'm starting on the flat seven, that's G chromatic walking up to one, which is a who kinda walking up to the fifth. And then here I'm walking up to the root, which is a, at the end. I just thought it'd be kinda just put, you know, a power chord at the end of a slow dive would be really cool as well. So that is, that was my thinking behind how I created this guitar lick. I hope you find this helpful. So you can create some cool rockets of your thanks for checking out this 3-OPT lick number 11.