Full jam

Guitar Techniques - - Your Hottest Ever Blues Licks! -

Richie Kotzen starts our jam with a fast slide down to ap­proach the G on the 8th fret, sec­ond string, adding slide-style vi­brato along the way and break­ing into a fast hy­brid-picked pat­tern. Paul Gil­bert whips out a 16th-note pat­tern de­mand­ing pre­cise pick­ing, be­fore go­ing into a stringskipped quin­tu­plet Blues scale fig­ure. Then some Greg Howe-style slide vi­brato, and into the sec­ond cho­rus we em­bark on some colour­ful le­gato with hy­brid pick­ing. Eric John­son starts in the open po­si­tion with some trade­mark runs, mov­ing up an oc­tave and con­tin­u­ing with more twonote Mi­nor Pen­ta­tonic pull- offs. Yng­wie starts with a trill be­tween the root (E) and the b7th (D), be­fore div­ing into an ag­gres­sive Hen­drix-y bend and slid­ing down to the open po­si­tion, where he rolls down the Blues scale to end on the 2nd fret, fourth string. Sa­tri­ani’s vibe is modal, with a de­scend­ing three-note slide-based se­quence us­ing E Do­rian to start the third cho­rus, fin­ish­ing with some fast tap­ping with the edge of the pick for a blues harp-type of ef­fect. Vin­nie Moore also goes for Do­rian mode with a de­scend­ing two-note se­quence, be­fore mov­ing up to ‘shape 1’ on the 12th fret and hy­brid pick­ing an as­cend­ing Mi­nor Pen­ta­tonic se­quence with some high bends up to the 5th (B, 19th fret). Schenker is very lega­to­based; in fact, you only need to pick one note to play the first two bars of his part. Tak­ing us into the fi­nal cho­rus, Schenker gets into a repet­i­tive three-note triplet pat­tern on the Mi­nor Pen­ta­tonic, which he con­verts into a 16th-note pat­tern to add more mo­men­tum. The penul­ti­mate con­tri­bu­tion is Bonamassa’s ma­chine gun-like pick­ing. Take your time, mak­ing sure you get a steady flow with the tim­ing of the picked 16ths. Who bet­ter to have the last word than the mas­ter­ful Ste­vie Ray? Here, we are out­lin­ing the chord tones of 7th chords (C7 and B7) and let­ting them ring, be­fore con­tin­u­ing with some awe­some Blues-scale based phrases, fea­tur­ing lots of fast bends. The fi­nal phrase in­cludes both the F# (2nd or 9th) and the F (b2nd or b9th) in the le­gato lick on the first string, adding some ex­tra flair and colour in the process.

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