Phrasing, or a lick, is a way of playing that uses characteristics of personal interpretation
typical of a certain type of musical. Accordingly it is reasonable to identify the lick in the typical way musicians play, at times identifiable as an actual style. Usually the term lick intends the solo performance of a musician, in practice the solo within a song, even if it makes more sense to identify it using the term thematic execution of single notes.
Here we will analyze each part of a blues lick, using practical examples in the minor pentatonic scale. Remember the use of the shuffle.
Ex. #1
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In the first example, played in box 2 in the fifth position, we start with the bending of the D note which raises a scale to E. The tonal value of this note is relative to the precision in which the chord is played. For those who are not familiar with this technique, I recommend a little practice with bending to obtain good intonation. |
The following sixteenth rhythmic division is developed on a descending lick that, as you can see, doesn't put the notes in continuous sequence but creates a brief melodic line based on scale fragments with vertical note jumps. The last note, the A in the fourth string, is done in vibrato.
Ex. #2
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A couple of octave C notes (shuffle) follow the initial tercet, which are preceded by a semi-tone acciaccatura. You should play the C note anticipating the movement of the preceding fret (4th) and sliding the finger on the actual fret (5th). |
Ex. #3
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One of the more classical examples of blues bending, played on a group of three strings. The rhythmic division, in this case, it tercet, but as we will see in other examples, can be used in any tempo. Note the closing of the lick for notes E and A on the first and second strings. |
Ex. #4
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The first couple of notes are played in slide anticipated with a acciaccatura on the preceding fret. Be careful of the bending present on note D of the tercet, because must be performed quite quickly. |
Ex. #5
The lick is played alternating two types of rhythmics. In the first part the tercets are played in box 1 of A minor, then moving to box 2 changing the rhythm in sixteenth. Check the fingering, especially in the change of position, with the 1st finger that moves from the third to the fifth fret, and in the final bending, played with the 3rd finger.
Ex. #6
Even though it seems simple, this tercet scaling can be difficult in the execution of the picking. Be sure to maintain a constant alternate picking, avoiding tonic stress which will make the execution more fluid.
Ex. #7
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Two tercets that both work on a bending final. The 3rd finger performs the bending on the G note at the eighth fret of the second string, while the 1st finger performs a bending on the 5th fret, third string. The "+" symbol indicates the type of bending that we just mentioned: in practice, the note is raised a half semi-tone. This is called a blue note. |
Ex. #8
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The use of double notes produces an excellent sound. In this case you must be careful of the fact that you have to work with a acciaccatura in double note slide. Also be careful of the series of hammer-on and pull-off's in sixteenth tercet, which preclude the final A note, obtained with a two fret acciaccatura. |
Ex. #9
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Less common, but none the less interesting, is the use of box 1 with the indicated fingers. I suggest playing rigorously with alternate picking. In the next page you will find more examples of licks in the pentatonic minor scale. |
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