Artist Lick: Steve Morse
October 21st, 2009 in Artist Licks by adminGuitar legend Steve Morse demonstrates his burning take on the blues, in an Artist Lick taken from the Dixie Dregs’ ‘Rock & Roll Park’ from their 1981 album Unsung Heroes. Make sure to catch the delayed half step bend on the 1st string 12th fret at the very end.
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Artist Lick: Carl Verheyen
January 21st, 2009 in Artist Licks by adminRenowned session pro, solo artist, and Supertramp guitarist Carl Verheyen presents his Guitar Messenger Artist Lick. This idea presented here by Carl is in Cm and is a great example of his wide intervallic approach to soloing.
Artist Lick: Joel Stroetzel of Killswitch Engage
February 21st, 2008 in Artist Licks by adminJoel Stroetzel of Killswitch Engage presents his Guitar Messenger Artist Lick.
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Artist Lick: Adam D of Killswitch Engage
January 21st, 2008 in Artist Licks by adminAdam D of Killswitch Engage introduces the world to the almighty VERTIGO SQUEAL. Consult your physician before attempting to play this lick.
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Artist Lick: Bobby Thompson of Job For A Cowboy
December 21st, 2007 in Artist Licks by adminBobby Thompson of Job For A Cowboy presents his Guitar Messenger Artist Lick.
Click HERE to view the Job For A Cowboy Interview.
Click HERE to view the Riffing Masterclass with Bobby and Ravi of JFAC.
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Artist Lick: Joe Stump
November 21st, 2007 in Artist Licks by adminClick HERE to view GuitarMessenger.com’s exclusive interview with Joe Stump.
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This lick/passage is in B Harmonic Minor/F# Phrygian Dominant. I start out with a 5-note alternate picked grouping that’s fairly standard where I’m playing 6 tones in a circle (3 notes per string). Then I ascend through a 4-string 2-octave shape (3 notes per string). This is a cool scale shape I use all the time, instead of just moving straight up diatonically I ascend 4 strings and then that same shape an octave higher. That passage is economy picked, as are all of the ascending scalar passages I play. Using this kind of picking enables me to play across the strings at fairly terriflying speeds.
Then I snake through a cool mixed minor shape I use all the time. “Mixed minor” meaning I’ve got notes from both B Aeolian (Natural Minor) and B Harmonic minor. It’s a cool symmetrical shape and works great in a Phrygian Dominant or Natural Minor context depending on how you resolve it. The descending portions of the run are alternate picked, but all the ascending stuff’s economy picked (down, up, down). Then I economy pick through a hexatonic shape. I use those all the time as well, where you just take a 6-tone scale shape and play it in 3 octaves. The lick ends on an Uli Jon Roth type of melodic phrasing idea with some wide vibrato.
Shred on my metal brothers- Joe Stump
