Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin jazz. A lick can be a hook , if the lick meets the definition of a hook: "a musical idea, a passage or phrase , that is believed to be appealing and make the song stand out", and "catch the ear of the listener".
Mandolin Scale and Lick Book
For musicians, learning a lick is usually a form of imitation. Imitating style is as important as learning the appropriate scale over a given chord. From Wikipedia, the free encyclopedia. This article is about the concept in general. For the specific jazz lick known as "The Lick", see The Lick. For other uses, see Lick disambiguation.
Complete Country Guitar Book , p. Engaging Music: Essays in Music Analysis , p. New York: Oxford University Press. Musical form and development.
Categories : Popular music Musical techniques Jazz terminology. All closed position scales. My "up the neck" work came alive after I began working with it. Don't get me wrong- the pentatonic stuff is fun, but it's just the opening of the door. I've seen various variations of "the blues scale", all of which were similar except for one or two notes.
The one I have used is bbb7. Is there a specific scale? I use that scale too, Jon, but more for "straight" tunes that I want to blues up a bit. I understand that some do use "blues scale" to describe it.
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What others call a blues scale is 1, b3, 4, b5, 5, b7. This will work very well over all the changes in true blues or in any bluegrass tune that has a b7 chord in it, such as an F chord in a G tune or a G chord in an A tune. It's really fun to slide around on that 4-b Even in a "straighter" tune, I think it also sounds good to use your scale over a section and then drop in the other one for a few bars.
If you play any bluegrass, I found the Mandolin Picker's Guide to Bluegrass Improv book to be useful when getting started using movable pentatonic patterns through common chord progressions. It stretches past straight pentatonic playing - but I found it's many exercises useful for getting my fingers used to moving through the patterns. It doesn't have all the answers, [no single source does, IMO] but if you're just getting started with it - I found it very useful in that context.
Fretboard Roadmaps: Mandolin-The Essential Patterns That All the Pros – Elderly Instruments
Helped me a lot That very pattern in post 1 is the basis for so many great solos, one being Sam Bush on Panhandle Country, truly a blessed solo. This is great place to start with soloing that lets you start soloing along with songs in Major keys, minor keys, and blues songs alike. I personally like the sound of the "blue" note in both the major and minor pentatonic scales.
So in C major the blue note is Eb or the flatted 3rd of the the C chord. In Am same notes the blue note is still Eb but in this case it is the flatted 5th of the Am chord. With this in mind, there are really only 3 Pentatonics to fit the 6 chords in any given key. Much music before the invention of western harmony as we know it was pentatonic.
One of the advantages of using pentatonic scales when learning how to improvise is that they are very easy to hear and predict what the next note will sound like.
Smokin’ Bluegrass Guitar Licks
This is a HUGE element in improvising. As mentioned in other post in this thread, there are books on learning to improvise in the style of bluegrass. This or any other stylistic approach will include not only pentatonic or blue notes but licks used by the founders of this style of music. Below is a link showing the power of the pentatonic scale.