The First Blues Licks You Should Learn On Guitar Learn The Famous Blues Guitar Licks That Will Make Your Playing Sound More Mature
As an aspiring blues guitarist it is really important to create a 'bag of tricks' filled with guitar licks. When listening to the best blues guitarists you'll notice that there are several famous licks they use all of the time. This is the reason why the collection of these famous licks is a crucial aspect in your own development as a guitarist. All great blues master guitarists use them in their own solos, so neglecting this aspect is a huge loss for anyone who tries to play blues guitar.
The blues consists out of a lot of famous guitar licks that were transferred from one guitarist to another. Initially this transfer happened by ear but nowadays a lot of people rely on tablature. Tablature is therefore a very useful tool, nevertheless that learning licks purely from tab makes no sense at all. It is important to know where the lick comes from so you can use the lick in every musical situation.
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The first blues lick to learn on guitar is derived from the famous master blues guitarist Freddy King. Listen to his song 'Hide Away' and you will clearly notice the lick that is analysed below.
The blues lick below seems very easy at first but should not be underestimated rhythmically. It’s important that you don’t start the lick right away on the first beat because it is syncopated. This simply means that the accent lays in between the beats and you have to start the lick at the upbeat from beat one.
In beat two you have to make use of a triplet rhythm so you play three notes here. Combining binary and ternary rhythms is one of the skills that will enrich your phrasing skills remarkably.
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The technicality of this blues lick is not of the most difficult nature. The techniques required to play the lick are simply a hammer-on and vibrato technique.
It’s also a great idea to leave the guitar pick out once in a while and play with the fingers only. By doing so you can make use of other types of dynamics into your guitar playing which aren't otherwise possible.
The reason why blues music has such a unique sound lays in the fact that the tonality changes a lot from minor to major sounds. In this first blues lick we combine the minor pentatonic scale and major pentatonic scale:
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When taking a closer look at the construction of the entire lick, you’ll notice that the last note will significantly turn the beautiful major sound of the lick into a more bluesy minor feel. This shouldn't come as a suprise, as this last note is derived from the minor scale instead of the previous notes from the major scale.
This second blues lick sounds very tasty due to the use of double stops. A double stop technique simply means that there are two notes on adjacent strings played at the same time. This specific double stop is a must to learn for every guitarist who wants to play blues as it is literally the most used double stop in the whole blues scene.
Just like the first blues lick, this second lick is a mixture of both major and minor sounds. In the next scale diagrams you can clearly see which notes from the tablature above belong to which corresponding parts of the minor and major pentatonic scale:
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When you learn licks, it is always very important that you don’t fall in the trap of just copying licks. You must gain the knowledge of the scale where the lick is derived from. If not, you will end up using the lick in a wrong context. For example, playing these licks in a minor blues setting will end very bad.
The two blues licks we analysed in this article are on the other hand perfect to use over dominant seven chords such as the ones used in a standard 12 bar blues.
Once your bag of guitar tricks is filled with these two very famous and important blues licks, it is essential that you start using them in a musical situation such as an improvisation. If you listen to blues music you will notice that a lot of classic blues licks return all the time, not as separate licks but they are combined into one bigger lick. Take a listen for example to the style of Stevie Ray Vaughan who’s constantly using short cliché blues licks that are glued together to make it really big and powerful.
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To give you an idea on how this method works, I’ll show you how to combine the two blues licks that we covered in this article. You’ll notice that playing both licks after each other won’t sound that great. In this case you have to use a ‘glue’ in the form of extra notes to create a good end result.
On the tablature above you’ll notice both blues lick 1 and blues lick 2 that are merged together. The only addition to the two licks is the note that is indicated with the blue circle. This note is the high e string and also the root note of the E minor and the E major pentatonic scale, which makes it perfect to use as a glue to form one compelling blues lick out of the two smaller licks.
While learning blues guitar licks is an important step to take, you'll need more than this. You need to know exactly how to play each lick over any chord. Playing the exact right notes at the exact right time so they fit the underlying chords is a very important skill. A lot of blues guitar students make the mistake thinking that they can just transpose licks to play over any chord, but this just sounds horribly wrong. In this free downloadable ebook on How To Play Licks Over Any Blues Chord you’ll learn exactly what to do when improvising over blues chords.Some guitarists will tell you the blues is easy to play, which is both kind of true and incredibly false. Technically, you don’t need to be a lightning-speed shredder to play those sweet pentatonic bends. Harmonically, most blues chord progressions are more or less identical and pretty basic. But the blues is an idiom, a language that requires a thorough study to be played properly. It’s not just about playing random notes from the scale over a 12-bar blues: it takes time and passion. We have created those 20 licks with passion, so now it’s your turn to put the time in!
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The blues has a very rich history, one that has defined the musical evolution of the 20th century. Rock directly came from the blues (to the point that the line between those two genres is blurry at best), but hip-hop and R’n’B (rhythm n’ blues, right?) also come from that tradition. In fact, you’d be hard-pressed to find a popular genre of music that emerged during the last 100 years that does not owe anything to the blues.
Even though there are countless blues currents and trends, three of them tend to stand out as milestones in the development of the style. Delta Blues started out in the Mississippi Delta (hence the name) in the early 1900s, starting with legends like Charley Patton and Son House. Delta Blues artists would usually sing and play at the same time without any other musicians to back them up, rarely playing solos as we envision them today, and often singing on simple one-chord structures. Monsters like Leadbelly, Blind Willie Johnson and Robert Johnson have defined the shape of blues and rock to come, including writing a lot of future standards, but as guitar players, they had a very complex style that has not really been imitated.
Chicago Blues on the other hand is the era that defined a lot of blues rules and conventions that we take for granted nowadays. African-American artists moved from rural Mississippi to the industrial North, and especially Chicago, looking for a better life, including a proper job and no institutional segregation.
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Muddy Waters was one of the pioneers of Chicago Blues on the Chess Label in the early 1950s, and his electric style backed by bass, drums and piano has become a gold standard of sorts.
The brits pickup up on those Chess singles, and they created their own version of the blues, a stiffer, more aggressive take on the genre with an emphasis on guitar solos. All
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