Sei sulla pagina 1di 6

IMPROVISATION

Intervallic Licks and Riffs


http://www.youtube.com/watch?v=VKra9hDNxEI
By Andrew Wasson
Visit: www.creativeguitarstudio.com

SECTION ONE:
Mixing Intervallic Licks & Riffs Creates Interesting Effects...
knowing the interval concepts & having technique is the key:
When thinking about, Intervallic Licks, one piece of music that comes to mind is; Pat
Methenys - Bright Size Life. The sound of those mixed groups of intervals right from the start
of his piece, definitely creates a very interesting musical effect. And, most certainly, this kind of
sound deserves some serious attention.
I think most musicians would agree, that when intervals are mixed together to form
repeating - stacked musical ideas, (which by the way can be done in several ways), we can
achieve a very musically interesting, almost what some might call as a, climbing effect to our
melodies. Playing these stacked or repeating intervals can, however be a somewhat
technically challenging idea to perform, (especially when played fast). But it goes without
saying, (as with any guitar concept dependant upon technique), the more the technique is
rehearsed, the better we eventually become at performing it.
When we apply these mixed intervals; stacked, or grouped in various ways, it creates a very
interesting sound. Whether we use the same interval as a melodic statement, or if we use
combined intervals if we stay in one position, or if we move along the neck... one thing is
certainly true... These intervallic concepts will work to create some interesting and wide-open
sounding melodic statements. So, spend time learning how to get them into your repertoire. If
you do, I think youll have a lot of fun performing them in your next new composition, or in your
next guitar solo!

Creative Guitar Studio 2013

Intervallic Licks and Riffs


Page (2)

SECTION TWO:
Stacked Interval Technique Exercises...
Since stacking and mixing of intervals requires a slightly higher level of guitar technique for the
left and right hands, this lesson will begin by showing a series of exercises that will stress the
operation of repetitive intervals. This will help the hands to develop the feel and sense of the
proper technique. As well, these exercises are especially important if this type of recurring
interval movement is a brand new guitar technique for anyone reading and studying this.
Example #1). Working with stacked 5th intervals along the neck from 1st position.

gV
V V V
V V V V

V
4
V
V
1
I4
V V
V
V
V
T
A
B

10

10

12

12

14
9

12

V V V V V
5

j
j
j
Vj
V
V
V
g
V
V
V
V
g
g
V
V
g
V
e
V
f
e
V
V
V
V
V
V gV stacked
V V methods
V gVand mixed interval
V V basic
V gV ofV VVapplying
V Vmost
One of the
ideas is the
V
V
V
V
V
V
4
V
V
jsequence it in 3rd
procedure
of
scale
sequencing.
In
example
#2,
I
take
the
major
scale
and
1
V
V
Iintervals.
V
V
4 T V This
V thirds
V
What makes
V requires a mix of using both major and minor
V Vdiatonically.
V
this A
exercise
slightly different, is that I do not stay in one scale for the 4entire
study,
instead6 I am
5 4 7
7 6 9
5

2
3 2 5
4
5 4 7
6
7 6 9
5
7
7
9
B the
moving
study
along the neck.
example
below
12
14
3
5
5
7 The
7
9 shows several positions, however feel
T
10
10
12
12
free to move the exercise
to several other fretboard
7 7
9
9locations as well.
A
5 5
7
7
c the pattern.
3 3
5
5
V
BExample
c
k
k
k with
g
V
gVneck
10
in, G Major, Voff of the 6th
the
V
V string, move along
3V
V gV
I1 #2). Starting

I
T
A
B

V
j
V TV V V V V
A
B

0
5

V gV

V gV V V V V
11

3 2 5
Am

5
7

V
j

(5)

5 4 7

I V V VgV k V cV V V V V
10
VV Vk VV c
I V V gV V V V V
V
V
V
V
V
V
T
A
B

0
9

0
11

3
7

(0)

6 C 7 6g/B
9
7
9

14

T
A
B

gV
V
V
j
V
V
g
V
V
V V

c
V V
jV
V
g
V e V gV f V e V

2 3
9

2
3

5
Am

7
4

9
7

(5)

(9)

j
V
V
g
V
V
V
g
V

11

7
5 4 7

V V V

0
2

11

0
(9)

10
7

0 12
4

V V VV

9
9 10
0

sl.

g/B

VV

c
V

4
0

7 6sl. 9

V cV V V V V V VV
V
g
V
VV V V V gV kV V V V V gV V V V k c
V
V
V
V

0
(0)
7
V 2013
V C g/BGuitar
V V V
V
V
Creative
Studio
V
V
Am
Am
V
V
g
V
V
V
V
18
I
V V V V
14
V
I V V V7 V V 8 V
V
10V
12
10
0

g/B

VV
7
9

V V gV
VIntervallic
V andV Riffs
V VLicks
V
Page (3)
V
V V V

V
4
V
V
1
I4
V V
V
V
V
T
A
B

10

10

12

14

12

12

5 5
7
7
SECTION
THREE:
3 3
5
5
g
V
1
3
V
V
VConcepts...
V
V Intervallic
Performing Riffs
Using
Vj
V
4
V
V
1
V
V V V V j j gV V V V j
j
j
V
V
5 I 4
V
I Next, we
VV VVwill
V mixesV gintervals.
V VV V The primary
V through
e V gVaf Vriffe V gthat
V gVinterval idea
V shift gears
gV V toV playing
V However,
VV riff
V there
V Vthe
in
will be thatV of 5ths.
will also be thirds within the pattern as well. Since

the fifths Ive used are stacked, 12


the stretches
will be somewhat demanding to perform. So, take
14

T your time, and before building


10
10
12
12
T
speed
with9this
riff, be
7 7
9 sure to commit the entire line to memory.
A
5 5
7
7
A
4
554 7
6
7 6 9
3 3
5
B
21 3 2 5
4
5 4 7
6
7 6 9
5
73
7
9
B Example
#3).
Interval
riff
in
the
key
of,
E
Minor.
3
5
5
7
7
9

5
10

j
j
j
V V Vk j
cV j
V
g
V
I
V
V
V
g
g
V
V
g
k
k
c
k
V
e
V
f
e
V
V
V
g
g
V
V
V
V
V
V
V
V
I V VV V V V gV
V V V gV V V V
V V gV
c
VV gV VV VV V V V gV c
V
V
V V
V
T
A
T
B
A
B

3 2 5
11
59
7
9
7

5
5

5 4 97
7
7
(5)

97

7 6 9
7

4
9

7
11

5 4 7
9

(9)

11
9 7
9
7 9
10
0
0

(9)
9

7
7 6

9
7

7 6 9
5

sl.
c
C
g/B
Am
C
g/B
V
k
k
c
k
k
g
g
V
V
10
V
V
V
V
g
V
I V V gV
V
g
V
V
V
V
c
V
V
V V
V V c
V
V
V
V
V
V
V
V
V
V
14
V V next riffV isV stacking
V V V to realize
V
V that unlike 5ths,V inV order to
V stay
It is important
V intervals.
I The
V third
V
V
V
V
V
V
inside
ofVthe keyVsignature when
using thirds, weV need toV apply both
V
V
V major Vand minor third

(0)

Am

T intervals along the course of how our riff progresses.


9
A
T
9
11
7
9
7 5
9 4
5
(5)
7
7
2
B Example
A
0 7
7#4).
5 2of, A0 Minor.
0
(0) 7
5 Interval
3 riff in the key
0
0
0
0 2 3 3
2
0
B Am
C
g/B
Am

14
18

9
5

V V V V V
V
V
V
V
V
V V V V
V
V
V
V V
V
I V V V gVV
V
V
I V
V
V
V V V V VV
V
V
V
T
T
A
A
B
B

5
0

7
5

10

2
0

12

10
2
3

10

10

0
2

12
7

5
0

7
0

10

VV V V V VV gV e VV e V V V V V V V V V V VV V V V
gV f V e V V
V V eV V
21
V
18
I
V V V
sl.

T
T
A
A
B
B

21

I
T

5 10
10

58

sl.

10

11

10

V V V V V eV eV V
sl.

sl.

sl.

10
6

12

10

sl.

10
3

10

gV V f V V e V V V V
H

12

V V eV V
V V V

generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

10

10

8
10

11

10

Creative Guitar Studio 2013

sl.

0 12

7 95
9 10
C

V V VV

9
0 12

9
9 10

7
9
g/B

VV
7
9

12

14

9
9
V
5 5 gV k
7
7
k c
c
k
g
V
10
V
V
V
V
5
5
I1 3 V3
V V V gV V V V
gV
V and cRiffsV V3 gV
V V Licks
V
Intervallic
V
V
V V
Page (4)
j
j
j
j
5
Vj
V
V
V
g
V
V
I T V V
V
g
g
V
V
g
V
V
V
V
V
e
V
f
e
V
V
V gV
V gV V V V
9
V AV V V 9
11
7
9
9
11
7 6
4
7
9
5
(5)
7
7
9
9
(9)
7 5
SECTION
B FOUR:
0
7
5
0
(0)
7

T
A
B

10

10

12

12

Am
C
g/B Licks...
Am
Application
of Intervallic Concepts to Guitar
A

sl.

5 4 7

5 lick we move5 along


7
9
In the first143guitar
apply
slide concepts
V V V theV
V V V 7V twoVstrings and
V toV inter-connect
V
V
I
V
run in a very horizontal fashion along the neck.
the key center,
V V lick VValso stays
V is theV key
VE Minor).
V It Vis The
V inside
V ofwith
V licks,Vits
c guitar
V
(which
in
this
case
of,
important
to
mention,
that
k
k
c
k
g
g
V
V
10
V
V
V
V gV V V
I helpful
gV
gV spendV timeV learning
V toV analyze
V centerc of theVlick. Then
extremely
the
V tonality
V V andV key
V
T
V the line into
how to move
any4other key that
you mightV wantV to hear the
5
2
5 part transposed
7
9to.
2

3 2 5

5 4 7

7 6 9

A
7
5
3
2
0
7
9
0
0
0
0 2 3 3
2
0
0
0
B Horizontally
Example
#5).
applied
5ths
interval
slide-lick
in
the
key
of,
E
Minor.
T
9
A
V
V
V9
9
11
7
9
11
V
V
(5)
9
V V 5 7 V V0 (0)V 7 7V 9 V
B 18 0 7 V 7 9 V gV 5

Am

14

T
V
A
VB

I
T
A
B

21

I
0

V5

V V
5

V V V VV

V
V
sl.
sl.
V
V
e
V
V
V 4 V eV2 V
5
5
3
0

10

g/B

VV

12

10

sl.

10

(9)

Am

10

V V
10

gV 2V f V 0V e V V V 7 V 5
3

12

V
0

V V

0 12

V V VV

9
9 10

The final example moves into the sounds of the 4th interval. Mixed along-side of this interval
Vsound
10
8 fifth. These
V two intervals
will also be the diminished
cool
V when mixed into the same
V Vvery
TV V10 V g8V V V11 V 10
8 V
6
3 V
V
licks18or scale-runs. And, since
10 these
8 intervals
6 can
5 often3 be
5 odd 3to finish
5 off 3on when wrapping
I A tried to solve that
5
3
5
up a lick, Ive
by
using
some
of
the
Pentatonic
Scale
as
a way
to
5 produce a
B
good sense of resolution
with
the line.
sound of the G Minor chord, but
H 10
7
8
10 This lick covers
12 the
T
5
5
7
7
8
8
10
generated using
the10
Power Tab Editor
by Brad12
http://powertab.guitarnetwork.org
take the time to learn how to move this guitar lick over to otherLarsen.
chords
as well.

V V V V V eV eV V
sl.

21

I
T
A
B

10

10

sl.

8
10

11

10

sl.

gV V f V V e V V V V
6

V V eV V
V V V
5

H
generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Creative Guitar Studio 2013

V VV
k
V
c
V
9
9 10

4
0

sl.

V9 V7 e V 10V 9V V
0
V 0 12

A
B #6). Along the neck applied 5ths interval lick in the key of, G Minor.
Example

7 6 9

g/B

VV
7
9

Intervallic Licks and Riffs


Page (5) - Video Opening Guitar Jam

I 44
T
A
B

V V V
k
V
5
eV V V
I
gm7

T
A
B

gm11

5
3

6
5

`
V
V
V V
9
I gVu k Vu k k Vu k Vu
6
6

6
6

6
6

6
6

6
6

eV eV
V
V
17
I k eV eV V
6

10

10

11

Am7 5

V V

V V V

(5)

Cm7

Dm7

(5)

V V

Dm7

eV V V V V V

(7)

Dm7

Am7 5

V V V

11

4
6

`
kge VV k VV VV V e V V
u u
4
6

`
gW

E7

4
6

V gV V V
8
6

6
6

6
6

WW

4
6

6
6

(4)
(6)

4
6

`
E`7
eV V V eV V eV k V
u
8

V V gV V

UU
(4)
(6)

generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Creative Guitar Studio 2013

VV V e V V

E9

(5)

`
E`7
V
V
V
e
k
k
k
k
gV V
V VV
u u
u u
6
6

(5) 5

E9

6
6

V W
V V V

gm7

gm7

eV V V V V V

(7)

6
6

E7

6
6

E9

T
A
B

4
6

`
V V
V
V
13
I gVu k Vu k k Vu k Vu
6
6

Dm7

6
6

E9

T
A
B

by Andrew Wasson
Cm7

E`7
E`9
E`7
V
V
V
V
e
V
V
V
V
e
kg V k V V e V
gV k V k k V k VV
u u
u u
u u

E9

T
A
B

Adjusted Position

D
P = 144 (P P CP PR )
gm7
gm11
V
k V eV V V V V

(3)

Intervallic Licks and Riffs


Page (6)
E`9

Song Title - Artist

eV eV
V
V
21
I k eV eV V
T
A
B

`
eU
25
I gUUU

10

10

11

E`7
gW

11

8
6

V V e V e V V gV V V

4
5
4
5

V V V
k
V
29
eV V V
I
gm7

gm11

T
A
B

V V V
k
V
33
eV V V
I
gm7

T
A
B

V gV V V

D7 9

T
A
B

- Video Opening Guitar Jam

gm11

5
3

6
5

7 5

(5)

(5)

Dm7

VVV

V V

(7)

e V V gV V V e V V V

eU

10
8

11
10

V W
V
V V

Dm7

gm7

eV V V V V V

(7)

Dm7

8 7

UU
(6)
(4)

Page 2 of 2

6
4

c
V eV V V k V V

Am7 5

VV

E`7
e V V V e V V e V k VV
u

Am7 5

V V V

Dm7

Cm7

Cm7

E`9

Am7 5

(5) 5

D7

V eV V V V V V

(7)

8 7

5 3 5

gm9

U
(5)

sl.

Thank you for your donations & Generous Support - Andrew Wasson
Creative Guitar Studio 2013
generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Potrebbero piacerti anche