No matter what genre you’re into, this month’s set of licks will definitely get you grooving. And, once again, Pickup Music is here to deliver the goods, this time with help from the outstanding Arianna Powell.
We’re looking at a performance piece inspired by jazz-fusioneer John Scofield. If you want to hear more in this style, we recommend checking out 1998’s A Go Go album.
There’s nothing too difficult here in our lesson, but getting that elusive ‘feel’ just right is key. The balance of a laid back feel while still sounding tight can be hard to perfect. Be sure to watch the companion video to hear each lick broken down and demoed.
In terms of techniques, there’s plenty to sink your teeth into, and we’ll cover hammer-ons, pull-offs, palm-muting, doublestops and more. The riffs and licks all sit nicely within the B minor pentatonic scale and the backing is a fairly simple three-chord loop (Bm, Gmaj7, F#m).
So, if you want to accompany, rather than take the lead, you could either use standard barre chords or try something a little more funky, such as some sparser three- or four-note partial chords.
Let’s focus on the picking hand here. We want this phrase to bounce – and palm-muting is a great way to make each note pop. It’s also important to know when to use upstrokes and downstrokes. For the most attitude, use downstrokes whenever possible, but if there are two or more notes in quick succession, use alternate picking.
Example 2.
(Image credit: Future)
This lick follows the classic ‘call and response’ format, with each subsequent lick ‘answering’ its preceding line. Ease up on the palm-muting at the end of each phrase – the last note should ring out.
The trickiest part is the ‘slurred’ note in bar 4, going from the 10th to the 9th fret on the third string. It needs to be just a hint of that 10th fret – slide away from it the moment you strike the note. On those longer notes, add slow, wide vibrato – nothing too frantic.
Example 3.
(Image credit: Future)
Some tricky timing here – this lick starts on the ‘&’ of beat 2. That’s ‘1 & 2 &’. Again, make use of palm muting to give that clean ‘pop’ to each note. Only let up on the muting once you reach that lazy bend on the 10th fret.
EWhy is it lazy? Because it never fully reaches that next note – it sits between the frets. If you struggle to get control over the bend, use two fingers.
Example 4.
(Image credit: Future)
Our final lick starts with a hammer-on/pull-off combo! It’s almost like a mini trill. Use your first finger on the 7th fret and then flick your third finger onto the 9th – then immediately off again.
Remember to only pick the first of those three notes. It may take a little practice to execute cleanly, but most of the lick follows this idea, so it’s worth getting it perfect. The final flourish is a down-up chop with a doublestop on the upstroke.
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