table of contents · pdf filethis next lick is a hybrid picking lick, also inspired by stevie...
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Table Of ContentsIntroductionLick 1 4Lick 2 4Lick 3 5Lick 4 6Lick 5 6Lick 6 7Lick 7 7Lick 8 8Lick 9 8Lick 10 9Lick 11 9Lick 12 10Lick 13 10Lick 14 10Lick 15 11Lick 16 12Lick 17 12Lick 18 13Lick 19 14Lick 20 14Lick 21 15Lick 22 15Lick 23 16Lick 24 17Lick 25 17Lick 26 18Jam Session 18Final words 18
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Introduction
Lick 01
If you have ever wondered how "modern" blues masters like Freddie King, Albert Collins, T Bone Walker, and Stevie Ray Vaughnsound the way they do, this course provides some insight into the way they play. This course contains 26 essential Texas Blueslicks that will add that sort of feel into your blues and rock soloing.
Per Steve's usual practice, all of the licks have been written and performed in the key of A. You can always transpose eachlick to the key signature of any song you might jam with. You can also alter the rhythms of each lick for variety (as you see fit).
Remember to study one lick at a time, learn at your own pace, and then apply it to your playing. Always practice at a speed thatis challenging enough but not too difficult. Allow this book to be your guide as you watch Steve demonstrate each lick on DVD.
Lick 01 is a T-Bone Walker-esque technique that combines major and minor pentatonic.
26 Texas Blues LicksMusic by Steve Stine
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Lick 02
Lick 02 is another T-Bone Walker-esque lick that seems to take inspiration from a trombone lick.
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Lick 1
Lick 2
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Lick 03
Lick 03 is inspired by Albert Collins's playing. This particular lick moves horizontally, using three different pentatonic positions.
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Lick 3
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Lick 04
This lick is another Albert Collins-inspired mo�f. It is important to mute strings that are not being played to achieve
that melodic sound rather than a "chordal" sound that happens when playing two strings sequen�ally.
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Lick 05
This lick emphasizes Texas-blues style bending. It features whole-step, half-step and blues bends as well as a pre-bend.
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Lick 5
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Lick 06
Bends in repetitions are the hallmark of this lick.
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Lick 07
This is a repetition lick reminiscent of Stevie Ray Vaughn
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Lick 7
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Lick 08
A Stevie Ray Vaughn inspired lick.
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Lick 09
This Stevie Ray Vaughn inspired lick consists of 1st inversion chords in triplets (A on 1st and 3rd measures,
C on 2nd measure) and terminates with a bend on the 2nd string 8th fret.
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Lick 9
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Lick 10
This Stevie Ray Vaughn inspired lick consists of 1st inversion chords in triplets (A on 1st and 3rd measures,C on 2nd measure) and terminates with a bend on the 2nd string 8th fret.
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Lick 11
This next lick is a hybrid picking lick, also inspired by Stevie Ray Vaughn.
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Lick 10
Lick 11
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Lick 12
Lick 12 involves the use of double stops. Use a pick for a more aggressive sound, and sure to mute all other stringsfor this lick to sound correct.
Lick 13
This next lick is a walk-up in the minor pentatonic scale that also uses a couple of double stops.
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Lick 14
This is a phrasing lick that allows movement up the guitar.
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Lick 13
Lick 14
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Lick 15
This lick features using the open 1st string and chromatic passages.
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Lick 15
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Lick 16
Lick 16 is another Stevie Ray Vaughn-style lick.
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Lick 17
The unique thing about this lick is that it is usable in the key of A and in the key of E (as a IV chord lick).
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Lick 16
Lick 17
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Lick 18
This lick is very typical of Stevie Ray Vaughn's playing style. It uses a hybrid picking technique for that great Texasblues feel.
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Lick 18
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Lick 19
This unique lick featuresa couple of bends. Combined together (and when performed properly), the notes of thelick form an A chord.
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Lick 20
For this lick, you can use either hybrid or alternate picking. Take note of the slides and the aggresive combinationof a whole-step bend and vibrato at the end.
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Lick 20
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Lick 21
This next lick is reminiscent of Steve Cropper's style.
Lick 22
This is another Stevie Ray Vaughn-inspired lick that is played with a funky rhythm. Avoid strumming the 6th stringand mute the other strings to produced that strummed rhythmic effect.
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Lick 21
Lick 22
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Lick 23
Lick 23 features a repetitive Chuck Berry-style pattern. In bars 3 and 4, take note of the half-step bends on the2nd string.
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Lick 24
This lick contains a patterned idea (A minor pentatonic triplet pattern), useful for moving around the fretboard.
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Lick 25
This next lick is a Texas blues-rock-inspired lick that you would hear in bands like AC/DC and the Black Crowes.Practice the half-step bends well because it is important to get these bends to sound right.
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Lick 24
Lick 25
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Once you have a couple of licks ready (as if it was second nature for you to play them), it's time to attempt jammingto a backing track with Steve. The last section of the DVD will involve taking turns with Steve soloing over the backingtrack. Use all the licks you've learned in this course when jamming along the last section.
The fun of jamming with other musicians is that you are not trying to outdo one another. You are trying to learnfrom each other and exchange ideas. You can also feed off an idea of another musician and play something that'scompletely the opposite and still have a great time.
It is nice to be able to learn all of the licks in this book (as well as in other courses). However, all you need to startplaying great is learning just a couple of licks that would really change your mind set. You only need a few licks thatwould allow you to look at your fretboard and get some ideas when it is time to jam.
Always remember that it's not about how fast you can play. It is how well you can play it. That is why it is alwaysrecommended that you take time to learn a lick or a song. Practice slow first and then gradually build it up.Sometimes it's just one note, a single phrase, etc. that can change your entire outlook on your playing.
The most important thing of all is to have fun while learning your 26 Texas Blues Licks and jamming with them.
Jamming with Steve
Final Words
Lick 26This is a turnaround lick that is useful when playing over the 11th and 12th bar of your 12-bar blues (chords I and then V7).
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Lick 26
Jam Session
Final words
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