Singer-Songwriter/Multi-Instrumentalist Unveils One-Man-Band ROCK Record on the INTIMATE AUDIO label:
GUITAR PLAYER MAGAZINE says: "Smart pop tunes that are crammed with interesting guitar parts and tones ... Like what the Beach Boys might do if they were on an acid trip that was on the verge of getting out of control. Yeah!"(CLICK for more Info)

With Chromatic Embellishments (Yngwie-Style)

For (yet another) continuation of the “applying chromatics to basic arpeggio shapes” concept, as explored in Lick #11 and Lick #12, with this new lick, I'm demonstrating a slightly different approach—alternating twice between the “lower chromatic neighbor” and actual chord tone (creating a four-note motif), then “arpeggiating” in a strictly descending fashion, à la Yngwie Malmsteen.

Since this type of lick doesn't involve the tricky string-skipping stuff encountered in previous examples, it's a little easier to visualize on the fly.... BUT, this time ya gotta pick every note, to achieve the proper “Yngwie” effect! Also, it sits squarely on a single chord—Em—minimizing the need to “shift gears.”

Over an Em chord, where the “legal” arpeggio notes are “E,” “G,” and “B,” all you'll be doing is using your alternate picking chops to rapidly alternate between chromatic (i.e., “illegal”) and non-chromatic (i.e., “legal”) notes. For instance, when faced with an “E” note, you'll pick out a D#-E-D#-E pattern; a “G” will inspire an F#-G-F#-G pitch arrangement; a “B” will prompt you to unload an A#-B-A#-B pattern. This is exactly what happens in the E minor-based lick below, albeit applied to numerous areas on the fret board.

After learning the lick below, also try targeting the exact same pitches, beginning in a different area on the neck—e.g., instead of kicking off the line from the “E” at the 12th fret of the 1st string, try commencing it from the “B” at the 19th fret of the 1st string, then working your way across/down the fret board, maintaining the same “chromatic embellishment” approach throughout.

Also, as you should know by now, for maximum flexibility with this kind of stuff, try implementing this approach into every single static chord vamp (e.g., a tune revolving around one chord) you come across. All ya gotta do is target three chord tones on the neck, fer goodness sakes! It's up to you to find where they are. (Yet another reason why basic scale/arpeggio practice—with a constant awareness of the actual note names, as opposed to TAB numbers—is mandatory!)

(*You can hear the lick FAST by clicking HERE*)

(*You can hear the lick SLOW by clicking HERE*)

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To help support this site's free online guitar lessons, please check out my brand-new “full band” album of original compositions, MANNERISMS MAGNIFIED (now available through, iTunes and AMAZON.COM), featuring me performing all the instruments (voices, guitar, bass, real acoustic drums, piano, accordion, and mandolin). I also produced, arranged, engineered, and did all the artwork/illustrations—intimate audio AND visual, lol! (Details can be seen in my YouTube: ALBUM PREVIEW/documentary.) I’d love to hear your thoughts! Thank you :)


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