Back in Psycho Lick #9, we ran our fingers through some chromaticized versions of three-notes-per-string scale shapes, useable in the key of C (or modal relative—D Dorian, E Phrygian, F Lydian, etc.). Another, perhaps even easier approach with these same shapes is to practice running each shape's range using one of several different legato patterns/sequences. In this installment of Psycho Licks, we'll eyeball four different ones—all of which may (and should) be practiced through each of the seven different fingerings for the particular scale type you're working on.

NOTE: Every example on this page is comprised strictly of 16th-notes (four evenly-spaced notes per beat) figures. Future patterns will based upon sextuplets, a.k.a. 16th-note triplets (six evenly-spaced notes per beat).

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Legato Pattern #1: This baby's a personal favorite o' mine. Ignoring the pick-up notes for a second, the “lick” is essentially an eight-note pattern (the first eight notes shared by beats “one” and “two”) performed on two strings, repeated in the same physical fashion as you encounter each higher string pair. Make sure you use the specified picking pattern, otherwise you won't be able to blaze! (Note: I use downstrokes on beats “two” and “four” throughout this line, primarily due to the heavier accents that stroke affords; feel free to use an upstroke here, as indicated parenthetically.)

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

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

Legato Pattern #2: This next legato pattern is a little more “fusion-esque.” Based on yet another eight-note pattern (two beats worth of notes), it's played using approximately 50% pull-offs / 50% picked.

THE PICKING: For the curious, in anaylsis of the opening eight notes, though it might be easier to pull-off the G (8th fret)-F (6th fret)-E (5th fret) fragment occuring along the 2nd string during beat “two,” I personally prefer squeezing in an extra picked note to keep things uniformly percussive. In fact, any time you have a group of three notes played along one string and you wish to descnd, instead of simply using pull-offs to glide through all three, try picking the first two notes, then pulling off to the last. You'll likely find that it adds more “snap” to your legato lines.

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

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

Legato Pattern #3: Here's a popular legato sequence, comprised of a simple four-note hammer-on/pull-off pattern, executed along one string. The physical approach used to play the first four notes is then transferred to each successively higher string. Once you can seamlessly connect all six strings, you got yourself a burning legato phrase!

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

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

Legato Pattern #4: This last one is similar to a common “diatonic 3rds” pattern, varied only in that a descending scalar step is used to precede each ascending 3rd—e.g. (in analysis of the opening six notes), C (down a scalar step to:) B (up a minor 3rd to:) D (down a scalar step to:) C (up a major 3rd to:) E (down a scalar step to:) D, etc.

THE PICKING: Once again, to add more edge to the legato sound, more picking is added—despite the fact that, when four notes are played in succession along the same string, a single pick could be used. Experiment with both approaches—blending in more picking, or playing thew passage purely legato (with as little picking as possible)—till you find the approach that best suits you.

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

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

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