Loading the player...

Sam Bell Extreme Shredding Part 6: Melodic Minor Guitar Licks

Lesson Notes

** As featured in issue 46 **

Hello and welcome to the final instalment of my extreme shred column. For regular viewers of this section of the magazine I hope you have been enjoying the series so far and for newcomers, please enjoy this instalment and be sure to check out the previous five to check you aren’t missing out on any juicy details! So far we have been delving into the wonderful and slightly terrifying world of extreme legato techniques and with the addition of two finger tapping. We have been looking into diatonic arpeggio lines, super imposition and even some lines that dip their tone outside of the diatonic major scale into melodic minor territory.

Today we are going to take a look at some more scary melodic minor lines that sound very mystical and we are going to be visualising them with some more traditional arpeggio shapes. As with all the columns in this series please be sure to check out the video and accompanying tab for fingerings and line details.

Here in the written section I would like to talk about how I came up with the lines and maybe more about the concepts behind them that you could take from these lines and insert into your own playing style. This way you will be able to build your own unique vocabulary of extreme legato lines and phrases whilst also having a deeper understanding of what makes them work for your own style, this means you can use them much more naturally in your improvisation, writing and day to day playing styles.

Something I must address before taking a look at our first line is how versatile some of these phrases really are… For this column I have been playing with a crunchy/overdrive sound, however these lines take a different vibe completely when played with a clean tone or even a more fusion/sax style tone with less treble and gain. Be sure to experiment - each tone brings its challenges, but I am a big believer in being versatile with our techniques for different playing situations at all times. A line might be physically easer with more gain and compression, but is the muting holding tight? Always check, maybe it’s easier to play with less string noise with less gain but maybe it also highlights timing issues. Practising with different tones is going to help solidify your technique and hopefully make your extreme legato playing indestructible! That’s enough with the speech, let’s take a look at our first line.

This line highlights an Am triad, the shape I am using is a ‘C’ shape however we are filling in some notes from the A Melodic Minor scale (A, B, C, D, E, F#, G#). We start with an ascending phrase on the high E which is topped off with a two finger tapped 16th and 17th fret with the middle and ring finger on the picking hand highlighting the major7th degree and the route note. If you’re not totally comfortable with the two finger tapping technique still, be sure to check out the 3rd instalment of this column where I break down the two finger tapping technique in a bit more detail. My main advice for it would be to practice implementing it ensuring you have even and smooth timing between the notes, keep relaxed and the muscle memory should kick in and speed will be on its way to you in due course! This line continues down our Am triad shape with a 3-1-3 pattern (as we have been looking at in these columns) the tapped notes on the G string this time highlight the route note and the 9th degree of our melodic minor scale. The lick then descends the rest of the triad arpeggio to the A string finishing on the 9th fret A string highlighting the natural 6th degree of the Melodic Minor scale.

This next line is an example of how we can change between different tonalities using the 3-1-3 legato technique with two finger tapping. The chord progression I am thinking about highlighting in this phrase is Bm to F#7 altered. For the first half of the phrase we ascend a Bm7th arpeggio using triad shapes in octaves to move the line up to just above the 12th fret before we descend an F# altered arpeggio line which uses notes from the F# altered scale. The altered scale that I am using can be found as the 7th mode of the melodic minor, due to its nature I find it handy to think of F# Altered as G Melodic Minor a half step up from the route of the F# chord I am playing over. This is a very common scale for playing over altered chords with scale degrees that highlight the b9 and #9 (in this case F#7#9 otherwise known as the Hendrix chord!)

So there we have it, two more terrifying 3-1-3 lines to add to your playing! Be sure to study the lines in the tab and see how many different arpeggios you can outline using similar twists and turns. Be sure to dig deep and find your own lines within these patterns. We have come to the end of this 3-1-3 segment, but not to worry as I will be back with some Modern Advanced Techniques to add to your playing that are super versatile for many professional playing situations. We will be looking deep into chord embellishment, liquid legato lines, hybrid picking, sequences and much, much more. I shall see you soon with a brand new series, until then, happy shredding!


Up Next

Sam Bell - Extreme Shredding Part 1: 3-1-3 Legato Patterns

Sam Bell teaches you the ultimate to to mastering modern legato shred guitar licks, lines ...

Sam Bell - Extreme Shredding Part 2: Hybrid Picking Licks & Techniques

Learn how to play super smooth hybrid picking modern legato guitar licks and techniques like ...

Sam Bell - Extreme Shredding Part 3: Extreme Tapping Techniques

Boost your shred guitar technique using these extreme tapping exercises, guitar licks & routines from ...

Sam Bell - Extreme Shredding Part 4: Modern Legato Lick

Sam Bell presents a great modern shred guitar lick reminiscent of Richie Kotzen, Tom Quayle ...

Sam Bell - Extreme Shredding Part 5: Melodic Minor Modal Licks

Sam Bell shows you how to play shred guitar licks taken from Mixolydian b6 and ...

Sam Bell Extreme Shredding Part 6: Melodic Minor Guitar Licks

Learn to play some finger busting melodic minor guitar licks in the final part of ...

You May Like

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 2 - Intervals & Subdivisions

In the second instalment of this comprehensive guitar improvisation lesson series, Nick Jennison takes a ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 1 - Note Choice & Placement

Nick Jennison explores creating melodic interest within your guitar solos using the vehicle of stability ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 3 - Stylistic & Expressive Elements

For each of the soloing styles contained in this guitar lesson series, certain genre specific ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 4 - Modern Blues Solo Rationale

In this guitar lesson, Nick gives an insight into his thinking behind each phrase of ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 4 - Modern Blues Solo Analysis

In this modern blues guitar tutorial, Nick Jennison takes you through how to play his ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 5 - Modern Prog Rock Solo Rationale

Nick Jennison leads you through a guitar improvisation deep dive, with this guide to his ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 5 - Modern Prog Rock Solo Analysis

Learn how to play this epic modern prog rock guitar solo, phrase by phrase in ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 6 - Minor Blues Solo Rationale

Nick Jennison looks at a guitar solo study in a minor blues ballad style, in ...

Nick Jennison - The Ultimate Guide To Melody & Phrasing: Part 6 - Minor Blues Solo Analysis

In this blues guitar lesson, Nick Jennison teaches you how to play his amazing blues ...

Nick Jennison - Creating Drums On Acoustic Guitar

In this percussive acoustic guitar techniques lesson, Nick Jennison shows you how to emulate drums ...

Nick Jennison - An Introduction To Slide Guitar

Get started with slide guitar playing in this beginners guide to slide guitar with Nick ...

Nick Jennison - Extended Range Secrets Part 1

Nick Jennison steps into the world of extended range guitars with this exclusive 7 string ...

Sam Bell - Extended Range Secrets Part 2: Seven String Guitar Approaches

Sam Bell continues our series of 7 string metal guitar lessons, stepping into the world ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 1

Play more interesting pentatonic guitar licks and runs with the power of scale sequences. Danny ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 2

Uncover some game changing pentatonic sequences and guitar licks with the help of Danny Gill ...

Danny Gill - Pentatonic Sequences That Can Be Used Anytime, Anywhere, And On Any Song Part 3

Rejuvenate your pentatonic guitar soloing with these great guitar exercises, sequences and routines in this ...

Sam Bell Rhythm Guitar Concepts Part 1: Internal Time Keeping

Learn how to play rhythm guitar in time and improve your time keeping in this ...

Sam Bell Rhythm Guitar Concepts Part 2: Feeling 8th Notes

Play rhythm guitar with better timing in this guitar lesson with Sam Bell. Learn how ...

Sam Bell Rhythm Guitar Concepts Part 3: Feeling 16th Notes

This rhythm guitar lesson with Sam Bell focuses on the building blocks of good rhythm ...

Sam Bell Rhythm Guitar Concepts Part 4: Tonal Aspects Of Chord Voicings

Sam Bell teaches you how to play the famous “Motown Skank” style of rhythm guitar ...

1 2 3 19
Top magnifiercross linkedin facebook pinterest youtube rss twitter instagram facebook-blank rss-blank linkedin-blank pinterest youtube twitter instagram