Is a melodic figure that follows the chord progression and outlines the changes with bends and target notes. This figure is reminiscent to the melody heard in “Still Got the Blues”.
Is an extension of the main melody and outlines the next set of chords in the progression. Pay attention when pitching the semitone bends.
Is a variation on our melody theme, and includes some additional lines to our figure.
Is a variation on the melody performed over the remaining chords of the verse section of our Blues tribute track.
Is our first lick that outlines a melody over the chorus progression chords. Pay attention to the phrasing of this lick.
Is our lick that concludes the chorus, and this lick includes more melodic phrasing, and reaches a climax with a fast signature pentatonic run.
Illustrates the opening lick to verse two, and sees our melody lift up an octave. This lick concludes with a rapid pentatonic run and high register bend, so plenty of attitude and feel required.
Includes some high register searing bends, plus a descending scale sequence. Start the sequence slowly and gradually build the speed to make the lick more intense and dramatic.
Is an ascending fast trill lick that climbs on the G string.
Features a figure based around a G minor arpeggio, and some rapid tremolo picked climbing notes.
Is a lower register phrase that outlines the chords of the chorus progression. Once again watch the pitch of those string bends.
Is a fast ascending pentatonic figure that uses all of the positions of the scale on the top two strings.
Is our final lick and is based around a looping pentatonic phrase. We conclude with some volume swelling notes.
The Rock Track
Our rock track is in the key of E Natural minor, or E Aeolian, mode VI of G major, and uses diatonic power chords from the key. I have also included the chord of B major, which is seen as the V chord of E Harmonic minor, often implied Phrygian Dominant, mode V of the Harmonic Minor Scale. As well as our licks, I've also included some unison melodies, a melodic tool often used by Gary. This track includes a solo broken down into 16 licks. The licks are all based around the E Aeolian Mode, and its diatonic modes, E Minor Pentatonic, and the E Blues scale. Examples also include arpeggio licks, whammy bar ideas, and extended sequences. Be sure to follow the video lessons where I break down and explain the licks in full.
Is a unison lick that doubles the main keyboard riff throughout. The lick is based around a pedal tone figure, so take care with the picking. The lick concludes with a sequenced run, that is in harmony with the keyboards.
Is a simple melody line that demonstrates Gary’s use of the whammy bar for both vibrato and dive bombs.
Is a classic Gary Moore lick that features fast trills that climb up the neck, pulling off to the open b string. The lick concludes with a short fast-picked scale run.
Is a simple Bluesy looping pattern based around E minor pentatonic. The lick concludes with a unison bend.
Demonstrates Gary’s fast picking abilities, and features a climbing figure performed with tremolo picking.
Shows how Gary used arpeggios, with this lick being based around the Gmaj7th and Cmaj7th arpeggios, performed on the top 2 strings.
Is another pedal tone lick, with this one gradually climbing up the neck, outlining the accompanying chords. Care should be taken when changing position.
Is another ascending melodic phrase, which also demonstrates how Gary would use palm muting for extra dynamic effect.
Is a slightly tricky lick, and shows how Gary incorporates two handed tapping into standard Blues licks.
Is a triplet based E minor pentatonic lick that ascends through the scale shape.
Is another unison figure that is doubling the keyboard line. This figure is pretty tricky as you have to negotiate your way through several chord and modal changes, so take care.
Is a classic whammy bar figure, where Gary strikes a natural harmonic and dips the bar rhythmically as he builds with the rest of the band. Make sure you mute out unwanted open strings.
Is a nice simple melodic phrase based around the E Aeolian mode.
Is a cool ascending figure that repeats as it climbs up the neck through various positions. This lick concludes with some whammy bar slurs.
Is our famous “Out in the fields” lick, and is a group of four sequences ends through various positions, using both legato and alternate picking.
Is another homage to “Out in the fields” and features one of Gary’s melody-based figures.