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Monster Licks Unleashed: Tapping Into the Blues Scale — Video

The notes in this scale are B, D, E, F, F#, A, with the F being the flat five or added note. Without a doubt, the blues scale is one of the most frequently used scales in rock soloing, and for good reason! When played slow and clean, it sounds very dark, dirty and bluesy. When played more aggressively with legato and tapping, it sounds incredibly modern.

Monster Licks Unleashed: Stretching the Limits with Glenn Proudfoot

In this Monster Lick Unleashed, I'm using the diminished 7th scale in the key of E. The notes used in the scale are E, G, Bb and C#. I particularly love this scale for the intense sound it creates when played fast or slow. This scale is perfect to use in combination with the pentatonic.

Monster Licks Unleashed with Glenn Proudfoot: Blues Scale Chaos — Video

Players often will combine lots of different modes, etc., to their soloing. I do the same but with a different approach; I base everything around the pentatonic, so instead of playing modes, I simply add the notes to the pentatonic. This way, I always have that rock base behind the sound.

Monster Licks Unleashed: Glenn Proudfoot Unleashes the Madness — Video

Many of us fall into the trap of practicing the same old stuff over and over again. This is why so many players find they hit a point where they don't get better. This has nothing to do with age or physical limitations; it's because they are not practicing or challenging themselves. They are doing nothing but maintaining.

Monster Licks Unleashed: Slipping and Sliding with the Diminished 7th — Video

In this Monster Lick, I'm incorporating the diminished 7th scale in the key of E minor. Don’t be fooled by the way I'm playing this lick. I'm targeting a heavy sound and style, but you can just as easily use this combination for blues or jazz. You should be able to hear these qualities in the lick when you watch the slow demonstration in the video below.

Monster Licks Unleashed: An Unconventional Approach to Tapping — with Tab and Video

This scale is one of my favorites to use in conjunction with the minor pentatonic in the relative key. It creates tonal space while giving your solos and runs a very intense element, which is essential for heavier styles of music. The techniques used in this lick are legato and tapping. The tapping approach isn't the normal or traditional approach to tapping.

Monster Licks: Your Basic "Over the Top" Shred Lick

I use this particular variation of the scale a lot, especially when Im creating melodies that need to have a bit of "cheek" about them. This sound reminds me of something Steve Vai would use. The character Steve injects into his playing is genius, and this is a way (tonally) that I've found that helps me capture a bit of that.

Monster Licks: G Wiz — Experimenting with Different Shades of G

In this Monster Lick, I'm using a variation of the G pentatonic scale. The scales used are the flat five (or blues scale), major 3rd and major 6th pentatonic. This is achieved simply by adding the above scale tones to the standard minor pentatonic. The notes in the G minor pentatonic are G, Bb (or A#), C, D, F. The flat five is a Db (or C#), the major 3rd is a B and the major 6th is an E.

Loud & Proud with Glenn Proudfoot: Expanding Minor Pentatonic Ideas with Three-Notes-Per-String Phrases

The title of this month’s column refers to the standard minor pentatonic “box” patterns that so many guitar players rely upon when soloing. While they are valuable, they can be restricting if they represent the primary way in which one utilizes these scale patterns on the fretboard. When playing in the standard box pattern, we generally play two notes per string.

Loud & Proud: Creating Alien Guitar Sounds by Combining Wide Stretches with Legato Techniques

For some of the really fast passages, I could hear that they were using a legato approach—incorporating an abundance of hammer-ons, pull-offs and finger slides—but I had absolutely no idea how to play the guitar in that way or achieve anywhere near their speed and precision. It sounded like nothing I’d ever heard before, so I always referred to it as “alien guitar.”