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"When I first started out, I used to play lead in a fairly regimented and predictable pentatonic fashion. Then, after a while, I started to get into playing more 'outside.' I found myself concentrating more and more on trying to play weird...consistently weird! I did this by spending a lot of time finding what I call 'optional notes.' And getting used to how the sounded in context to everything else I knew at the time. Once I'd done this whit a 'new note,' I'd add it to the blueprint of fretboard patterns I carry around in my head."
The following is a good example of these "optional notes" that George describes. Figure 1 shows a lick in an E natural minor scale. Figure 2 is George's interpretation of that lick, containing the main signature of his sound: the flatted 5th (Bb) and raised 7th (D#).
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"The next 'outside' note I'd use would be the raised 3rd (G#)," says George. Figure 3 demonstrates a short lick in E minor. Figure 4 a different fingering for the same lick, moving the D# note over to the 2nd string. |
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Figure 5 is another concoction of George's that can be interpreted as the E harmonic minor scale (E-F#-G-A-B-C-D#) mixed with the E minor pentatonic (E-G-A-B-D), with a major 3rd (G#) thrown in for good measure. Fretting notes at the 16th fret on both the 1st and 2nd strings, the well-worn E minor pattern at the 12th position will probably look slightly different from the one you are used to seeing. Hopefully, you can take advantage of this new perspective. |
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The following three examples (Figures 6-8) demonstrate some of George's typical licks interpreted in E minor for the sake of convenience. Figure 6 combines notes from the E natural minor and blues scales (E-F#-G-A-B-C-D) (E-G-A-Bb-B-D).
Figure 7 is a blues scale lick that serves as an example of how George incorporates hammer-ons, pull-offs and slides to produce a fluid legato lick. Figure 8 is another example of this. This lick might also be played entirely on the 1st or 2nd strings for a brighter tone.
Like it's predecessor, figure 9 is based on an E natural minor pattern. This lick is particularly challenging because it utilizes seven notes per beat instead of the usual two, three, four, six or eight.
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Figure 10 is an extended descending lick that involves slides that George occasionally uses in short bursts. Figure 11 is based on the same idea but requires you to jump strings. |
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Figure 12 is an ascending sextuplet lick in A minor. This melodic sequence uses the A natural minor scale (A-B-C-D-E-F-G). This succession of notes can be heard on many of George's recordings in different variations. Figure 13 is similar but easier to tackle because the fingering is symmetrical. It might be easier to master Figure 13 before learning the note succession in Figure 12. The last two exercises, Figures 14 and 15, are extensions of the lick presented in Figure 12. |
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