
Sometimes slow and steady doesn’t win the race.
Advanced
Intermediate
• Develop a better sense of shred.
• Understand how to phrase in odd-numbered groups.
• Create blistering pentatonic lines in the style of Joe Bonamassa and Eric Johnson
Once you’ve integrated these licks into your playing, you’ll start combining them in new and fresh ways when improvising. Feel free to alter these licks anyway you want with hammer-ons, pull-offs, alternate picking, hybrid picking, or however else you feel comfortable.
Let’s go all the way back to 1968. Johnny Winter’s The Progressive Blues Experiment is one of my favorite blues records, and Johnny could really play a lot of notes for a blues player in the late ’60s. He’s a fingerstyle player, which I am not, so I’ll use a pick, but if you really want that Johnny Winter sound try playing these without a pick. His sound was also not too overdriven.
It's My Own Fault (2004 Digital Remaster)
Ex.1 works great over the I chord in a blues. It starts out with a flurry of fast bends—which sound a lot faster than they are—packed with the wildness of rock. It then goes into a repeating, syncopated pull-off figure where you keep jumping back to the G on the 12th fret of the 3rd string. Shifting the accent around was a staple in Johnny’s playing. In notation it looks more complicated than it is, so just follow your ears with this one. You can either try to play it rhythmically more on the grid or just somehow squeeze the figure into each beat.
Ex. 2 is in Bb and is played over a V–IV–I turnaround at the end of a 12-bar blues. It starts off with some tremolo picking going into the V chord and then another pull-off figure that keeps going over the IV chord before ending in a bend from Ab to Bb (the 5th of the IV chord) on the 2nd string. It ends with syncopated notes and double-stops over the I chord.
Another player that shredded the blues was the incredible Gary Moore. After his phase as one of the greatest hard rock players of the ’80s, he went back to his blues roots and infused it with his lightning-fast licks.
Gary Moore - Still Got The Blues (Live)
Ex. 3 is pretty much a blues/rock cliché lick but Moore would add some rhythm intricacies like the 16th-notes in the middle of a 32nd-note run. He would play this with a mix of alternate picking and legato, but you can try to hybrid pick the sections where he only plays one note per string. Otherwise, it’s a straightforward blues-rock lick. Don’t worry too much about playing it super clean, Gary wasn’t the cleanest with these kinds of licks either. It adds to the filthy attitude of these phrases. Ending it on the open 5th string and adding the open 3rd string (the b7 of A) makes it even filthier.
We stick with the key of A for Ex. 4, which is a lick that you can often find in Moore’s playing. It looks quite complicated rhythmically, which stems from the fact that a lot of Moore’s fast licks are basically sped-up versions from players he learned from. He would take these little figures and squeeze them into smaller sections. As with the first Johnny Winter lick, it’s more about getting a feel for the it and making sure to land the first note of a pattern on the beat. It sounds wild and frantic, especially ending it on the open 5th string when the progression moves back the I chord.
Our final Gary Moore lick is in 6/8 and works nicely over a V–IV progression in measures 9 and 10 of a 12-bar blues (Ex. 5). I used a similar pattern as Ex. 4, but moved it horizontally on one string instead of vertically through one pentatonic position.
Let’s check out some more contemporary players. The next two licks are from the incredible Josh Smith. They’re both pretty similar, and show how you can get in and out of an idea and vary the phrasing to get more bang for your buck. Both work over a D chord. They’re lengthier ideas that work great over a vamp.
Josh Smith - Multi Cam 4K - 2020-02-17 Boca Raton, Florida - The Funky Biscuit - Full Show
Ex. 6 starts slow with a little melodic fragment before going into an intervallic lick that mixes 32nd-notes, 16th-notes, a septuplet and 16th-note triplets. Practice each one individually before combining them to get a hang of it. It then goes into a fast 32nd-note run that ends with a syncopated screaming bend after scraping some random open strings. Pretty wild.
Ex. 7 starts lower on the neck and slides up to the same position as Ex. 6 where we go into a variation of the rhythmically irregular intervallic idea, this time a bit more straightforward. Instead of launching into another full-on shred attack, we end the idea by immediately jumping back up to the 1st string and playing a surprising short melodic phase.
Ex. 8 is one of Joe Bonamassa’s cascading pentatonic runs. It’s mostly straightforward 32nd-notes but uses sequences of five and seven to get that cascading sound of displaced accents. This works over the I chord of a D blues progression (major or minor) as well as any rock riff in D. It’s clearly inspired by Eric Johnson’s cascading pentatonic runs and a rather tough one, technically. Bonamassa pretty much picks every note in this phrase, which is quite hard due to the string skipping and the odd accents. But there’s no shame in using pull-offs, which sounds cool as well. Smooth pull-offs or aggressive picking: your choice. Ideally learn both and play it how the situation requires.
Kicking the speed up a notch can add excitement to your solos. But remember to use it with taste, not as a crutch. Break down these licks into more manageable pieces and work them up to face-melting speeds to prevent sloppiness. In the end, the better the context you place these licks in the better they will sound.
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Angus is plugged in and ready to go, so we get to hear some of the moves in action—including how loose, light gauge strings create the signature Sabbath sound, how it encouraged some parts of Iommi’s lead moves.
Angus Clark is an expert of all things Tony Iommi, and he has the gear to prove it! The Trans-Siberian Orchestra and Rock of Ages guitarist shows us a couple sweet Iommi tribute SGs as he walks us through Black Sabbath’s discography, breaking down Iommi’s vocabulary, sound, and gear, and how Iommi created some of the most identifiable riffs in all of rock. Angus is plugged in and ready to go, so we get to hear some of the moves in action—including how loose, light gauge strings create the signature Sabbath sound, how it encouraged some parts of Iommi’s lead moves.
Sleep Token announces their Even In Arcadia Tour, hitting 17 cities across the U.S. this fall. The tour, promoted by AEG Presents, will be their only headline tour of 2025.
Sleep Token returns with Even In Arcadia, their fourth offering and first under RCA Records, set to release on May 9th. This new chapter follows Take Me Back To Eden and continues the unfolding journey, where Sleep Token further intertwines the boundaries of sound and emotion, dissolving into something otherworldly.
As this next chapter commences, the band has unveiled their return to the U.S. with the Even In Arcadia Tour, with stops across 17 cities this fall. Promoted by AEG Presents, the Even In Arcadia Tour will be Sleep Token’s only 2025 headline tour and exclusive to the U.S. All dates are below. Tickets go on sale to the general public on Friday, March 21st at 10 a.m. local time here. Sleep Token will also appear at the Louder Than Life festival on Friday, September 19th.
Sleep Token wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible, they have chosen to use Ticketmaster's Face Value Exchange. If fans purchase tickets for a show and can't attend, they'll have the option to resell them to other fans on Ticketmaster at the original price paid. To ensure Face Value Exchange works as intended, Sleep Token has requested all tickets be mobile only and restricted from transfer.
*New York, Illinois, Colorado, and Utah have passed state laws requiring unlimited ticket resale and limiting artists' ability to determine how their tickets are resold. To adhere to local law, tickets in this state will not be restricted from transfer but the artist encourages fans who cannot attend to sell their tickets at the original price paid on Ticketmaster.
For more information, please visit sleep-token.com.
Even In Arcadia Tour Dates:
- September 16, 2025 - Duluth, GA - Gas South Arena
- September 17, 2025 - Orlando, FL - Kia Center
- September 19, 2025 - Louisville, KY - Louder Than Life (Festival)
- September 20, 2025 – Greensboro, NC - First Horizon Coliseum
- September 22, 2025 - Brooklyn, NY - Barclays Center
- September 23, 2025 - Worcester, MA - DCU Center
- September 24, 2025 - Philadelphia, PA - Wells Fargo Center
- September 26, 2025 - Detroit, MI - Little Caesars Arena
- September 27, 2025 - Cleveland, OH - Rocket Arena
- September 28, 2025 - Rosemont, IL - Allstate Arena
- September 30, 2025 - Lincoln, NE - Pinnacle Bank Arena
- October 1, 2025 - Minneapolis, MN - Target Center
- October 3, 2025 - Denver, CO - Ball Arena
- October 5, 2025 - West Valley City, UT - Maverik Center
- October 7, 2025 - Tacoma, WA - Tacoma Dome
- October 8, 2025 - Portland, OR - Moda Center
- October 10, 2025 - Oakland, CA - Oakland Arena
- October 11, 2025 - Los Angeles, CA - Crypto.com Arena
Swirl deeper in an excellent rotary speaker simulation’s complex, intoxicating charms.
Wide-ranging controls enable a wide spectrum of subtle-to-powerful modulation textures. Intuitive.
Jewel bypass/rate LED can be blinding.
$229
Keeley Rotary
robertkeeley.com
Certain facets of a rotary speaker’s mystery and magic can be approximated via phasers, vibratos, choruses, or flangers. But replicating anything more than a small percentage of a rotary speaker’s sonic complexity in a stompbox takes a keen-eared designer, a fair bit of R&D, and a digital engine that can crunch a few numbers. As a consequence, really good rotary simulations are typically pretty expensive. And because a lot of players view them as one-trick ponies, they are relatively few in number.
Keeley’s Rotary, as the name suggests, specializes in emulating the ineffable, Doppler-y, delicious tones of a Leslie. But it is hardly limited. In addition to super-thick, syrupy, and head-spinning sounds, the rangeful blend control enables many subtle, subdued, and just-barely-there modulation washes—the kind that add critical, transformative, animating energy to spare arrangements. The drive control is a tasty thickening agent that adds color, equalization nuance, and significant push at more pronounced modulation levels. Keeley also added a 3-position mid boost—presumably to help overcome perceived volume loss inherent to modulation effects, but also to add pep in moments where phase cancellation seems to swipe energy. In concert with the drive, it can be used as a dedicated tone control—helping match the pedal to different pickups, amps, and musical moods. Secondary controls for chasing extra-slow speeds and customizing ramp rates also make it easy to tailor the Rotary for very specific placement in a mix or an arrangement. But the real value in the Rotary for many will be the wobbly prettiness of the many modulations here—particularly in stereo—and the musical provocation they so readily supply.
Bergantino revolutionizes the bass amp scene with the groundbreaking HP Ultra 2000 watts bass amplifier, unlocking unprecedented creative possibilities for artists to redefine the boundaries of sound.
Bergantino Audio Systems, renowned for its innovative and high-performance bass amplification, is proud to announce the release of the HP Ultra 2000W Bass Amplifier. Designed for the professional bassist seeking unparalleled power and tonal flexibility, the HP Ultra combines cutting-edge technology with the signature sound quality that Bergantino is known for.
Operating at 1000W with an 8-ohm load and 2000W with a 4-ohm load, the HPUltra offers exceptional headroom and output, ensuring a commanding presence on stage and in the studio. This powerhouse amplifier is engineered to deliver crystal-clear sound and deep, punchy bass with ease, making it the perfect choice for demanding performances across any genre.
The HP Ultra incorporates the same EQ and feature set as the acclaimedBergantino Forté HP series, offering advanced tonal control and versatility. It includes a highly responsive 4-band EQ, Bergantino’s signature Variable RatioCompressor, Lo-Pass, and Hi-Pass Filters, and a re-imagined firmware that’s optimally tuned for the HP Ultra’s power module. The intuitive user interface allows for quick adjustments and seamless integration with any rig, making it an ideal solution for both seasoned professionals and rising stars.
As compared to previous forte HP iterations (HP, HP2, HP2X), Ultra is truly its own amp. Its behavior, feel, and tonal capabilities will be well noted for bass players seeking the ultimate playing experience. If you’ve been wishing for that extreme lead sled-type heft/force and punch, along with a choice of modern or vintage voicings, on-board parallel compressor, overdrive; high pass and lowpass filters, and more—all in a 6.9 lb., 2ru (8” depth) package...the BergantinoHP Ultra is worth checking out.
Building on the forte’ HP2X’s leading edge platform (including a harmonic enriching output transformer (X) and 3.5db of additional dynamic headroom (2),the HP Ultra’s power focus is not about playing louder...it’s about the ability to play fuller and richer at similar or lower volumes. Many players will be able to achieve a very pleasing bass fill, with less volume, allowing the guitars and vocals to shine thru better in a dense mix. This in turn could easily contribute to a lower stage volume...win-win!
Key Features of the Bergantino HP Ultra 2000W Bass Amplifier:
- Power Output: 1000W @ 8ohms / 2000W @ 4ohms, 1200W RMS @2-Ohms (or 1700W RMS @2.67-Ohms-firmware optimizable via USB
- Dual Voicing Circuits: offer a choice between vintage warmth and modern clarity.
- Custom Cinemag Transformer: elevates harmonic enrichment to new heights
- Variable Low-Pass (VLPF) and Variable High-Pass (VHPF) filters, critical for precise tone shaping and taming of the most challenging gigging environments.
- 4-Band Tone Controls: Bass: +/-10db @40hz, Lo-Mid:+/-10db @250hz,Hi-Mid: +/-10db @ 1khz, Treble: +/-10db @ 3.5khz
- Punch Switch: +4db @110hz
- Bright Switch: +7db @7kHz or +6db @2khz – user selectable● Built-in parallel compression - VRC
- 3.5dB of additional dynamic headroom
- New Drive Circuit featuring our proprietary B.S.D (Bergantino SmartDrive) technology
- Auxiliary Input and Headphone Jack: for personal monitor and practice
- Rack Mountable with optional rack ears
- Effects send and return loop
- Studio quality Direct Output: software selectable Pre or Post EQ
- UPS – Universal power supply 115VAC – 240VAC 50/60Hz
- Weight: 6.9 pounds
- Dimensions: 13.25”W x 8.375”D x 3.75”H
- Street Price: $1895.00
For more information, please visit bergantino.com