
Stretch out those fingers and give your pick a rest with these twisted licks.
Advanced
Intermediate
- Strengthen your hammer-ons and pull-offs.
- Build fretting-hand stamina and fluidity.
- Create phrases that flow across bar lines.
Let’s take an in-depth look at how to incorporate legato techniques into your playing. In its most basic form, this is simply using various hammer-ons, pull-offs, and slides—collectively known as slurs—to create a smooth and fluid sound. Many guitarists use this technique to great effect, and Allan Holdsworth, Brett Garsed, Joe Satriani, and Eddie Van Halen are among those who have developed individual approaches to this technique.
They also play very fast and unusual note groupings that don’t have a strict regimented rhythm, which creates the effect of playing “across the beat.” Check out the legato lines on the classic Van Halen track “Drop Dead Legs.”
Drop Dead Legs (2015 Remaster)
Joe Satriani and Richie Kotzen have another approach to the technique, where they use diatonic lines based around three-note-per-string scale patterns. Satriani often plays shorts spurts of legato with long held notes, once again playing over the beat. Some great examples of this can be herd on “Flying in a Blue Dream.” Kotzen has a very strong fretting hand, and in addition to his scale-based lines, he uses his legato technique to play “outside” phrases and arpeggios.
Joe Satriani "Flying In A Blue Dream" At: Guitar Center
To my mind one of the best legato ambassadors is Brett Garsed, who uses the technique nearly exclusively. In conjunction with some hybrid picking, his legato fretwork produces a very full, rich sound. This approach takes a lot of dedication and discipline. Check out this video below of a solo Garsed performed in 1986 when he was only 23!
Brett Garsed Solo Live 1986
Fretting-hand position is very important when playing legato. I’d suggest positioning your thumb slightly lower on the back of the neck, rather than over the edge of the fretboard as you might when playing pentatonic ideas. Make sure that your fretting fingers are spaced out (roughly a finger per fret), and the notes are sounded with your fingertips. It’s also vital that you keep the fingers close to the fretboard because the pinky has a tendency to flap around slightly and is harder to control. Keeping it close means a more efficient left hand. This will also help with stamina, as your hand won’t become tired as quickly.
We should also consider the picking hand, as you will on occasion have to pick the first note in a run. It’s important not to pick too hard because you don’t want huge dynamic shifts between the plucked notes and those performed with hammer-ons and pull-offs. I’d suggest a light picking attack to match the volume of the notes initiated with your fretting hand. This is a great way to improve the interaction between the left and right hands when performing legato passages.
Another area that requires attention is muting open strings while playing legato lines. When working on the top strings, I mute the unused lower strings with the fleshy part of my palm, under the thumb. As I move my fretting hand across the strings, I gradually remove the picking-hand mute and transfer that duty to the first finger of my fretting hand.
Now let’s take a look at our examples, which include technical exercises to help you work on developing and improving the legato technique, as well as “real world” phrases based on the styles of various players.
Ex. 1 is a basic exercise that helps build strength and finger independence. It’s based around a hammer-on and pull-off idea with the first finger anchored at the 5th fret.
Ex. 1
Dig into Ex. 2 to develop both finger independence and endurance. The sequence can be tricky, so I’d suggest starting at a slow tempo and gradually building up speed. I’ve shown this pattern on the top four strings, but would encourage you to continue across the remaining strings.
Ex. 2
Ex. 3 is another timing and strength exercise that features an ascending and descending 16th-note triplet pattern. I’ve presented the sequence on the top three strings, and they should be repeated to build stamina. Practice these patterns with a metronome. You’ll really notice your fretting-hand strength improving.
Ex. 3
The goal with Ex. 4 is to be able to loop around a few times while keeping tone and time even. When ascending, use your first and second fingers, and when descending keep the fretting hands in the same position, but pull off between the fourth and second fingers. This is very tricky, but with perseverance you will achieve excellent finger independence and agility.
Ex. 4
We move on to three-note-per-string scales in Ex. 5. Although the scales are naturally arranged in groups of three, the 16th-note rhythm makes timing a bit trickier, but just as essential. When ascending, as you cross the strings start each new one with a downstroke. For the descending part of the lick, I like to start each new string with what Greg Howe calls a “hammer-on from nowhere.”
Ex. 5
Ex. 6 is another three-note-per-string exercise that’s based around two positions of G Dorian (G–A–Bb–C–D–E–F). This pattern also uses a 16th-note triplet rhythm with hammer-ons from nowhere on the descending part of the phrase.
Ex. 6
Now that some of the more technical exercises are out of the way, we can move to more stylistic legato examples. Ex. 7 is straight out of Richie Kotzen’s bag of tricks. The lick uses notes from A Aeolian (A–B–C–D–E–F–G) and moves up the 3rd string. This example is a real test for fretting-hand stamina, independence, and timing.
Ex. 7
We stick with Kotzen for Ex. 8, but this time we move to E Aeolian (E–F#–G–A–B–C–D). The phrase starts in the 8th position before shifting to the 5th, and finally ending in the 3rd position before resolving to the open 6th string.
Ex. 8
As you saw in the video above, Joe Satriani is an absolute master of legato and has made the technique a part of his signature sound. In Ex. 9, we call upon the C Lydian scale (C–D–E–F#–G–A–B) for something that could easily fit in “Flying in a Blue Dream.” Notice how we use fast flurries of notes, position shifts, and the sudden pauses on certain notes for emphasis.
Ex. 9
Ex. 10 is a John Petrucci-style phrase that’s based around the E Aeolian mode. An excellent addition to your vocabulary, this extended run features multiple position shifts and covers a large area of the fretboard.
Ex. 10
In Ex. 11, we combine arpeggios with pentatonics based in A minor. Pay attention to the wider pentatonic fingerings. Up to speed this is a great sounding lick!
Ex. 11
We move back to some Brett Garsed licks for Ex. 12. Here, we’re using notes from the A Aeolian scale on the top two strings. You’ll notice there are quite a few notes on each beat, so this is a real test of your agility.
Ex. 12
Finally in Ex. 13, we take some of Garsed’s stuff and stir in some Greg Howe. This lick makes use of three-note-per-string modal lines, string skipping, and pentatonic ideas in E minor. This is a very advanced lick, so be sure to break it down into bite-size chunks before gradually increasing the speed.
Ex. 13
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Jack White's 2025 No Name Tour features live tracks from his album No Name, with shows across North America, Europe, the UK, and Japan.
The EP is a 5-song collection of live tracks taken from White’s 2024 edition of the tour, which was characterized by surprise shows in historic clubs around the world to support the 2024 album No Name.
No Name is available now via Third Man Records. The acclaimed collection was recently honored with a 2025 GRAMMY® Award nomination for “Best Rock Album” – White’s 34th solo career nomination and 46th overall along with 16 total GRAMMY® Award wins. The No Name Tour began, February 6, with a sold-out show at Toronto, ON’s HISTORY and then travels North America, Europe, the United Kingdom, and Japan through late May. For complete details and remaining ticket availability, please visit jackwhiteiii.com/tour-dates.
White’s sixth studio album, No Name officially arrived on Friday, August 2 following its clandestine white-label appearance at Third Man Records locations that saw customers slipped, guerilla-style, free unmarked vinyl copies in their shopping bags. True to his DIY roots, the record was recorded at White’s Third Man Studio throughout 2023 and 2024, pressed to vinyl at Third Man Pressing, and released by Third Man Records.
For more information, please visit jackwhiteiii.com.
JACK WHITE - NO NAME TOUR 2025
FEBRUARY
11 – Brooklyn, NY – Kings Theatre
12 – Brooklyn, NY – Brooklyn Paramount
17 – Boston, MA – Roadrunner
18 – Boston, MA – Roadrunner
21 – Paris, France – La Cigale
22 – Paris, France – La Trianon
23 – Paris, France – La Trianon
25 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
26 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
28 – London, UK – Troxy
MARCH
1 – London, UK – Troxy
2 – Birmingham, UK – O2 Academy Birmingham
3 – Glasgow, UK – Barrowland Ballroom
10 – Hiroshima, Japan – Blue Live Hiroshima
12 – Osaka, Japan – Gorilla Hall
13 – Nagoya, Japan – Diamond Hall
15 – Tokyo, Japan – Toyosu PIT
17 – Tokyo, Japan – Toyosu PIT
APRIL
3 – St. Louis, MO – The Factory
4 – Kansas City, MO – Uptown Theater
5 – Omaha, NE – Steelhouse Omaha
7 – Saint Paul, MN – Palace Theatre
8 – Saint Paul, MN – Palace Theatre
10 – Chicago, IL – The Salt Shed (Indoors)
11 – Chicago, IL – The Salt Shed (Indoors)
12 – Detroit, MI – Masonic Temple Theatre
13 – Detroit, MI – Masonic Temple Theatre
15 – Grand Rapids, MI – GLC Live at 20 Monroe
16 – Cleveland, OH – Agora Theatre
18 – Nashville, TN – The Pinnacle
19 – Nashville, TN – The Pinnacle
MAY
4 – Austin, TX – ACL Live at the Moody Theater
5 – Austin, TX – ACL Live at the Moody Theater
6 – Dallas, TX – South Side Ballroom
8 – Denver, CO – Mission Ballroom
9 – Denver, CO – Mission Ballroom
10 – Salt Lake City, UT – The Union Event Center
12 – Los Angeles, CA – Hollywood Palladium
13 – Los Angeles, CA – Hollywood Palladium
15 – Santa Barbara, CA – Santa Barbara Bowl
16 – Oakland, CA – Fox Theater
17 – San Francisco, CA – The Masonic
19 – Seattle, WA – The Paramount Theatre
20 – Seattle, WA – The Paramount Theatre
22 – Vancouver, BC – Commodore Ballroom
23 – Vancouver, BC – Commodore Ballroom
24 – Troutdale, OR – Edgefield Concerts on the Lawn
Join PG contributor Tom Butwin as he explores all-new versions of the Framus Hootenanny 12-string and 6-string acoustics—made famous by John Lennon and now available with modern upgrades. From vintage-inspired tone to unique features, these guitars are built to spark creativity.
Positive Grid's Spark NEO offers guitarists a wireless guitar rig built into premium headphones, with AI-powered tone customization, exceptional sound quality, and versatile connectivity.
Positive Grid announces Spark NEO, a groundbreaking wireless guitar rig built directly into premium over-ear headphones. Designed to deliver a seamless, personal guitar experience, Spark NEO combines Positive Grid’s award-winning guitar amp technology with true wireless connectivity and AI-powered guitar tone customization.
Spark NEO offers a seamless solution for guitarists seeking exceptional sound quality, advanced tone-shaping tools, and the freedom to play anywhere. Built with custom-designed 40mm drivers and an ultra-lightweight bio-fiber diaphragm, Spark NEO ensures rich, balanced sound for every style of music. The included wireless transmitter instantly pairs any guitar with the headphones for plug-and-play convenience, while Spark NEO’s built-in 1/4" input can also support traditional guitar cables, for added versatility.
With four onboard, customizable guitar presets, Spark NEO enables private playing anywhere, free from space limitations or noise constraints. For even more variety, connecting to the free Spark app unlocks additional presets, amps & effects, and advanced tone controls. Spark NEO also doubles as premium Bluetooth® headphones, offering exceptional clarity for music, podcasts, and more.
Key Features:
- Optimized for Guitarists: Spark NEO integrates Positive Grid’s renowned tone engine, delivering precise sound tailored to electric, acoustic, and bass guitars.
- True Wireless Freedom: A proprietary 2.4GHz system provides reliable, ultra-low latency connectivity between Spark NEO and the user’s guitar, for a smooth and stable playing experience.
- AI-Powered Guitar Tone Customization: Create and refine tones effortlessly with AI-driven tools that adapt to every playing style.
- Exceptional Sound Quality: Precision-engineered drivers deliver clarity and balance for both guitar playing and music listening.
- Portable Design: Spark NEO’s compact, foldable build and rechargeable battery with up to six hours of play time make it easy to take anywhere.
Built for Guitarists
Spark NEO bridges the gap between traditional guitar setups and modern technology. Unlike using generic headphones with a guitar amp, Spark NEO’s integrated design ensures every element—from app to drivers—delivers unparalleled performance.
Noise Isolating Design
Spark NEO’s ultra-soft, durable ear cups ensure a comfortable fit. With advanced damping materials, tuned venting, and precise port adjustments, Spark NEO provides passive noise isolation, letting every musical detail shine without external interference. Jam with backing tracks or favorite songs without disturbing a soul.
Enhanced Creativity with Spark App
The Spark App expands Spark NEO’s capabilities with access to 33 amps and 43 effects, plus over 100,000 tones on Positive Grid's online ToneCloud. Auto Chords helps players learn and jam along with any song by displaying its chords in real time as the song plays, while customizable presets offer endless creative possibilities. Play with backing tracks or along with favorite songs. Whether practicing, playing, or experimenting, Spark NEO delivers unmatched flexibility for guitar players at every level.
Availability and Pricing
Spark NEO is priced at USD $199, including the headphones, wireless transmitter, and full access to the Spark App. It will be available soon on Positive Grid’s website, Amazon, and select retailers.
For more info, please visit positivegrid.com.
Neil Young’s ’70s hits are some of the most recognizable radio rock jams of all time. But Neil’s guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Neil Young’s ’70s hits are some of the most recognizable radio rock jams of all time. But Neil’s guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Like any discography that’s been growing over the course of more than half a century, it can be hard to decode Young’s work. And with such an adventurous spirit, it could be easy to make some missteps and miss out on his best guitar works. In this episode, Nick guides Jason through some of his hero’s finest moments.
More news from Neil always seems to be on the horizon, so here’s your chance to catch up.