Example 1: Using a diagonal scale is a very effective way to move through multiple scale box patterns. We’ll start with the A Major diagonal pentatonic scale as we play our way through scale box patterns #2 and #3. Building musical continuity in any lick often requires a basic motif that you can build on. The triplets are the drivers in this example, and they work really well to convey a sense of urgency to get to the top as part of an effective motif. The first triplet will start at the 5th interval (E) and then move up to the 6th (F#) with a jump up to the D string to hit the Root (A). The second triplet will begin at the 9th (B) and up to the Major 3rd (C#) on up to the 5th (E). Finish this run with the 6th (F#) and move up to the Root (A) with some nice vibrato.
Example 2: This lick is similar to lick #1 but different. Again, we start out with the two 8th note triplet groupings to create a motif to build on. We begin with the minor 3rd (C) to the Major 3rd (C#) and up to the 5th (E). The next triplet we’re using consists of the 6th (F#) then up to the Root (A) and back down to the 6th (F#). Next we’re up to the 9th (B) and bending to the Major 3rd (C#) and back down to the Root (A). A big part of B.B. King’s magic was his innate ability to blend Major and minor lines together in a very cohesive fashion. B.B. King was the Professor of Phraseology. He could really put a call and response together like no one else.
Example 3: In example #3 we’ll be applying the triplet motif once again but, this time we’ll be using three triplets to create some real dynamic flow. Triplet #1 starts at the #5th (F) interval then moves on up to the 6th (F#) and finishes with the Root (A). Triplets #2 and #3 play out primarily on the B string. Start with the 9th (B) then moving to the minor 3rd (C) then down to the Root (A) and finish on the 9th (B). The third triplet begins on the 9th (B) and drops down to the 6th (F#) and finishes up on the Root (A) interval. Finish up with some nice vibrato.
Example 4: In examples #1 #2 and #3 the licks exhibit more of a overall Major tonality. Lick #4 conveys a bit more of a minor attitude by way of the minor 3rd (C) and the flat 5th (D#). We’ll begin this lick by bending the 9th (B) interval up to the minor 3rd (C), then return and pull-off to the Root (A). Now with triplet #2 we slide from the dominant 7th (G) up to the Root (A) and back. For our last triplet we begin at the flat 5th (D#) sliding to the 4th (D) then a pulling-off to the minor 3rd (C) and finishing up on the Root (A).
Example 5: This lick exhibits some great dynamic content, with some real ‘digging into it’ going on here. Start with the triplet minor 3rd (C) to the major 3rd (C#) and up to the Root (A). Next, a bend from the 5th (E) interval all the way up to the dominant 7th (G). That bend is a full step and a half. Return back to the 5th (E), followed by a hammer-pull starting at the 4th (D) up to the flat 5th (Eb) and back to the 4th (D) again. Then start at the minor 3rd (C) up to the 4th (D), back to the minor 3rd (C) and pull-off to the Root (A).
Example 6: Lick #6 is an expressive response line. The lick is essentially a descending A Major arpeggio. Start by sliding from the minor 3rd (C) on the 8th fret of the high E string to the Major 3rd (C#), then descending to the B string to the Root (A) continuing down to the 5th (E). Now repeat that last triplet again, Major 3rd (C#) to the Root (A) and to the 5th (E). Finish up with the 4th (D) and the Major 3rd (C#) and tag the Root (A).
Example 7: This lick is a whole lot of fun to play! You can build some dynamic momentum with this great repeating phrase. Start out from the G string, play the #5th (F) and slide to the 6th (F#) and move up to the B string and grab the Root (A). For the repeating triplet part, we’ll begin on the 2nd (B) then move to the minor 3rd (C) and repeat the triplet several more times.
Example 8: Our final lick is a unique phrase that requires some creative fingering to execute properly. Played a few times slowly, you’ll begin to get the cadence of it. We’ll begin on the B string from the Root (A) to the minor 3rd (C), bend 1/4 step and move to the 4th (D) then to the 5th (E). Start with a 1/4 step bend from the minor 3rd (C) and move to the minor 3rd (C) on the high E string at the 10th fret. Slide up to the Major 3rd (C#) dropping to the B string to grab the Root (A) and down to the 5th (E). Repeat the 5th at the 12th fret on the high E string and finish up with the minor 3rd (C) to the Root (A) with some nice vibrato. Enjoy!
