Tips and Tricks for creating Riffs and Licks

[Bill McCloskey]

Well, since my last "Tips and Tricks" on learning a long set list was so successful, here is another one.

New Band, new set of challenges. The new band does hits from the 60's and 70's. I sat in on their rehearsal, passed the audition, and they invited me to join. Currently a trio (Female drummer/singer, Male guitarist/singer, Male bass/keyboard) and they were looking for a lead guitarist but decided to try pedal steel to differentiate themselves.

Which leaves me the job of coming up with riffs, licks, solos, etc that would normally be taken by a lead guitarist.

Does anyone have any suggestions, tips, or tricks on the most efficient and successful methods for creating riffs and licks (in a new band experience) that would fit over a 60's and 70's pop standards set list (Eagles, Rondstate, Van Morrison, Peggy Lee, Fleetwood, Roy Orbison, Beatles, etc)

[Howard Parker]

Sorta depends what you marching orders are. How much leeway do you have?

If you're asked to cover some iconic parts then you learn them and get close.

Have a lot of latitude? Get comfortable with the groove and use your ears first. Use your knowledge of technique and the neck and play to "fit".

Have the band tell you what it (thinks it) wants and try a bunch of ideas.

Do not overplay. It's about the song!

Have fun.

h

[Bill McCloskey]

I've been given "wide latitude".

[Tucker Jackson]

Good post, Howard.

Beyond the iconic parts.... if these folks hired you to try something different than the standard lead guitar parts, comply with gusto. Lean into doing things that a PSG can do that a 6-stringer can't, like smooth slides and fast, in-tune, whole-tone bends with the A-pedal. Two-note harmonies, like AB licks, with one note moving while the other doesn't. Milk that sustain with the volume pedal. You know... pedal steel stuff. I tend to follow the chord positions and find parts there, always keeping the melody in the back of my mind. Or in front, playing an off-kilter version of it.

It's a rock band, so you'll probably want a good dose of effects like delay and reverb. Overdrive on the rockers (and maybe back off on the verb and depend a little more on delay). A phaser can be fun on a 70's tune or two to mix up the vibe you're bringing.

When they give you the nod, charge in hard. A strong start and a strong finish can forgive a lot of useless noodling in between.

[Steve Lipsey]

Just a personal thought...try NOT learning rote licks and regurgitating them ad infinitum...instead, think about the mood, rhythm, and melody of the tune and let your hands play in phrases that incorporate those things....then you have an infinites source of unique "licks". Sure, the mechanics of the pedal steel lead you to some things, as does any instrument (e.g., "AB squeeze") but don't get sucked into relying on those...

[Fred Treece]

If the band is capable of rocking it up, get in touch with your inner David Lindley/Duane Allman/Rusty Young/Robert Randolph. Use a lighter bar and play slide guitar/sacred steel kinda things with some grit in your tone. Go for m7 chord tones and funkier rhythm figures.

If they play rock and country rock hits but want to keep it mellow, then do the more classic sweet tone pedal steel sounds and hit the maj7 chord tones with smoother rhythms.

I also agree with playing the song for what it is. It’s nice to have a full time chord guy backing you up. Stay in your place and out of the way during vox. It’s way better to get asked to play more than to be told to shut up. Seek out the melodies and find ways to embellish them on solos. That can be enormous fun. A band I was in played Neil Young’s “I Am A Child”, on which I had a very satisfying adventure.