20 Innovative Melodic Rock Licks

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 01
JTC SAYS:
In this 20 Licks Package Ive tried to make licks that are powerful, melodic, full of
emotion and taste, combined with multiple techniques and different styles of playing.
The most important thing for me is to use the technique as a means to play and
express whats in my mind and soul. Its way better to produce music with your mind
and ears as a guide, than with only your eyes. Your playing, in general, wont be
so musical if its only based on meaningless technique marathons. We all have to
remember that music comes first!
The package includes three backing tracks. The first one covers licks 1-10, the
second one covers licks 11-20 (different chord progression) and the third track is the
full version.
Lick 1 -
The first progression presents a challenge... although were basically in D major,
the Bb chord necessitates a move to D minor (and the Dsus2#5 creates a transition
between the two). Most of the lick is based on the D Ionian mode (D E F G A Bb C)
and D minor pentatonic (D F G A C). It has that major/minor vibe to it due to the use
of the major 3rd (F#) and minor 3rd (F) of D. Pay attention to eliminate any string
noise at the tricky hybrid picking run in measure 3.
www.jamtrackcentral.com
INNOVATIVE MELODIC ROCK LICK1
As recorded by jamtrackcentral.com
b `
(From the 2015 Album 20 INNOVATIVE MELODIC ROCK LICKS)
D Dsus2 5 B sus2 Csus2 3 fr. G

xx xx x x
P = 140 b `
gg 4 V} V V V f V V V V gV V V V
D Dsus2 5 B sus2
V V gV V V V V V V V
1
I 4 } u u
M M
GK10 O O
Full Full
P.M. P.M. P.M.
KK xx
10 10
T 7 10 5 (5) 3 0 5 (5) 3 (3) 13 10 12 10
A 3 4 13 13
b
B
sl. sl. H P sl. sl. P P
Csus2 D Dsus2 5
gg R V fV V V V fV fV V} V V V gV f V V
8va 8va
I V fV V V P V k V }
4
u u
MO
Full
GK17 M
Full
O
KK xx
P.M.
15 (15) 13 13 (17) 15 16 13
T 13 15 15 15 15
12 10 10 12 14
A 12
`
B
P sl. P sl. sl.
B sus2 G
gg V gV f V V V V f V gV f V
8va
7
I V gV V f V V V fV
fV V V V
M M M
O 13
1/4 Full Full
17 16 15 14 10 12 13 14 8
T 10 9 13 13 (13)
A 10 10
12 (12)
B
sl.
JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 02
JTC SAYS:
Lots of slides here, some combined with a bend at the end. Make sure you keep the
timing accurate, especially with the alternate picking at the end, followed by those
fast legato phrases.
INNOVATIVE MELODIC ROCK LICK 2
b `

xx xx x x
P = 140
g
I g 44
3
V V
3
1
V V V V
T
A 4 5 4 5
B 5 5
D Dsus2 5 b `
B sus2
g V} V V V c V V gV V V fV V
8va
2
Ig V } V V gV u eV V fV V V fV
M
1/2 1/2 M
GK11 O 17 13
KK xx
T 10 (10) 11 8 15 10 13 15 12
A (11) 7 2 (2) 3 15 12
7
B
sl. sl. sl. sl. sl. P sl. sl.
Csus2 D Dsus2 5 b
gg V V c V fV V
f V gV V V V
8va
I V V V V V V V V V V V V V V V
u
u
5
M
3
O
Full
17 13
T (12) 10 (10) 12 15 12 8 7 7 8 10 (10) 15 15 15 17 13 13 15 17
A 15
B
sl. H P sl. sl. sl. sl. P P sl.
`
B sus2 G
eV fV V fV V V V V V V V V V
V V fV V V u
8va
gg V u V eV V
8
I W
M M
3 3 3
Full 1/2
T 15 15 17 18
15 17 18 20 20 19 (19) 22 19 17
20 17 20 17 15 17
15 (15)
O 14
A
B
H P P P H P sl. sl. sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 03
JTC SAYS:
At the very beginning of this lick youll find a D major arpeggio with chromatic
passing notes. Due to the slightly strange chord change from D to Bbsus2 youll find
that you can change the B note of the D major scale (D E F# G A B C#) to a Bb when
the chords change to Dsus2#5 and Bbsus2. But when the G chord comes afterwards
youll have to change back to B or quickly bend the Bb a half step up for a Texas
flavor to it. You can hear the use of a half/whole diminished scale (D Eb F F# G# A
B C) in measures 5-6, adding an eastern vibe, as you can hear. Pay attention to the
intonation with the double-stop bend at the end.
b `

xx xx x x
P = 140 b
D Dsus2 5
V V V V
V V V gV f V V V
8va
g
I g 44 V
3
1
V V V V V fV V V V V
3
gV
22 17 22 17 14 17 16 15 14
T 15
A 14
17 16 17 16 14 10 14 12 10 8
B
H P sl. H P P sl.
`
B sus2 Csus2
g V V V eV V V V V eV
8va
3
Ig V V eV fV V V fV V
tr [[[
T 15 13 (13) 15 20 19 (19) (20) 19 20 22 23
A 12 15 20 17 17
B
sl.
D Dsus2 5 b
gg V e V V V V V V e V V V V e V f V V
8va
f V V V
3 3 3 3
V V gV V V V f V V V V e V f V V V gV V gV V V f V V V
3 3
5
I
3 3
3 3 3 3
T 20 23 22 20 19 (19) 15 16 19 16 15 10 11 13 11 10 11 13 15 13 11 7 8 10 8 7 3 4 6 4 3 7 8 9 10 9 8 7 7
A
B
sl. H H P P sl. H H P P sl. H H P P sl. H H P P sl. H H P P sl. H H H P P P sl.
`
B sus2 G
V V V fV V V
8va
g } V f V V V V V V eV fV fV V V V f V V V V V
7
I g eV V }} V f V V 3 3
3 3 3 3
3 3
T 11 (11) 17 18 20 (20) 12 12
A x 14 15 17 16 17 19 16 17 19
x 14 15 17 14 15 17 15 17 19
B x 13 15 17
sl. sl. sl.

INNOVATIVE MELODIC ROCK LICK 3 - jamtrackcentral.com Page 2 of 2
gg V VV VV VV
D
1
I j
M
Full M
Full
T 10 10 (10)
A 12 12 (12)
B
sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 04
JTC SAYS:
One of my favorites licks and a difficult one to nail! A Steve Vai inspired run at the
beginning followed some big slide bends and heavy use of vibrato. Pay attention
to the fast alternating thumb/finger picking in measure 4 - it creates a stuttering
sound with tiny pauses between the notes. Really interesting stuff! Then you have
a whammy effect (without the whammy) on those sliding octaves (again, use your
thumb and index finger). Youll have to quickly palm your pick for those phrases, but
then get it back in position, to execute the hybrid picked lines at the end.
b `

xx xx x x
P = 140 b
V V V fV V V V
V V V V f V gV V V f V V f V V
D Dsus2 5
gg 4 gV
1
I 4
FullM M
Full
T 19 17 13 (13) 12 17 15 11 (11) 10
O
A 19 17 14 12 17 15 12 10 12 15
B
sl. P sl. P sl. P P sl. P P sl.
`
gg V
e fW }} }} V V V V V V V V V V V V fV
B sus2 Csus2
3
I } }
\\\\\\\ M
Full
T x x
A 10 x x 12 (12) 12 12 12 12 12 12 12 12 12 12 10
x x
B
sl.
D Dsus2 5 b
V V
8va
g V V V k V V V
Ig V u V
V
5
V
M
Full M
1/2
22 10
T 22
A 7 9 7 21 19 7
7 9
B
sl. H sl. sl.
`
B sus2 G
8va
g fV V V f V gV f V V
I g V V V V V V V V V fV V V V V V V V
V V V fV
7
T 18 19 18 17
A 10 16 18 16 19
0 0 0 10 12 12 16 15 17 17 19
B 5 7 7 9 10 12 14 17
H H H H H H H H P P sl.

V V V W
D
g
1
Ig
M M
O
Full Full
T 15 17 17
A
B
sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 05
JTC SAYS:
This is a crazy sixteenth-note hybrid picking extravaganza! Start really, I mean

REALLY slow, somewhere near 80-90bpm playing 8th notes, then build up to full
speed at 140 bpm 16th notes. At the end, try not to make any noise on these open
string pull-offs by muting any unwanted strings accordingly. Good luck!!!
b `

xx xx x x
P = 140 b
D Dsus2 5
V V V gV V V V V
8va
gg 4 V V V V fV V V V V V V
1
I 4 V V V gV gV f V V V V V gV f V V
14 10 17 14 15 16 17 14 17 13 12
T 15 15 15 12 15 12 12 11 8 7
A 12 11 14 13 16 15
15 12 9 10 9
B
P P P sl. H P P P sl. sl. sl.
`
B sus2 Csus2
V fV V eV fV V V
8va
g V fV V V eV
Ig e V V f V V V V f V V gV V V V eV fV V V V V
eV V
3
10 15 17 20 17 18 19 20 15
T 11 13 15 18 20 17 16
A 9 10 9 10 13 14 13 14 15 17 15 17 17 19
8 12
B
sl. sl. sl. sl. H sl. H P P
D Dsus2 5 b
V V V V V V V
V gV V V V V gV V V V V V V
8va
g V
5
Ig V fV V
V fV V V
V V fV V
19 15 15 19 22 19 15 18 15
T 15 19 15
A 17 16 16 17 19 16 19 15 19 19 19 19 19
17 16 15 14
B 19 15 19
P P P H H H sl. sl. P P H H
`
B sus2 G
fV V V V V V V V eV V fV eV
8va
gg V eV eV V fV V
7
I fV V f V V V fV gV gV V V
V V V V
13 17 13 15 12
T 15 15 15 12 15 12
A 14 17 15 15 16 0 17 0 18 0 19 0 20 19 20
15 17 18 19 20 21
B
H P P P P P P P P P

V
D
g j
1
Ig
T
A 19
B
sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 06
JTC SAYS:
Here is a change from D major, or Ionian mode (D E F# G A B C#) on the D chord

to D natural minor, or Aeolian mode (D E F G A Bb C) on the Dsus2#5 and Bbsus2
chord. Next youll find some Steve Morse inspired chromatic lines followed by some
classic double stops taking us back from G major to D major.
b `

xx xx x x
P = 140
g V V
1
I g 44 V V V l V
T
A 12 14 16 12
B 12 14
H H sl.
b
V P V fV l V V fV V V V l V
g fV V V V
D Dsus2 5
V V V
2
Ig z V V
1/2 M
T
16 12 14 12 (12) 10 12 14 14
A 12 14 15 15 14 12 10 12
B 12 14
H H H sl. H H sl.
`
B sus2 Csus2
V fV
fV fV
8va
gg V V f V V eV
I eV fV V V V V V eV V fV
V eV
V V V V
4
3 3 3
O
P.M. P.M.
15
T 11 8 13 17 18 18 17 16 15
A (14) (14) 10 10 17 16 15
0 8 0 10 0 15 0 17
B
sl. sl. H H H H sl.
D Dsus2 5 b
V f V V gV V V V
8va 8va
g V l aP V V
6
Ig V z V fV V V V V V V gV V
15 14
T 17 13 15 (15) 22 15 17 17 17 18 17 15
A 14 14 17 17 17 14 15
17
B
H sl. sl. H H sl. P

B`sus2
G D
V
g `PP f VV PP VV VV V fV V VV VV V V V
8va
1
I g fV z z
fV V V
17 15 15 10
T 17 18 17 18 18
15 15 16 17 17 16 16 11 (11)
A 15
B
H H sl. sl. sl. sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 07
JTC SAYS:
This lick has some fast string skipping and alternate picking arpeggios inspired by
Paul Gilbert and Nuno Bettencourt. I prefer playing arpeggios this way, instead of
sweep picking, because I find that there is a certain tonal quality which is a lot better
than any other arpeggio techniques. The notes are even and retain a lot of clarity.
b `

xx xx x x
P = 140 b
D Dsus2 5
V V V V V V V V gV V V gV f V V V V f V gV
8va
gg 4 V
1
I 4 V V V V V V V V eV V
15 17 15 15 18 15
T 15 19 19 15
A 15 19 19 15
16 19 19 16 16 19 19 16 16 17 19 20
17 17 17
`
B
P P sl.
B sus2 Csus2
gg e V fV f V V V V fV V V V V V V V V
8va
I V f V f V V V V V
fV V fV V
3
13 15 13 13 15 17 19 17 15 13
T 15 15 13 15
A 12 16
8 (8) 10 12 15
10 14
b
B
8 10 13
sl. sl. P H H H T P P P
D Dsus2 5
V gV V fV
8va
g V V fV V V V V
5
Ig eV V fV
M M
O
1/2 Full
17 13 18 15 20
T 17 17 17 17
A 15 (15) 19 17
`
B
B sus2 G
V gV f V f V V V V V V
8va
g fV V V fV V V V V V V
7
I g fW V V V V gV
13 10
T 13 10 13 10 10
A 12 13 13 12 10 12 10 10
12 12 10 12 10 10
B 12 12 10
P P P P P P P P P P
gg
D
9
I V V
T
A
B 9 (9)
sl.
tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 08
JTC SAYS:
Time for attitude mode! Play at the start of the lick with massive power and pick
those strings hard with huge vibrato! Again start slowly with the wide stretched
legato run in measures 3-5, combined with fast slides at the beginning of it. Be
prepared in advance for that one tapping note in the legato run.
b `

xx xx x x
P = 140 b
g f VV VV V V V fV V fV
D Dsus2 5
1
I g 44 aP
z
V
u V P
z
V V V V V V
M
1/2
T 10
A 10
10 12 12 12 10 10 12 15 10 12 12 12 10
B 12 12
H P sl. H P
`
}} }} }} }} V fV V V V fV V V V
B sus2 Csus2
g fV V V
3
I g fV V V V V V V fV
M
Full
T
A x x x x 12 10
10 12 15 15 x x x x 15 17 15 10
B 15 17 15 10
15 17 15 10 13
sl. P sl. sl. P sl. sl. P
sl. sl. P H
D Dsus2 5 b
8va
gg V fV V V fV
3 3 3 3
f V V V V
3 3 5 5
5
I fV V fV V V V V V V V V V V V V V f V
3
V
3
V V f V V V gV f V V V gV V f V V V V
3 3 VVV
5
T
A 10 14 15 14 10 14 15 22 15 14 10 14 10
10 12 15 12 10 10 12 15
B 10 12 15 12 10 10 12 15 10 12 15 15 12 10 12 15
8 10 13 13 10 8 10 13
H H P P H H H H H H P P P P H H H H H H P P H H TP P P H P
H H P P H H
`
B sus2 G D
g V
8va
7
I g V V V V eV fV V V fV V V V fV
V V V
R
aP gV V
M
Full
T
12
O 15 12 15 10 10 16 (16)
20
16 19 10 10 12 10 11 (11)
A 12 12
B
sl. sl. sl. sl. sl. H H sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 09
JTC SAYS:
This is a lick with a lot of bends! Vibrato is essential here, but try to introduce it some
seconds after you hit the notes (try to imitate how singers do it). This adds character
and suspense to your playing. Those bends have to be in tune especially the one
that reaches up to one and a half tones.
b `

xx xx x x
P = 140
g
I g 44 k
8va
1
fV V fV V V
let ring
0
T 6 6
A 5 7
B
H sl.
D Dsus2 5 b `
B sus2
g V
8va
2
Ig U V V V fV V V V W V
M M M M
O O
Full 1/2 1/2 Full
T 10 (10) 8 6 10 (10) 10 (10) 20

A
B
sl. sl. sl. sl.
Csus2 D Dsus2 5 b
gg V V V W V V V V V V V fV V V V V V
8va
5
I u u u u
M M M M
O O
Full 1 1/2 Full Full
T 20 20 20 20 20 (20) 20 20 (20) 18 18 (18)

A 19 19
B
`
B sus2 G
V V fV V V V V V V V V V V V V V V V fV V V V V V
8va
gg V V fV V fV V V
8
I 3 3 3 3
3 3 3 3
let ring let ring
13 10 15 12 13 15 13 12 17 13 15 17 15 13 19 15 17 19 17 15 20 17 19 20 19 17
T 17 17 13 13
A
B
sl.

D
V
8va
g j
1
Ig
22
T
A
B
sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 10
JTC SAYS:
Again this lick incorporates the major to minor sound. Youll find a proper tapping
passage in this lick, and note the little tapping slide thing in measure 6. Slide the
tapped note up the string, and then quickly pull off to the 10th fret.
b `

xx xx x x
P = 140 b `
gg 4 V V V k V V V eV V V V V V V V fV V V P V
D Dsus2 5 B sus2
1
I 4 V z
M
Full FullM M
Full M
1/2 M
1/2 M
1/2
T
9
O 9 9
O 7 3 (3) 9
O 7 9 (9)
O (9)
O 10 9
A 12 12 14
b
B
sl. sl. P H
V V fV V V V fV W fV fV V V V V V fV fV V
Csus2 D Dsus2 5
g V e
fV fV V VV V
4
Ig 3
u u
M
O
Full
T 15 10 13 17 13 15 18 15 18 13 15 15 (15) 17 10 13 13
A 15 10 12 10
15 10 12
B
`
TP H TP H TP H TP H T P sl. sl. T sl.
B sus2 G D
fV V V eV V V V
8va
g u V V f V f V gV V V V
3
Ig u V V
3
V
V fV V
7
M
3 3
O
Full
12 13 14 15 12
T (13) 12 11 15 12 15 13 13 15 (15)
A 14
15 12
B 14
P P sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 11
JTC SAYS:
Again this lick incorporates the major to minor sound. Youll find a proper tapping
passage in this lick, and note the little tapping slide thing in measure 6. Slide the
tapped note up the string, and then quickly pull off to the 10th fret.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
c
1
I 44 j k V
T
A 7
B
V V V V V V V V V
Fmaj7 C5 Asus2
W V V V
2
I Pz W
M M M M
O O
1/2 Full 1/2 1/2
T
7 9 (9) (9)
O
(9) 7 (7)
5 10 (10) (10) 12 (12) (12)
A
B
H sl. sl. sl. sl.
V V V V V V V V P V V V W W
G5 Fmaj7 C5
5
I k u u z
M M M [[[[[[[[[[[[[[
1 1/2
O O
Full Full
tr
T 15 13 17 10 15 (15) (15) (15) (15) 13 (13) 12 (13)
A 14
B
sl. sl.
Asus2 G5
V V V V V V V V V V V V V V V V V V V V
8va
V V V V V V V gV f V V V V
8
I
15 12 17 12 15 12 17 20 19 17
T 13 12 13 12 13 12 15 13 18 20 20 18 17
A 16 14 17 19 18 17 16 19
17
B
sl. sl.
Fmaj7
c
8va
10
I V V k
T
A 14 (14)
B
sl. sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 12
JTC SAYS:
I really like rhythmic patterns in my music like the intro of this lick. Pay attention to
the lengthy legato run starting from the C5 chord. Use slides to change position, and
if possible, dont pick any notes. Even the first note on a new string can be played
with a hammer on from nowhere.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
V V
V V V V V V
Fmaj7 C5
V V
1
I 44 V V V V V V V V V V V V V V V V t t t t
P.M. P.M. P.M. N.H.
T 13 15
A 0 2 2 2 2 4 4 4 4 5 5 5 5 7 9 7 (7) 5 [5] [5] [5] [5] 12 14
12 14
B 12 15
H H H H sl. sl. sl. H H H H
Asus2 G5
V V V V V
8va
V V V V V V
3 3
I V V V u V V V V V V V V V V V
3 3
V V V V V V
3
3 3 3 3
let ring
15 17 19
T 12 15 17 18 15 17 18
A 17 16 17 19 16 17 19
12 14 12 (12) 14 14 15 17 15 17 19
B 14 15 17
H P sl.
Fmaj7 C5
V V V V V V V V V V V V
8va
V V V V V V V V V
5
I 3 3
M
3 3
O
1/2
20 19 19 (19) 12 13 15 13 12
T 20 20 (20) (20) 15 13 12 13 15 13 12
A
B
sl. H H P P P P H H P P sl.
Asus2
7
I 3 3 3 3
3 3 3 3
T 13 15 17 15 13
A 16 14 12 14 16 14 12 9 10 12 10 9
12 10 9 10 12 10 9
B
sl. H H P P P P H H P P sl. H H P P P P H H P P sl.

G5 Fmaj7
V V V V V
I V V
3 3
V V V V V V V V V V V V V V V V
3 3 3
1
V V
3 3
T
A 10 12 14 12 10
B 14 12 10 12 14 12 10 8 10 12 10 8 7 8 10 8 7 8 (8) (8)
sl. H H P P P P H H P P sl. H H P P sl. H H P P H sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 13
JTC SAYS:
In this first long run of the lick youll find plenty of techniques blended together.
Quick position shifts, chromatic passages and those alternatepicked pentatonic
sequences with the flat 5th (Eb) in measure 4. There are some fast upstroke arpeggio
sweeps in masure 6, but dont worry too much about them... with the pull-offs, they
can feel quite comfortable to play.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
Fmaj7 C5
V V V V V V e V f V V V V V gV
8va
V V V
1
I 44 V V V
V V V V V V V V V V V V V
19 15
T 17 15 10 11 12 13 12 10
A 16 12 12 14 16 12 9 9 12 9 9 12 12 11
14 12 14 12 10 9 10 10
B
P P sl. P sl. P H H P H P P
V gV f V V gV f V V V V e V V V
Asus2 G5
3
I V V V V V eV V V V V V V V V V V V V V V
T
A 14 13 12 13 12
14 14 12 14 13 12 10 12 10 12 13 12 10 10 12 10 9 12 13 12 10
B 12 10 12 10 12 10
P P P P P sl. P sl.
Fmaj7 C5
V V V V V V V V V V V V V V
8va
W V
5
I V V V V V V
3
M
3
Full
8 12 8 8 17 13 19 17
T 10 10 10 15 18
A 9 9 14 17
7 10 7 10
B 8
sl. H P sl. P P
Asus2 G5 Fmaj7
V V V W V V V V V V V V
8va 8va
k u V V V V
7
I
M MO MO M M
O
1/2 Full 1/2 Full Full
1/2
19 19 19 19 22 20 19
T 20 20 (20) (20)
A
B
sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 14
JTC SAYS:
This lick is all about vibrato and bends. The key element here is to keep in time when
playing those bends. For the fast tremolo picking dont worry too much on how many
notes you will play. We only need the general effect but do try to play cleanly.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
P V P V V V V V W V V V V V V V V
Fmaj7 C5 Asus2
1 4
I4 z u z
M
1/2 M M M
1/2 1/2 1/2
T 8 10 8 10 8 10 12 10 12 (12) (12) (12) (12) (12)

A
B
H H H sl. sl.
G5 Fmaj7 C5
8va 8va
V V k V V W
I V V V V eV fV V V V
V
4
M
Full Full MOFull MO
Full
T
12 14 15 16
15 17
15 19 15 19 15
17 16 14 14
O 12
15
17
13 12
14
A 12 14
B 14
Asus2 G5
V V V V V V V V V
8va
V V V V V V V V V V V V V V V V V V V V V
7
I 3 3 V V
3 3 3 3 3 3
19 19 19 19 20 19 17 19
T 17 17 17 17 17 17 17 17 17 18 17 15 13 13 13 13 13 20
A 19 17 16
17
B 17 14
sl. sl. sl.
Fmaj7
9
I V V
T
A
B 12 (12)
sl. sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 15
JTC SAYS:
Theres an example of pedal point technique in the beginning, inspired by classical

composers such as Bach and Paganini. You might have encountered single pedal
notes, where one note remains static while other notes move around it (very
common to have pedal bass notes). You can also have a pedal point using more
than one note, like the repeating F-E-F sequence here. This is followed by a couple
of Petrucci-inspired phrases... a two-octave arpeggio like the one in Under a Glass
Moon, and a fast alternate picking run in sextuplets using a mixture of F major
pentatonic (F G A C D) and chromatic notes.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
Fmaj7 C5
8va
V V V V V
1
I 44 V V V V V V V V V V V V V V V V V V V V V V V V V
V V
10 12 13 17 13
T 10 12 13 17 13
A 10 9 10 10 9 10 10 9 10 10 9 10 10 9 10 10 9 10 14 10
14 10
B
sl. P P
V V V
Asus2 G5
I V `P f V `P f V V V V V V V u
z z
3
T
A 9 8 9 8 9 5 7 (7) 9 10 17 19 14
B
H H sl. H H T sl. P
V V V V V V V V V V V
V gV V V gV V f V gV V
Fmaj7 C5
5
I V V
3 3
3 3
T
A 15
B 22 19 (19) 22 17 22 (22) 15 15 (15) 15 16 17 15 16 17 17 16
15 16 17
sl. sl. sl. sl. sl. sl.
V V V f V gV V V gV V f V V e V f V e V V
Asus2
V eV fV V gV V f V gV V
7
I 3 3 3 3
3 3
3 3
T 17
A 17 17 18 19 17 19 20 20 19
17 18 19 17 18 19 19 18 17 18 19
B 17 18 19
G5 Fmaj7
8va
e V f V gV V V V V V W V
8
I V V j
3 3 3 3 3 3 3 3
17 17 19 20 17
T 17 19 20 17 19 20 20 19 17 19 20 17 19 20 20 19 18 (18)
A 17 19 20
B
sl.
tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 16
JTC SAYS:
Here is how this sliding technique can add suspense to a lick, making you anticipate
the big vibrato note over the Asus2. This brings all the weight to that particular note
so dont be afraid to pick the hell out of it.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
1
I 44 j k
V V
T
A 2 3
B
sl.
Fmaj7 C5 Asus2
V V V V V V
V V V W V V V
8va
V V V V V V
2
I V V V u u
M
Full
T
5 9 (9) 14 17 19 (19)
O 17
20 17
20 17
22 17
20 17
A 5 7 12 15 15
B
sl. sl. sl. sl. sl. sl.sl.
G5 Fmaj7 C5
V V V V V V cV V V V V V V V V V Vu V V
8va
V V V V V V V V gV V V
5
I u u
M M 1/2M
O 15 15 O
Full 3/4 Full
20 17 19 17
T 20 17 20 17 15 15 15 15 15 15 15
A 19 17 16 16 17 18 19 14 14
19
B
sl.
Asus2 G5 Fmaj7
V
8va
V V V V W
3
V} V V V V V
3
V V V V V
3 3
8
I } V V V V V V
3
u
M M
3
GK12 O
1/2 1/2
KK xx
15
T 17 (17) 10 17 17 17
A 12 10 9 12 14 12 14
10 9 12 14
B 10 8 10
sl. sl. sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 17
JTC SAYS:
A Vai-inspired first run that leads to a syncopated melodic line in measures 5-6 and
then a classic Guthrie Govan run at the end.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
Fmaj7 C5 Asus2
V V V V Pz V V V
1
I 44 Vu V V
M
Full M
Full
T O
7 (7)
5
5 10
9
10 13 (13) 8 8 12 12 10
12 8
12 8
10
A 12 14 12
B
sl. sl. sl. sl. sl.
G5 Fmaj7 C5
V V V V V V
k Vu V k
8va 8va 8va 8va 8va
V
I V V V V V k V V V k
3
V V V V
u
4
V
M O
3 3
1/2
17 12 8 17 (17) 20 19
T 15 12 10 12 13 15 17 22
A 14 14
14
B 12
sl. P sl. H H
Asus2 Fmaj7
V V V gV V e V V V V V gV f V V V V gV V e V f V f V V V P V V
8va
7
I V V V V V z
M
Full
12 13 14 15 11 8 10 7
T 17 15 10 9 8 5 8 5 7 5 6 5
5 7 8 7 5 7 10 (10)
A 7
B
sl. sl. P sl. sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 18
JTC SAYS:
One of my favorite licks over the second backing track! I play with the neck pickup
here. The fast 16th-note line at the start builds up tension to the slide and bend on
the 16th fret of the G string. Take a look at those big slides all over the fretboard. Be
careful with the technique, making sure you land at the correct notes. The hybrid
picking passage (measures 6-9) has a repeating picking pattern. When youve
mastered the first two beats, youll be able to play the whole passage. Finally, there
is a tough bend on the last note... bend up a tone from G to A and then you have to
push even further, to B and then C!! Have fun!
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
V V V V V V V V
1
I 44 V V V V V V V V
T
A 9 10 9 12 10 9 10 12
10 9 12 10 12
B 8 10 12
sl.
V V V V V V V V
Fmaj7 C5 Asus2
V V W V V V u V V
2
I u V u
3
M M M
3
1/2 Full Full
T
16 16 16 19
20
19
O 19 21 14
13 8
9
A 17 17
B 17
15
sl. sl. sl. sl.
V
VVVVVVVV
G5 Fmaj7 C5
V V V V V V V V V V V V eV V VVVVVVV
5
I VVVVW V V
M
Full
T
4 2
O 2 4
3
5
5 3
5
3
5 7
5
7
8 5
8
5
7 9
8
9
10 8
10
12
10 12
10
12
13 10 12
A 5 5 12
B
sl. sl. P sl. P sl. P sl.
Asus2 G5
V V V V V V V V V
8va
V V V V V V V V V V V V V V V
8
I V V V V gV V V V
17 19 19
T 13 15 13 15 17 15 17 20 17 20 22 20
A 12 14 14 13 14 16 16 17 17 19 19 19 19 21 21 22
14
B
sl. P H P sl. P sl. P

Fmaj7
V V V W
8va
1
I
M
Full
M2 M
2 1/2
T 20 (20) (20) (20)

A
B

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 19
JTC SAYS:
A Brian May inspired lick. Enough said! I think this lick is the easiest of the package,
but try to play it with confidence and taste. Thats when the easiest stuff becomes
great. Just listen to the lyrical playing of Brian May and David Gilmour.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
P V V V V V V V V V V V
Fmaj7 C5 Asus2
1 4
I4 z V V V V V V V V V
1/2 M M
1/2 M
1/2
T 10 12 10 12 10 12 10 12 12 8 (8)
4 (4)
O (4) (4)
O 2 4 2
A 5
B
H sl. sl. sl. sl. H P
G5 Fmaj7 C5
V V V V V V V W V
8va
V V j
3
4
I W V V V u
M M
3
O
Full Full
T 17 20 18 20 20 (20) (20) (20) (20)

A 16 17 19
5 17
B
sl. sl.
Asus2 G5
V V V V V V W V
8va
7
I j
M M
1 1/2
O
1/2
T 24 24 24 24 (24) (24) (24)

A
B
sl.

tab
Chris Mike
20 INNOVATIVE
MELODIC ROCK
LICKS
Lick 20
JTC SAYS:
This lick has some wide stretches! You will have to cover the distance from the 13th
fret up to the 22th. With good efficient hand position, muting the unwanted strings,
youll be able to pull it off... just take it slowly and dont force your hands if theyre not
warmed up.
Fmaj7 C5 Asus2 G5
x xx 3 fr. x xx x
P = 140
Fmaj7 C5 Asus2
4 V V V V V V V k u V
1
I4 u
M M M
O
Full Full Full
T 10 8 10 12 10 12 13 12 13 (13) 15 13 15 13 18 18 17 15 (15) (15) (15)

A 14
B
sl.
G5 Fmaj7 C5
V V V V P V V V V V V V V V V V V V
8va
P V V V V V V V V V V V V
4
I z z
M M
O 10 8
1/2 1/2
13 19 13 20 13
T 12 13 17 13 17 17 13 17 13
10 12 10 14 16 16
A 12 14 12 10 15 14 (14) 15
B
sl. sl. P sl. P H P P P
Asus2 G5
8va
V V
7
I V V V V V V V V V V V V V V
17 13 13 19 13 13 20 13 13 22 13 13
T 13 15 13 15 18 15 17 15 17 17 17 17
A 16 17 16 17 16 17 16 17
B
H H H H P P P H P H P H P
Fmaj7
V V V V V
8va
9
I
M
1/2 M
1/2
19 (19) (19) (19)

T
A
B
sl.


20 Innovative Melodic Rock Licks

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tab

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

This is a crazy sixteenth-note hybrid picking extravaganza! Start really, I mean

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Here is a change from D major, or Ionian mode (D E F# G A B C#) on the D chord

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

D Dsus2 5 B sus2 Csus2 3 fr. G

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

D Dsus2 5 B sus2 Csus2 3 fr. G

T 10 (10) 8 6 10 (10) 10 (10) 20

T 20 20 20 20 20 (20) 20 20 (20) 18 18 (18)

JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

D Dsus2 5 B sus2 Csus2 3 fr. G

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

P.M. P.M. P.M. N.H.

JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

JamTrackCentral Ltd 2015

T 8 10 8 10 8 10 12 10 12 (12) (12) (12) (12) (12)

JamTrackCentral Ltd 2015

Theres an example of pedal point technique in the beginning, inspired by classical

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

T 20 (20) (20) (20)

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

T 17 20 18 20 20 (20) (20) (20) (20)

T 24 24 24 24 (24) (24) (24)

JamTrackCentral Ltd 2015

T 10 8 10 12 10 12 13 12 13 (13) 15 13 15 13 18 18 17 15 (15) (15) (15)

19 (19) (19) (19)

JamTrackCentral Ltd 2015

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