From 0f9c87c1e88e166ea8b5b6ee853f71b96d2f1f29 Mon Sep 17 00:00:00 2001 From: vadimwit Date: Thu, 9 Jul 2026 00:00:42 +0100 Subject: [PATCH] =?UTF-8?q?feat(kb):=20licks=20pack=20#2=20=E2=80=94=2011?= =?UTF-8?q?=20licks=20for=20rock,=20country,=20reggae=20guitar=20(task=20P?= =?UTF-8?q?-24)?= MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 8bit Berry double-stops, unison bend, Mixolydian rail, pentatonic cascade; Flatt G-run, chicken-pickin' 3rds, pedal-steel bend, forward roll (first techniques:[] lick); skank-answer dyads, bass-doubling riddim, chromatic walk into the one drop. KB: 23 licks across 6 styles. Critic PASS (every note independently pitch-verified; conventions script-checked; empty-techniques branch verified in the validator). Co-Authored-By: Claude Fable 5 --- src/data/kb/country/guitar.js | 84 ++++++++++++++++++++++++++++++++ src/data/kb/reggae/guitar.js | 66 +++++++++++++++++++++++++ src/data/kb/rock/guitar.js | 91 +++++++++++++++++++++++++++++++++++ 3 files changed, 241 insertions(+) diff --git a/src/data/kb/country/guitar.js b/src/data/kb/country/guitar.js index 94b1db1..a64e3eb 100644 --- a/src/data/kb/country/guitar.js +++ b/src/data/kb/country/guitar.js @@ -227,4 +227,88 @@ export default { }, ], }, + + // Structured licks (SCHEMA.md "Licks", task P-24). Written in a home key each + // (noted per lick) but key-agnostic in spirit — chordContext names the station. + // Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12). + licks: [ + { + // In G, open position: 2, ♭3 hammered to the 3, then 5–6 up to the open-G + // root landed on the downbeat. THE bluegrass phrase-ending tag. + id: 'country-flatt-g-run', + name: 'The Lester Flatt G-run', + level: 'foundation', + chordContext: 'phrase-ending tag on the I', + techniques: ['hammer-on'], + source: 'the canonical Flatt & Scruggs tag — hvbluegrass.org "The Truth About the Lester Flatt G Run"', + tab: [ + { string: 5, fret: 0 }, // A — the 2 + { string: 5, fret: 1, technique: 'hammer-on' }, // B♭ — the blue ♭3, hammered from the open string + { string: 5, fret: 2 }, // B — the major 3: the curl resolves + { string: 4, fret: 0 }, // D — 5 + { string: 4, fret: 2 }, // E — 6 + { string: 3, fret: 0 }, // G — root: land it ON the downbeat with the chord + ], + }, + { + // In A, over the I7: hybrid-picked 3rds walking up the Mixolydian — + // 3+5 (C♯+E) → 4+6 (D+F♯) → 5+♭7 (E+G) — with clucked ghost notes + // between, resolving to the root on top. Shift the hand up with each pair. + id: 'country-chicken-thirds', + name: 'Chicken-pickin\' 3rds walk-up', + level: 'intermediate', + chordContext: 'over the I7 — fills between vocal lines', + techniques: ['ghost-note', 'double-stop', 'slide', 'vibrato'], + source: 'in the style of Brent Mason\'s double-stop chicken pickin\' — Brent Mason, Nashville Chops & Western Swing Guitar (Hal Leonard); Sam Smiley\'s Brent Mason lick analyses', + tab: [ + { string: 3, fret: 5, technique: 'ghost-note' }, // muted cluck — the chicken in the pickin' + { string: 3, fret: 6 }, // C♯ — the 3 + { string: 2, fret: 5, technique: 'double-stop' }, // E — the 5: first 3rd-pair + { string: 3, fret: 6, technique: 'ghost-note' }, // cluck between pairs + { string: 3, fret: 7 }, // D — the 4 + { string: 2, fret: 7, technique: 'double-stop' }, // F♯ — the 6: passing pair + { string: 2, fret: 8, technique: 'slide' }, // G — ♭7, top voice slides up the B string + { string: 3, fret: 9, technique: 'double-stop' }, // E — the 5: the dominant 5+♭7 pair lands + { string: 2, fret: 10, technique: 'vibrato' }, // A — root on top: resolve + ], + }, + { + // In A: the classic pedal-steel move — bend the 2 (B) a whole step up to + // the 3 (C♯) on the G string and HOLD it while the 5th and then the root + // ring on top: the full triad stacks up, steel-style (an oblique bend). + id: 'country-pedal-steel-bend', + name: 'Pedal-steel bend into the 3rd', + level: 'intermediate', + chordContext: 'over the I — the money chord change', + techniques: ['bend', 'double-stop', 'vibrato'], + source: 'the oblique 2→3 steel bend — Premier Guitar "Twang 101: 6 Essential Pedal-Steel Bends"; Fundamental Changes "Country Guitar String Bending"', + tab: [ + { string: 3, fret: 2 }, // A — root pickup + { string: 3, fret: 4, technique: 'bend' }, // B — the 2, bent a whole step up to C♯ and HELD + { string: 2, fret: 5, technique: 'double-stop' }, // E — the 5th rings on top of the held bend + { string: 1, fret: 5, technique: 'vibrato' }, // A — root struck next, bend still holding: the triad stack + ], + }, + { + // In G, open position: the banjo forward roll (thumb–index–middle) + // crosspicked across strings 3-2-1 — root, 3rd, high root cascading in + // even 8ths. No left-hand tricks: the ringing roll IS the technique. + id: 'country-forward-roll', + name: 'Forward-roll crosspicking', + level: 'foundation', + chordContext: 'over the I — keeps time like a banjo under a vocal', + techniques: [], + source: 'the Scruggs forward roll (T–I–M) adapted to guitar crosspicking — Wikipedia "Banjo roll"; Deering "The Four Essential 5-String Banjo Rolls"', + tab: [ + { string: 3, fret: 0 }, // G — root (thumb) + { string: 2, fret: 0 }, // B — the 3 (index) + { string: 1, fret: 3 }, // G — octave root (middle) + { string: 3, fret: 0 }, // roll it again — + { string: 2, fret: 0 }, // even 8ths, + { string: 1, fret: 3 }, // every note ringing into the next + { string: 3, fret: 0 }, // G + { string: 2, fret: 0 }, // B — hand back at the top of the roll + ], + }, + ], } diff --git a/src/data/kb/reggae/guitar.js b/src/data/kb/reggae/guitar.js index 69be264..364f50e 100644 --- a/src/data/kb/reggae/guitar.js +++ b/src/data/kb/reggae/guitar.js @@ -179,4 +179,70 @@ export default { }, ], }, + + // Structured licks (SCHEMA.md "Licks", task P-24). Written in a home key each + // (noted per lick) but key-agnostic in spirit — chordContext names the station. + // Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12). + licks: [ + { + // In A minor (i–♭VII = Am–G): the skank chords answered as a fill — + // the i's ♭3+5 pair (C+E), the ♭VII's 3+5 pair (B+D) two frets down, + // back home, root on top. Strictly in the vocal gaps. + id: 'reggae-skank-answer', + name: 'Skank-answer double-stop fill', + level: 'foundation', + chordContext: 'answer fill over the i–♭VII vamp, in the vocal gaps', + techniques: ['double-stop', 'vibrato'], + source: 'call-and-response fills in the Wailers style — Guitar World\'s Bob Marley rhythm-guitar lesson', + tab: [ + { string: 3, fret: 5 }, // C — the i's ♭3 + { string: 2, fret: 5, technique: 'double-stop' }, // E — the i's 5: the minor pair + { string: 3, fret: 4 }, // B — the ♭VII's 3, two frets down + { string: 2, fret: 3, technique: 'double-stop' }, // D — the ♭VII's 5: the pair moves with the chord + { string: 3, fret: 5 }, // C — back home + { string: 2, fret: 5, technique: 'double-stop' }, // E + { string: 1, fret: 5, technique: 'vibrato' }, // A — the root caps the answer + ], + }, + { + // In A minor, low register, palm-muted throughout: a minor-pentatonic + // line doubling the bassline in unison — the Lynn Taitt second-guitar + // job. Dull attack, locked exactly with the bass, never approximately. + id: 'reggae-bass-double', + name: 'Muted bass-doubling riddim line', + level: 'foundation', + chordContext: 'over the i — unison with the bassline', + techniques: ['ghost-note'], + source: 'the rocksteady bass-doubling role in Lynn Taitt\'s muted picking style — Wikipedia "Rocksteady"; Brian Keyo\'s Taitt tribute (tallawah.com)', + tab: [ + { string: 6, fret: 5 }, // A — root, palm-muted like everything here + { string: 6, fret: 5, technique: 'ghost-note' }, // muted pluck — the fluttering Taitt attack + { string: 6, fret: 8 }, // C — ♭3 + { string: 5, fret: 5 }, // D — 4 + { string: 5, fret: 7 }, // E — 5 + { string: 5, fret: 5 }, // D — 4 + { string: 6, fret: 8 }, // C — ♭3 + { string: 6, fret: 5 }, // A — home; keep the attack dull to the end + ], + }, + { + // In A: chromatic walk-up 6–♭7–7 into the root, timed so the root lands + // with the drum's drop (beat 3 of the one drop — beat 1 stays sacred and + // silent), answered by the 3+5 chop up top on the offbeat. + id: 'reggae-walkup-drop', + name: 'Chromatic walk into the one drop', + level: 'intermediate', + chordContext: 'pickup into the I — the root lands on the drop (beat 3)', + techniques: ['chromatic-approach', 'double-stop'], + source: 'in the style of rocksteady/early-reggae walk-ups (the Lynn Taitt-era bass-and-guitar lines — Wikipedia "Rocksteady", "One drop rhythm")', + tab: [ + { string: 6, fret: 2 }, // F♯ — the 6 + { string: 6, fret: 3, technique: 'chromatic-approach' }, // G — ♭7, passing + { string: 6, fret: 4, technique: 'chromatic-approach' }, // G♯ — 7, passing + { string: 6, fret: 5 }, // A — root, landing WITH the drop + { string: 3, fret: 6 }, // C♯ — the 3: jump up for the answer chop + { string: 2, fret: 5, technique: 'double-stop' }, // E — the 5: the skank answers on the offbeat + ], + }, + ], } diff --git a/src/data/kb/rock/guitar.js b/src/data/kb/rock/guitar.js index e1b2540..56b677d 100644 --- a/src/data/kb/rock/guitar.js +++ b/src/data/kb/rock/guitar.js @@ -209,4 +209,95 @@ export default { }, ], }, + + // Structured licks (SCHEMA.md "Licks", task P-24). Written in a home key each + // (noted per lick) but key-agnostic in spirit — chordContext names the station. + // Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12). + licks: [ + { + // In A: the 4 slid up to the 5 on the B string, the root stacked on top + // (E+A — the Berry 4ths dyad), hammered in triplets, then the ♭3→3 curl + // and home. The rock-and-roll intro figure. + id: 'rock-berry-double-stop', + name: 'Berry double-stop intro figure', + level: 'foundation', + chordContext: 'over the I — intro or turnaround energy', + techniques: ['slide', 'double-stop', 'hammer-on', 'vibrato'], + source: 'in the style of the "Johnny B. Goode" intro double-stops — Chuck Berry (1958); JustinGuitar song lesson SB-425', + tab: [ + { string: 2, fret: 3 }, // D — the 4, pickup two frets below + { string: 2, fret: 5, technique: 'slide' }, // E — the 5th, slid up the B string + { string: 1, fret: 5, technique: 'double-stop' }, // A — root on top: the Berry 4ths dyad lands + { string: 2, fret: 5 }, // E — restrike the pair in triplets + { string: 1, fret: 5, technique: 'double-stop' }, // A + { string: 2, fret: 5 }, // E + { string: 1, fret: 5, technique: 'double-stop' }, // A + { string: 3, fret: 5 }, // C — ♭3 + { string: 3, fret: 6, technique: 'hammer-on' }, // C♯ — the 3: the curl resolves up + { string: 1, fret: 5, technique: 'vibrato' }, // A — end on the root + ], + }, + { + // In A, box 1 at fret 5: the B-string ♭7 (G) bent a whole step up to the + // root against the same root held on the top string — the beating unison, + // then the ♭3 answer and home. The Purple Haze-outro cliché. + id: 'rock-unison-bend', + name: 'Box-1 unison bend', + level: 'intermediate', + chordContext: 'over the I (or i) at the solo climax', + techniques: ['bend', 'double-stop', 'vibrato'], + source: 'the unison-bend cliché ("Purple Haze" outro lineage — Hendrix, Page, May); JustinGuitar unison bend technique BL-607', + tab: [ + { string: 1, fret: 5 }, // A — state the root first + { string: 2, fret: 8, technique: 'bend' }, // G — ♭7 bent a whole step up to A + { string: 1, fret: 5, technique: 'double-stop' }, // A — held on top: the unison pair beats + { string: 2, fret: 8, technique: 'bend' }, // bend it again + { string: 1, fret: 5, technique: 'double-stop' }, // A on top + { string: 1, fret: 8 }, // C — the ♭3: blues grit over a major I + { string: 1, fret: 5, technique: 'vibrato' }, // A — resolve on the root + ], + }, + { + // In A Mixolydian (I–♭VII–IV = A–G–D): climb the mode from the root and + // land the key's ♭7 (G) exactly as the ♭VII chord hits — it IS that + // chord's root — then let it fall a half step to F♯, the IV's 3rd. A + // voice-leading rail, rock edition. + id: 'rock-mixo-rail', + name: 'Mixolydian rail onto the ♭VII', + level: 'intermediate', + chordContext: 'I → ♭VII → IV vamp', + techniques: ['slide', 'vibrato'], + source: 'the I–♭VII–IV Mixolydian language ("All Right Now"/"Highway to Hell" triads) — GuitarPlayer "Master the Mixolydian Mode"; Fundamental Changes "Study the Mixolydian Mode Pt 1"', + tab: [ + { string: 4, fret: 7 }, // A — root, over the I + { string: 3, fret: 4 }, // B — 2 + { string: 3, fret: 6 }, // C♯ — 3 + { string: 3, fret: 7, technique: 'slide' }, // D — 4, slid into + { string: 2, fret: 5 }, // E — 5 + { string: 2, fret: 8, technique: 'vibrato' }, // G — the key's ♭7: the ♭VII's root, landed at the change + { string: 2, fret: 7 }, // F♯ — falls a half step: the IV's 3rd + { string: 1, fret: 5, technique: 'vibrato' }, // A — the IV's 5th; home + ], + }, + { + // In A minor, box 1: the descending pull-off cascade — two notes per + // string down the pentatonic, ending on the root an octave down. The + // stock rock run every soloist owns. + id: 'rock-box1-cascade', + name: 'Descending pull-off cascade', + level: 'foundation', + chordContext: 'over the i — works across the whole minor-key vamp', + techniques: ['pull-off', 'vibrato'], + source: 'the box-1 descending run — stock rock vocabulary; MusicRadar "50 rock guitar licks you need to know"; Guitar World "20 rock guitar licks"', + tab: [ + { string: 1, fret: 8 }, // C — ♭3 + { string: 1, fret: 5, technique: 'pull-off' }, // A — root + { string: 2, fret: 8 }, // G — ♭7 + { string: 2, fret: 5, technique: 'pull-off' }, // E — 5 + { string: 3, fret: 7 }, // D — 4 + { string: 3, fret: 5, technique: 'pull-off' }, // C — ♭3 + { string: 4, fret: 7, technique: 'vibrato' }, // A — root, an octave down: land it + ], + }, + ], }