feat(kb): licks pack #2 — 11 licks for rock, country, reggae guitar (task P-24)
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 <noreply@anthropic.com>
This commit is contained in:
vadimwit
@@ -227,4 +227,88 @@ export default {
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},
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],
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},
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// Structured licks (SCHEMA.md "Licks", task P-24). Written in a home key each
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// (noted per lick) but key-agnostic in spirit — chordContext names the station.
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// Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12).
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licks: [
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{
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// In G, open position: 2, ♭3 hammered to the 3, then 5–6 up to the open-G
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// root landed on the downbeat. THE bluegrass phrase-ending tag.
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id: 'country-flatt-g-run',
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name: 'The Lester Flatt G-run',
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level: 'foundation',
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chordContext: 'phrase-ending tag on the I',
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techniques: ['hammer-on'],
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source: 'the canonical Flatt & Scruggs tag — hvbluegrass.org "The Truth About the Lester Flatt G Run"',
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tab: [
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{ string: 5, fret: 0 }, // A — the 2
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{ string: 5, fret: 1, technique: 'hammer-on' }, // B♭ — the blue ♭3, hammered from the open string
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{ string: 5, fret: 2 }, // B — the major 3: the curl resolves
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{ string: 4, fret: 0 }, // D — 5
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{ string: 4, fret: 2 }, // E — 6
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{ string: 3, fret: 0 }, // G — root: land it ON the downbeat with the chord
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],
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},
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{
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// In A, over the I7: hybrid-picked 3rds walking up the Mixolydian —
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// 3+5 (C♯+E) → 4+6 (D+F♯) → 5+♭7 (E+G) — with clucked ghost notes
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// between, resolving to the root on top. Shift the hand up with each pair.
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id: 'country-chicken-thirds',
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name: 'Chicken-pickin\' 3rds walk-up',
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level: 'intermediate',
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chordContext: 'over the I7 — fills between vocal lines',
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techniques: ['ghost-note', 'double-stop', 'slide', 'vibrato'],
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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',
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tab: [
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{ string: 3, fret: 5, technique: 'ghost-note' }, // muted cluck — the chicken in the pickin'
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{ string: 3, fret: 6 }, // C♯ — the 3
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{ string: 2, fret: 5, technique: 'double-stop' }, // E — the 5: first 3rd-pair
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{ string: 3, fret: 6, technique: 'ghost-note' }, // cluck between pairs
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{ string: 3, fret: 7 }, // D — the 4
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{ string: 2, fret: 7, technique: 'double-stop' }, // F♯ — the 6: passing pair
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{ string: 2, fret: 8, technique: 'slide' }, // G — ♭7, top voice slides up the B string
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{ string: 3, fret: 9, technique: 'double-stop' }, // E — the 5: the dominant 5+♭7 pair lands
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{ string: 2, fret: 10, technique: 'vibrato' }, // A — root on top: resolve
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],
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},
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{
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// In A: the classic pedal-steel move — bend the 2 (B) a whole step up to
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// the 3 (C♯) on the G string and HOLD it while the 5th and then the root
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// ring on top: the full triad stacks up, steel-style (an oblique bend).
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id: 'country-pedal-steel-bend',
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name: 'Pedal-steel bend into the 3rd',
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level: 'intermediate',
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chordContext: 'over the I — the money chord change',
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techniques: ['bend', 'double-stop', 'vibrato'],
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source: 'the oblique 2→3 steel bend — Premier Guitar "Twang 101: 6 Essential Pedal-Steel Bends"; Fundamental Changes "Country Guitar String Bending"',
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tab: [
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{ string: 3, fret: 2 }, // A — root pickup
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{ string: 3, fret: 4, technique: 'bend' }, // B — the 2, bent a whole step up to C♯ and HELD
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{ string: 2, fret: 5, technique: 'double-stop' }, // E — the 5th rings on top of the held bend
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{ string: 1, fret: 5, technique: 'vibrato' }, // A — root struck next, bend still holding: the triad stack
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],
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},
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{
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// In G, open position: the banjo forward roll (thumb–index–middle)
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// crosspicked across strings 3-2-1 — root, 3rd, high root cascading in
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// even 8ths. No left-hand tricks: the ringing roll IS the technique.
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id: 'country-forward-roll',
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name: 'Forward-roll crosspicking',
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level: 'foundation',
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chordContext: 'over the I — keeps time like a banjo under a vocal',
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techniques: [],
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source: 'the Scruggs forward roll (T–I–M) adapted to guitar crosspicking — Wikipedia "Banjo roll"; Deering "The Four Essential 5-String Banjo Rolls"',
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tab: [
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{ string: 3, fret: 0 }, // G — root (thumb)
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{ string: 2, fret: 0 }, // B — the 3 (index)
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{ string: 1, fret: 3 }, // G — octave root (middle)
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{ string: 3, fret: 0 }, // roll it again —
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{ string: 2, fret: 0 }, // even 8ths,
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{ string: 1, fret: 3 }, // every note ringing into the next
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{ string: 3, fret: 0 }, // G
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{ string: 2, fret: 0 }, // B — hand back at the top of the roll
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],
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},
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],
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}
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@@ -179,4 +179,70 @@ export default {
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},
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],
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},
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// Structured licks (SCHEMA.md "Licks", task P-24). Written in a home key each
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// (noted per lick) but key-agnostic in spirit — chordContext names the station.
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// Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12).
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licks: [
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{
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// In A minor (i–♭VII = Am–G): the skank chords answered as a fill —
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// the i's ♭3+5 pair (C+E), the ♭VII's 3+5 pair (B+D) two frets down,
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// back home, root on top. Strictly in the vocal gaps.
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id: 'reggae-skank-answer',
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name: 'Skank-answer double-stop fill',
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level: 'foundation',
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chordContext: 'answer fill over the i–♭VII vamp, in the vocal gaps',
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techniques: ['double-stop', 'vibrato'],
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source: 'call-and-response fills in the Wailers style — Guitar World\'s Bob Marley rhythm-guitar lesson',
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tab: [
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{ string: 3, fret: 5 }, // C — the i's ♭3
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{ string: 2, fret: 5, technique: 'double-stop' }, // E — the i's 5: the minor pair
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{ string: 3, fret: 4 }, // B — the ♭VII's 3, two frets down
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{ string: 2, fret: 3, technique: 'double-stop' }, // D — the ♭VII's 5: the pair moves with the chord
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{ string: 3, fret: 5 }, // C — back home
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{ string: 2, fret: 5, technique: 'double-stop' }, // E
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{ string: 1, fret: 5, technique: 'vibrato' }, // A — the root caps the answer
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],
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},
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{
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// In A minor, low register, palm-muted throughout: a minor-pentatonic
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// line doubling the bassline in unison — the Lynn Taitt second-guitar
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// job. Dull attack, locked exactly with the bass, never approximately.
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id: 'reggae-bass-double',
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name: 'Muted bass-doubling riddim line',
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level: 'foundation',
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chordContext: 'over the i — unison with the bassline',
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techniques: ['ghost-note'],
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source: 'the rocksteady bass-doubling role in Lynn Taitt\'s muted picking style — Wikipedia "Rocksteady"; Brian Keyo\'s Taitt tribute (tallawah.com)',
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tab: [
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{ string: 6, fret: 5 }, // A — root, palm-muted like everything here
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{ string: 6, fret: 5, technique: 'ghost-note' }, // muted pluck — the fluttering Taitt attack
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{ string: 6, fret: 8 }, // C — ♭3
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{ string: 5, fret: 5 }, // D — 4
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{ string: 5, fret: 7 }, // E — 5
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{ string: 5, fret: 5 }, // D — 4
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{ string: 6, fret: 8 }, // C — ♭3
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{ string: 6, fret: 5 }, // A — home; keep the attack dull to the end
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],
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},
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{
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// In A: chromatic walk-up 6–♭7–7 into the root, timed so the root lands
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// with the drum's drop (beat 3 of the one drop — beat 1 stays sacred and
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// silent), answered by the 3+5 chop up top on the offbeat.
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id: 'reggae-walkup-drop',
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name: 'Chromatic walk into the one drop',
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level: 'intermediate',
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chordContext: 'pickup into the I — the root lands on the drop (beat 3)',
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techniques: ['chromatic-approach', 'double-stop'],
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source: 'in the style of rocksteady/early-reggae walk-ups (the Lynn Taitt-era bass-and-guitar lines — Wikipedia "Rocksteady", "One drop rhythm")',
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tab: [
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{ string: 6, fret: 2 }, // F♯ — the 6
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{ string: 6, fret: 3, technique: 'chromatic-approach' }, // G — ♭7, passing
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{ string: 6, fret: 4, technique: 'chromatic-approach' }, // G♯ — 7, passing
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{ string: 6, fret: 5 }, // A — root, landing WITH the drop
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{ string: 3, fret: 6 }, // C♯ — the 3: jump up for the answer chop
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{ string: 2, fret: 5, technique: 'double-stop' }, // E — the 5: the skank answers on the offbeat
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],
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},
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],
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}
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@@ -209,4 +209,95 @@ export default {
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},
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],
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},
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// Structured licks (SCHEMA.md "Licks", task P-24). Written in a home key each
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// (noted per lick) but key-agnostic in spirit — chordContext names the station.
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// Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12).
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licks: [
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{
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// In A: the 4 slid up to the 5 on the B string, the root stacked on top
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// (E+A — the Berry 4ths dyad), hammered in triplets, then the ♭3→3 curl
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// and home. The rock-and-roll intro figure.
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id: 'rock-berry-double-stop',
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name: 'Berry double-stop intro figure',
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level: 'foundation',
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chordContext: 'over the I — intro or turnaround energy',
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techniques: ['slide', 'double-stop', 'hammer-on', 'vibrato'],
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source: 'in the style of the "Johnny B. Goode" intro double-stops — Chuck Berry (1958); JustinGuitar song lesson SB-425',
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tab: [
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{ string: 2, fret: 3 }, // D — the 4, pickup two frets below
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{ string: 2, fret: 5, technique: 'slide' }, // E — the 5th, slid up the B string
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{ string: 1, fret: 5, technique: 'double-stop' }, // A — root on top: the Berry 4ths dyad lands
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{ string: 2, fret: 5 }, // E — restrike the pair in triplets
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{ string: 1, fret: 5, technique: 'double-stop' }, // A
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{ string: 2, fret: 5 }, // E
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{ string: 1, fret: 5, technique: 'double-stop' }, // A
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{ string: 3, fret: 5 }, // C — ♭3
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{ string: 3, fret: 6, technique: 'hammer-on' }, // C♯ — the 3: the curl resolves up
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{ string: 1, fret: 5, technique: 'vibrato' }, // A — end on the root
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],
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},
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{
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// In A, box 1 at fret 5: the B-string ♭7 (G) bent a whole step up to the
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// root against the same root held on the top string — the beating unison,
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// then the ♭3 answer and home. The Purple Haze-outro cliché.
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id: 'rock-unison-bend',
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name: 'Box-1 unison bend',
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level: 'intermediate',
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chordContext: 'over the I (or i) at the solo climax',
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techniques: ['bend', 'double-stop', 'vibrato'],
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source: 'the unison-bend cliché ("Purple Haze" outro lineage — Hendrix, Page, May); JustinGuitar unison bend technique BL-607',
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tab: [
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{ string: 1, fret: 5 }, // A — state the root first
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{ string: 2, fret: 8, technique: 'bend' }, // G — ♭7 bent a whole step up to A
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{ string: 1, fret: 5, technique: 'double-stop' }, // A — held on top: the unison pair beats
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{ string: 2, fret: 8, technique: 'bend' }, // bend it again
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{ string: 1, fret: 5, technique: 'double-stop' }, // A on top
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{ string: 1, fret: 8 }, // C — the ♭3: blues grit over a major I
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{ string: 1, fret: 5, technique: 'vibrato' }, // A — resolve on the root
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],
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},
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{
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// In A Mixolydian (I–♭VII–IV = A–G–D): climb the mode from the root and
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// land the key's ♭7 (G) exactly as the ♭VII chord hits — it IS that
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// chord's root — then let it fall a half step to F♯, the IV's 3rd. A
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// voice-leading rail, rock edition.
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id: 'rock-mixo-rail',
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name: 'Mixolydian rail onto the ♭VII',
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level: 'intermediate',
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chordContext: 'I → ♭VII → IV vamp',
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techniques: ['slide', 'vibrato'],
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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"',
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tab: [
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{ string: 4, fret: 7 }, // A — root, over the I
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{ string: 3, fret: 4 }, // B — 2
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{ string: 3, fret: 6 }, // C♯ — 3
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{ string: 3, fret: 7, technique: 'slide' }, // D — 4, slid into
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{ string: 2, fret: 5 }, // E — 5
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{ string: 2, fret: 8, technique: 'vibrato' }, // G — the key's ♭7: the ♭VII's root, landed at the change
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{ string: 2, fret: 7 }, // F♯ — falls a half step: the IV's 3rd
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{ string: 1, fret: 5, technique: 'vibrato' }, // A — the IV's 5th; home
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],
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},
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{
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// In A minor, box 1: the descending pull-off cascade — two notes per
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// string down the pentatonic, ending on the root an octave down. The
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// stock rock run every soloist owns.
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id: 'rock-box1-cascade',
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name: 'Descending pull-off cascade',
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level: 'foundation',
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chordContext: 'over the i — works across the whole minor-key vamp',
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techniques: ['pull-off', 'vibrato'],
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source: 'the box-1 descending run — stock rock vocabulary; MusicRadar "50 rock guitar licks you need to know"; Guitar World "20 rock guitar licks"',
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tab: [
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{ string: 1, fret: 8 }, // C — ♭3
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{ string: 1, fret: 5, technique: 'pull-off' }, // A — root
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{ string: 2, fret: 8 }, // G — ♭7
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{ string: 2, fret: 5, technique: 'pull-off' }, // E — 5
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{ string: 3, fret: 7 }, // D — 4
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{ string: 3, fret: 5, technique: 'pull-off' }, // C — ♭3
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{ string: 4, fret: 7, technique: 'vibrato' }, // A — root, an octave down: land it
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],
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},
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],
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}
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