1.First of all, we need to think about the backing.

There's a Csus2 (with F# added,

which is the #4) which resolves to an Esus2. Both chords are quite ambiguous, as
they have neither major nor minor 3rds, but the combination of chords is pretty
clear E Aeolian territory (E F# G A B C D). You can also use minor pentatonic (E G
A B D).

You'll see that Brian uses pentatonic for most of this lick, introducing the F#
note in measure 2. He also adds the flat 5th (Bb) to a pentatonic phrase at the end
of measure 2 for a bluesy sound. This is something you can almost always do in a
variety of minor-key situations (Dorian, Aeolian, even Phrygian)... it really
depends on the musical style. At the end, the arpeggio shape seems like a familiar
Gmaj7 shape, but the Esus2 backing means it functions as Em9.

2.Although we're basically using the same scale (E Aeolian: E F# G A B C D) through

each lick, remember that the notes will have different functions depending on
whether you use them over the Csus2 or the Esus2. For example, that F#-D-B-G melody
in measure 2 creates an Em9 arpeggio over an E root, but over the C root here, it's
Cmaj7#11.

3.Now Brian starts to show us the power of repeating patterns. This six-note legato
phrase moves across the strings, before settling into a slow, floating melody line.
The final line shows how you can always find new ideas in familiar scale shapes by
using wider intervals and skipping strings.

4.Brian takes a tiny diversion from the previous Aeolian territory here... that C#
note in measure 4 is from E Dorian (E F# G A B C# D). It's too brief to change the
sound much, though.

5.One of the important things to learn from these licks is how even the familiar
old scale shapes can still provide new ideas. You just have to be creative. In
measure 5, Brian takes a common descending pattern, but stretches it out to 4th
intervals, creating a completely different sound, with duplicate notes across the
string changes.

6.You don't have to use E minor pentatonic over the C chord. The regular 7-note
major scale modes all contain 3 major and 3 minor pentatonic scales. So, E Aeolian
contains E, A and B minor pentatonics, which have the same notes as G, C and D
major pentatonics. In measures 1-2, Brian is mixing phrases from both E minor
pentatonic (E G A B D) and C major pentatonic (C D E G A). The rest of the lick is
pure E minor pentatonic.

7.This one starts with a long scale passage which then switches to a tight sweep-
picked arpeggio idea. Although you're playing static three-note chords here, don't
just hold the chords down with your fretboard hand... hold down each note only as
long as necessary. The trick with all sweep-picking licks is the tight
synchronisation between your two hands.

8.The first part of this lick covers slides (watch the accuracy!) and then we have
a pattern based around an open B string pedal note. Take care with the rhythm
here... the basic pattern only covers 3/4 of a beat, so the open string falls on a
different point in each beat.

9.In the first part of this lick, Brian extracts a number of diatonic arpeggios
from the E Aeolian scale and superimposes them over the Csus2 backing. We have
Cmaj9, Gmaj9 and Em9. He then switches to a pedal-point idea, where the high tapped
note is the pedal, and then ends on a triple-picked line built on 5th intervals.

10.The main thing to take from this lick is the importance of contrast. The first
half of the lick is gracefully melodic; the second half is built from tight
sextuplet patterns.

11.This lick demonstrates perfectly how you can built a cool solo by carefully
planning how you're going to use interesting ideas. Brian starts with a
sliding/tapping lick, which then moves to a more familiar descending tapping line.
We then have a sliding octave idea, and the lick finishes with a repeating blues
scale pattern.

12.The triple-picked line at the start of this lick is reminiscent of the end of
Lick 9, and then we have a wide-interval line (continuing with the fast alternate
picking) which uses the same pattern as the start of Lick 3. The final section is
simply a descending chromatic line, using one tapped note and four regular fretted
notes on each string.

13.We've talked about how several pentatonic scales "live" within the full Aeolian
mode. There's more than just the regular E, A and B minor pentatonics, though... in
measures 3-6 here we're using the Japanese Hirajoshi scale (E F# G B C). It's a
very cool-sounding scale, and this line is quite reminiscent of Jason Becker.

14.The first half of this lick uses a series of 6-note patterns, but the rhythm
alternates. Measures 1 and 3 use regular 16th notes, so the 6-note pattern moves
across the beat. Then measures 2 and 4 have sextuplets so the pattern fits within
one beat. The last line takes us back to the Hirajoshi scale (see Lick 13).

15.The most challenging part of this lick is the string-skipping legato line in
measures 3-4. This is the same basic pattern as we saw in Lick 10, but with the
string skipping added.

16.Here's another lick (see also Lick 11) where Brian has moved smoothly through
several concise ideas. This is a great way to build solos, but you have to be
careful with how the different ideas fit together. As well as the melodic flow
(notes going up or down) you also have to consider the changes in intensity (fast
or slow notes).

17.Continuing with what we learned in Lick 16, it's always important to consider
how the rhythms are changing through your solo. Obviously you need to avoid dull
16th note patterns, but even the funkiest odd-time line will get boring if you play
it too long. This lick has a variety of rhythmic patterns, often based on "three
against four" ideas.

18.This one starts in style over the Csus2, with a big C major arpeggio leading
into a Bm7 arpeggio. You might find the rhythm in measures 3-4 quite tricky, so
take it slowly, playing the notes in groups of three.

19.We've seen quite a few licks with tight, repetitive patterns, but this lick
takes that to the extreme. Almost the whole lick is based on the tiny "melodic
cell" of the first three notes, and it's important to note the down-up-down
picking. This three-note idea then repeats, moving to different note pairs within
the scale. To start with, concentrate on maintaining a consistent picking pattern
on just the first 15-13 shape, and then start to move the notes around.

20.This lick also expands on a pattern we've already covered. We start with that
familiar Yngwie-tastic 6-note pattern (see Lick 12), moving it across all six
strings and in two positions. We then have a sequence of diatonic arpeggios on the
top three strings, descending through the scale... Em, D, C, Bm, Am, G, F#dim.