Lick with the use of three notes per string
in the major scales

The use of the fingerings analyzed in the previous page requires the perfect knowledge of the structure of the three notes per sting scale. Even if dealing with a simple an basic harmonic line (as the major tones), the fact to use three notes per string requires constant movements on the fretboard of the instrument. For this reason, it is understood that you know perfectly well the fretboard.
To work on a lick we establish a base that requires a harmonic succession on more central tones. Even if it could be initially complicated, in reality its very useful to work on more scales, something that happens often during the execution of a solo. Furthermore, there is one chord per bar, which makes it easier to learn. Lets therefore analyze the base.

It's best to have a good amount of confidence with the harmonic base on which we will work. The base is made up of a series of four bars, cyclically repeated, which we can define as the chorus. The harmonia of the chords is quite simple, even if there are multiple tonal centers that can be "touched up" during the execution of a solo in the harmony of this type.
If we analyze the harmony, we can define a base tonal center in G, not because its the first chord of the chorus, but more because it easily connects the harmonies of F and Eb: for example, try to play the Eb, F and G in succession and listen to how the three chords tend to define the G chord as static, while the other two seem to transport the root in an increasing manner.
The chord of Am may be ambiguous, connecting both with that of the preceding F, but also with the chord of G. During the licks, as shown, we will touch up both roots.

More "intriguing" is the riff that is built over the same chords. In fact, we need to evaluate this, made from a series of single notes developed by an arpeggio. This series of notes includes an embellishment in the harmony of the base itself. The parts that could be played on the guitar as well as the final harmony of the chords are shown in the score. Regarding the lick, this can be heard again in merit to the embellishments given to the base chords, as we will see studying these pages.
Pay attention to the use of the picking, as indicated, which are complicated because there is a series of string-skipping . Finally, remember that the base can obviously be used for your own improvisations.

The Theme
The theme for this base uses three notes per string. I should specify that I used these scales relative to the melodic line, searching for the correct relationship between technique, harmony and melody. In any case evaluate the piece below from an educational aspect, in that one composition for a song on disc, for example, should not be restricted to just one style or way of playing...
Analyzing the lick, we can evaluate some typical situations used in solos. First of all, lets observe the score of the complete theme, developed on two chorus' of four bars each, of which you can listen to the audio.

Bar 1 - Chord of G
The first part is quite simple. It requires a series of repeated 16th notes, developed on an open fingering in theme with the subject discussed in this page. Note how the rhythmic articulation has been inverted between the second and third movements.
Bar 2 - Chord of F
Two details. In the first movements there is a series of descending slides, that "color" the sound of the notes in typical Steve Vai style.
At the end of the bar, pay attention to the set of five notes before the change of chords. The scale used in this measure is F lidian (IV° of C major).
Bar 3 - Chord of Am
On the chord of A minor its best to play the A minor scale, even if it contrasts the harmonic line of the basic riff. The root of A minor ties better to the previous chord of F and the successive Ebmaj7.
Though one of the typical characteristics of the three notes per string scale is the continuous change of strings, in this first part of the measure we instead work on three adjacent zones of the fretboard, with the notes paired two by two.
In the second part of the measure we can see the use of chromatisisms. Normally, using the chromatisisms, you depart from the classical scheme of three notes per string, and for this reason its possible to play five notes (as in this specific case) by changing positions on the fretboard.
Bar 4 - Chord of Ebmaj7
Here is a vertical development of a melodic line at the beginning of the bar, based on the Eb lidian scale (IV° of the Bb scale) which culminates with a 6/16th lick on two adjacent strings. The sequence of the final sextet is interesting, where the G minor harmonic scale is used to highlight the hypothetic chord of D, which creates a V° - I° cadence on the following G chord. The lick effectively finishes on the B note of the following bar.
Bar 5 - Chord of G
The melodic line of the first bar is seen in this bar, with some variations in the first and the last two notes, which, even though they are the same, are on different strings.
Bar 6 - Chord of F
We come back to the F lidian mode, starting with a classic string-skipping based on the arpeggio of the notes of the F chord. This lick is made difficult by the sextet rhythmic division, which uses particular accents. A suggestion: play the lick thinking of the tempo in octave instead of fourths. In this way you can evaluate the division in tercets instead of sextets, which simplifies the rhythmic line.
Bar 7 - Chord of Am
This time the scale used is A dorian (II° of the G scale). I was saying before that the natural F note, present in the A minor scale, was more adapted adapted to the harmonic line of the chords. When using fast passages, as in this lick, the F# could also be used, contained in the A dorian scale. In fact, from the third movement a series of three note per string sextets starts, based on the scale in question.
Bar 8 - Chord of Ebmaj7
The entire bar, played in the Eb lidian scale, is developed with the three notes per string technique. Pay attention to the string changes and use, as always, alternate picking.

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