Incorporating licks, how?

[Cindy]

I got a big book of mandolin licks for Christmas and I see "learn these licks" all over the Internet, but can't find anything on what to do with them once you learn them.

I could play them over chords as part of a solo, once I know some well enough. But meanwhile, do I just learn one really well and diddle around trying to add it between vocal lines and as turnarounds or endings? Is this a trial and error process?

Or is there a smarter way?

[Mark Wilson]

Do you know any songs? Take a song you know and see if you can find a place to use one of the licks in that key. I'm not that sure on how to cut and paste in music so ymmv
Trial and error

[Mandoplumb]

Play with the timing that can make the same run completely different.

[Skip Kelley]

Do you know any songs? Take a song you know and see if you can find a place to use one of the licks in that key. I'm not that sure on how to cut and paste in music so ymmv
Trial and error

Mark is spot on! Find a lick, say a lick in "C" that is two measures and try it in a break that has a "C" for two measures. I hope that makes sense. Not all work, but it gives you a variation to work with and possibly make the lick your own.

[Cindy]

Do you know any songs? Take a song you know and see if you can find a place to use one of the licks in that key. I'm not that sure on how to cut and paste in music so ymmv
Trial and error

I know lots of songs, so looks like trial and error is the path.

[JeffD]

My thought is that licks are like exercises. Stuff you play to learn from. To learn the notes, the transitions, the feeling, the phrasing.

I don't know when I would play someone else's lick recognizably, in public.

Well except to look casually amazing while everyone else is tuning up.

[BradKlein]

I produced this video to go with a feature story HERE for the Cafe.

It focuses on incorporating the nuances of the vocal melody, but then Michael does treat how to work 'licks' into a solo (around 5 minutes in). Starting with using them between the phrases of the melody, whether singing or soloing. I think it's an effective way to learn to combine effective vocal details, melody, and licks in your playing.

[wildpikr]

Brad,

I remember your story and just wanted to thank you for that video. I typically crashed and burned with improvisation probably from trying to over embellish a break...which led to avoiding breaks at jams. This video woke me up and brought me back to the basics of working with/from the melody...so from then, crash and burn evolved to minor train wrecks and derailments then turned into occasional fender benders...oh well, stuff happens. So now as long as I can get a grip on a melody I'll take a break when it's my turn...and keep on having fun. Thanks again!

[BradKlein]

Thanks for the kind words Mike! Michael is a very fine teacher, and I'm lucky to have had the chance to share some of his ideas. In fact, almost any time I'm giving advice to another player on the Cafe... I probably learned it from him or from talking to one of his musical collaborators. ;-)

[CarlM]

One way of thinking of it is as call and response, like call and response vocals. The lick should answer back and respond to the previous phrase, either vocal or instrumental.

Listen to Doc Watson when he is backing up on guitar or Grisman, especially when playing duets with people like Del or Doc or Jerry Garcia.