Lick (music)

This article is about the concept in general. For the specific jazz lick known as "The Lick", see The Lick (music).

Carter-style lick.^[1]Play (help·info)

In popular music genres such as blues, jazz or rock music, a lick is "a stock pattern or phrase"^[2] consisting of a short series of notes used in solos and melodic lines and accompaniment. Licks in rock and roll are often used through a formula, and variations technique in which variants of simple, stock ideas are blended and developed during the solo.

In a jazz band, a lick may be performed during an improvised solo, either during an accompanied solo chorus or during an unaccompanied solo break. Jazz licks are usually original short phrases which can be altered so they can be used over a song's changing harmonic progressions.

Similar concepts

A lick is different from the related concept of a riff, as riffs can include repeated chord progressions. Licks are more often associated with single-note melodic lines than with chord progressions. However, like riffs, licks can be the basis of an entire song. Single-line riffs or licks used as the basis of Western classical music pieces are called ostinatos. Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin jazz.

A lick can be a hook, if the lick meets the definition of a hook: "a musical idea, a passage or phrase, that is believed to be appealing and make the song stand out", and "catch the ear of the listener".^[3] A lick may be incorporated into a fill, which is a short passage played in the pause between phrases of a melody.

For musicians, learning a lick is usually a form of imitation. Imitating style is as important as learning the appropriate scale over a given chord.^{[4][verification needed]} By imitating, musicians understand and analyze what others have done, allowing them to build a vocabulary of their own.

See also

• Vamp (music)


• The Lick

References

1. 
   ^ Sokolow, Fred (1997). Complete Country Guitar Book, p.9. .mw-parser-output cite.citation{font-style:inherit}.mw-parser-output .citation q{quotes:"""""""'""'"}.mw-parser-output .citation .cs1-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .citation .cs1-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/12px-Wikisource-logo.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:inherit;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-maint{display:none;color:#33aa33;margin-left:0.3em}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}
   ISBN 978-0-7866-2841-4.
   


2. 
   ^ Middleton, Richard (1990), Studying Popular Music, Philadelphia: Open University Press (published 2002), p. 137, ISBN 0-335-15275-9
   


3. 
   ^ Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis, p.71. New York: Oxford University Press.
   ISBN 0-19-517010-5.
   


4. 
   ^ Rengel, Matias (2015), 299 Insane Guitar Licks, Boston, p. 6, ISBN 978-1-5076-0464-9
   

v t e Musical form and development
Arch form Argument Ausmultiplikation Bar form Binary form Bridge Call and response Cell Coda Conclusion Cycle Cyclic form Developing variation Drop Exposition Finale Formula composition Hook Introduction Lick Motif Movement Overture Period Phrase Recapitulation Repetition Reprise Rondo Rondò Section Sonata form Sonata rondo form Song structure Strophic form Ternary form Theme Thirty-two-bar form Through-composed Transition Variation Verse–chorus form

This page is only for reference, If you need detailed information, please check here