Alright, let’s learn some cool blues licks in the style of John Mayer! Think of this as a jam session where we explore ten licks that capture Mayer’s unique sound. He blends influences from blues legends like Stevie Ray Vaughan, Eric Clapton, and Jimi Hendrix, so you’ll hear echoes of them in his playing. While some licks might sound familiar, Mayer always adds his own special touch. Let’s break them down!
- Hendrix/SRV Inspired Lick: This one’s almost psychedelic, reminiscent of Jimi Hendrix and Stevie Ray Vaughan. Mayer often uses a fuzz effect with it. Starting on the G string over a C blues, it features a half-step bend and a descending run. It finishes with a three-note “waterfall” effect, a classic blues technique.
- Turnaround Lick in G: This lick outlines the turnaround, moving from D down to C before resolving to G. You’ll be outlining the D chord, then moving down a whole step to outline the C chord, using Stevie Ray Vaughan-esque half-step turns. Mayer often breaks down the turnaround by focusing on each chord individually.
- Clapton-esque Lick in E: Showcasing Clapton’s influence, this lick is played rhythmically and evenly, starting at the 12th fret in the pentatonic scale. It works its way down the pentatonic scale, from the B string to the G and D strings, ending on the G. It’s not super complex, but it’s a common element in Mayer’s playing.
- Repetitive Lick over D: This cool lick is over a D chord, likely in the key of D for blues. The key here is the repetition of two notes to build anticipation. It starts with a half-step bend, features the repeated notes, and ends with a five-note run down the pentatonic scale.
- Slide/SRV Fusion Lick: This one blends slide guitar influences with Stevie Ray Vaughan’s intensity. The first part is reminiscent of slide players like Derek Trucks or Duane Allman—try using your fingers instead of a pick and sliding between notes. Then, it transitions into a more aggressive, picked style.
- Minor/Major Pentatonic Mix over D7: This phrase works great over a D7 chord, mixing minor and major pentatonics in a way that’s characteristic of Mayer. It starts with a whole-step bend, avoiding the flat three back to the two. Mayer often stays in either major or minor for extended periods, creating a unique sound.
- Bends in Unexpected Places (Key of G): This phrase uses bends in unexpected places. It mixes major and minor pentatonics, starting out of position one of the pentatonic and moving up to position three. By incorporating the major pentatonic, you’ll get a different sound.
- Slide-Inspired Lick in E: Starting on the 15th fret with a slide up to the 17th fret, this lick maintains a slippery, slide-like feel before transitioning to a more picked approach, especially with a bend. This can be used to move from the one chord to the four chord.
- Repeating Phrase with Rakes (Key of E): This lick repeats the same phrase twice before changing it up. Get ready for some intense rakes, dragging the pick across the strings. It features a three-note phrase with rests in between, followed by a resolution.
- SRV-Inspired Turnaround Lick in C: This phrase has elements of Stevie Ray Vaughan, including a turn and some cool bends. It involves a whole-step bend, a full release, and then a one-and-a-half-step bend, followed by a Stevie Ray Vaughan-style turn. This works over C, outlining the one chord with those dramatic bends.