MC InFusionedSoloing

STUDY
GUIDE
Micky Crystal
InFusioned Rock
Soloing
JTCGUITAR.COM
Micky Crystal / InFusioned Rock Soloing 2
CHAPTER 1
NEW SHADES OF BLUE

LICK 1: If you’re jamming your own ideas over the backing, this intro section
can look a bit daunting… F major and Eb dominant? One elegant solution
is to do what Micky does here, playing F Mixolydian b6 (F G A Bb C Db Eb)
throughout. This is a mode of Bb melodic minor, and it then also functions as
Eb Lydian dominant.
LICK 2: The first main theme is simpler, based around an F-Dm-Bb-F

progression. This is all straight F major (F G A Bb C D E). Notice how Micky
adds a little bluesy vibe with that quick bend to Ab (the flat 5th of D) in bar 3.
LICK 3: Over the repeat of the chord progression, there’s that flat 5th blue
note (Ab) over the Dm7 chord again.
LICK 4: The “B theme” takes us more into the relative minor key of D minor,
with this descending bass line starting from the Dm chord. Micky uses
a chunk of D minor pentatonic (D F G A C) in bar 3, in addition to the full
Aeolian scale (D E F G A Bb C)
LICK 5: Halfway through the “B theme”, the C# diminished chord takes us

back to the D minor starting point. The simplest way to play over this chord
is to use the C#dim7 arpeggio, as Micky does here. It’s a symmetrical shape
(stacked minor 3rd intervals) so the shape repeats every three frets.
You can also see the start of the second half of the B theme here: notice the
Bm7b5 (instead of Bb). It’s pretty quick, so shouldn’t hurt to use D Aeolian
throughout, but you could experiment with hitting a B target note here.
LICK 6: This excerpt from the end of the B theme is possibly the most
challenging in the whole solo. Micky switches from legato to sweep- and
Micky Crystal / InFusioned Rock Soloing
CHAPTER 1 3
economy-picked arpeggios. Notice how he ascends through an Eb major

arpeggio (with added 9th) then descends through Ebsus2. Then he does a
partial Gm(add9) followed by Fsus2.
LICK 7: Returning to the first main theme, we start with a laid-back vibe, but
watch out for the long legato line! It’s basically just 3-note-per-string shapes
connected with slides, but the G/F chord changes the tonality. Micky starts
out with the “home” scale of F major (F G A Bb C D E) but switches to Lydian
(F G A B C D E) to cover the B note in the G/F chord.
LICK 8: Here’s the other really challenging line in this solo – another stream
of sweep-picked arpeggios connected with economy-picked scale lines.
Rather than following the chord exactly, Micky plays lines from F major
pentatonic (F G A C D).
LICK 9: The intro section repeats at the end, so we’re back to F Mixolydian
flat-6 (F G A Bb C Db Eb).
CHAPTER 2
SHOOT FOR THE MOON

LICK 1: The opening section of this track features a number of triads over a
static D bass. There’s no single tonality with all four chords, so Micky works
mostly in a Mixolydian (D E F# G A B C) environment. The C note will just
sound bluesy over the A chord, and you can even use the F (minor 3rd) over
the C and G chords.
LICK 2: Here’s how Micky introduces the F note (instead of F#) over the C
and G chords, giving a D Dorian (D E F G A B C) sound.
LICK 3: For this excerpt, Micky goes full minor, using the minor pentatonic
(D F G A C) with the added flat-5th blue note (Ab). This still works over the
D major and A major chords, because our ears accept the bluesy reference
points.
LICK 4: This is all D Dorian, but notice the chromatic notes.
LICK 5: This excerpt is all about the arpeggios! Micky starts with a D9
arpeggio in bar 1, then plays a series of quick descending diatonic arpeggios
from D Mixolydian: Em7, Bm7, Fm7b5 and Cmaj7. He then sweeps through
bigger Csus2, Dsus2 and Fsus2 shapes.
LICK 6: The “B theme” is rooted more in B minor, the relative minor key. All of
these chords are from B Aeolian (B C# D E F# G A).
LICK 7: Micky starts by targeting chord tones for the first two bars. Then
notice how he uses D minor pentatonic (D F G A C) over the G chord. This
takes us briefly out of the B minor home key, resolving back when we hit the
F# note over Bm at the end.
CHAPTER 2 5
LICK 8: Legato workout! This is all 3-note-per-string shapes with quite a lot
of vertical movement.
LICK 9: As we return to the “A theme”, Micky dials down the intensity, playing
some subtle lines in D major pentatonic (D E F# A B).
LICK 10: Here’s a good example of how D Mixolydian (D E F# G A B C) can

work through the whole progression, even though it doesn’t fit the A/D chord
exactly.
LICK 11: Or we can go a little more bluesy, using D Dorian (D E F G A B C)

through the whole progression. Again, it’s not theoretically “correct” over the
A chord, but our ears accept the bluesy sound of the outside notes (F and C).
LICK 12: Back to B minor for the second theme repeat. Micky mostly
targets chord tones for the first three bars, then plays a faster line in B minor
pentatonic (B D E F# A).
CHAPTER 3
WEST HOLLYWOOD
LICK 1: The first main theme is pure G Dorian (G A Bb C D E F) and you’ll also
see G minor pentatonic (G Bb C D F) in the following licks. Notice Micky’s
chromatic notes in bars 3-4, all used as passing notes between scale notes.
LICK 2: As in Lick 1, it’s all G Dorian (G A Bb C D E F) but notice the

chromatic notes.
LICK 3: The “B theme” seems to take us into an Eb tonality, but check out the
Eb-F/Eb change – that’s a very Lydian sound (Eb F G A Bb C D). This is also
supported by the Dm7 chord. Again, Micky uses lots of chromaticism here.
LICK 4: Here’s the first technical challenge! We start with some long Eb
Lydian (Eb F G A Bb C D) legato lines before switching to sweep-picked
arpeggios (connected with economy-picked scale fragments). Micky
ascends through Bb major (add9) and descends through Bbsus2, then does
the same with Eb major (add9) and Ebsus2.
LICK 5: The final part of the “B theme” features a brief outside chord:
Dbmaj7. Micky highlights this with a descending major pentatonic (Db Eb F
Ab Bb) line. The Bb/C chord prepares us for the return to G Dorian in the “A
theme”, and Micky plays a punchy little chromatic phrase here.
LICK 6: Back to the first theme, so G Dorian again (G A Bb C D E F).
LICK 7: Check out the chromatic notes in the first phrase. From the end
of bar 3, Micky plays a long legato line, using 3-note-per-string shapes
connected with slides.
LICK 8: Playing around chord tones can be tough when the chords are
CHAPTER 3 7
moving fast like this, but it’s worth perservering. You don’t have to target
every chord – just pick a couple of important changes and target the chord
tones at those points.
LICK 9: Here’s a sweep-picked Cmaj7 arpeggio over the C/F chord.
LICK 10: The solo ends with a flourish, with this long legato and tapped
line. First of all, Micky plays a quick series of triads from G Dorian, pulling
off from the initial G note into A minor, G minor, D minor and then ascending
into F major. For the fast line, he starts in G Dorian (G A Bb C D E F) but then
ascends with just minor pentatonic (G Bb C D F) in bar 4.
A
LS
O
AV
A
IL
A
B
LE
Micky Crystal
20 LICKS: AGES OF ROCK
Micky Crystal breaks onto the JTC scene debuting a fiery licks package,
covering two of Rock’s most monumental genres!
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J T C G U I TA R .C O M
New Shades of Blue - Lick 1
JTCguitar.com
Micky Crystal - In-Fusioned Rock Soloing
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J T C G U I TA R . C O M

MC InFusionedSoloing

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MC InFusionedSoloing

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STUDY

NEW SHADES OF BLUE

LICK 2: The first main theme is simpler, based around an F-Dm-Bb-F

LICK 5: Halfway through the “B theme”, the C# diminished chord takes us

economy-picked arpeggios. Notice how he ascends through an Eb major

SHOOT FOR THE MOON

LICK 4: This is all D Dorian, but notice the chromatic notes.

LICK 10: Here’s a good example of how D Mixolydian (D E F# G A B C) can

LICK 11: Or we can go a little more bluesy, using D Dorian (D E F G A B C)

LICK 2: As in Lick 1, it’s all G Dorian (G A Bb C D E F) but notice the

LICK 6: Back to the first theme, so G Dorian again (G A Bb C D E F).

LICK 9: Here’s a sweep-picked Cmaj7 arpeggio over the C/F chord.

AVAIL ABLE NOW

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