Country Guitar - Hal Leonard 6p4b5n

W ffi ffi ffi ffi ffi

W

._m

rt\

rffiil lff$ iffi$

ils

1il$

\t'

w"

ffi,w,ffi,m,ffi.-

rururc,ffi'll il:lIl

Book $5.95,CD $7.00= Pkg $12.95 Partsnot sold separately

,ilillllJJt|[l|lu[|ilt ,

ISBN

-b3q-033t{3-C

w ffi ffi ffi ffi ffi

W

#

,i*.*,, rST**-

,'

"s#ffin,m"m,n.-

rtt ftruruil*iliII rt$ I -II inB ffiruffiffiil il$ lil$ r!; w

LEONARD MIjNIHYIUII

I\IITTHOD ITAR

K*ilI{ ffiYffiffiilffi

rsBN 0-b3t{-031r13-0

NHEU.LEONARD' (:=coRPor?A-rloN -7777

W.

BLUEMOUND

RD'

P'O'

BOX

138I9

MILWAUKEE'

\^/I 532I3

-h

,ffii .i'*_p

.'t

CORPORATION C o p y r i g h@ t 2 0 0 4b y H A L L E O N A R D CopyrightSecured All RightsReserved In"t5in"iion"r herein: F o r a l l w o r k sc o n t a i n e d an infnngement of coPYrit reclroingor.puqri.p,-"I:^l:anceis adapling, arranging, copying, " Unauthonzed l a w ' t h e u n d e r l i a b l e I n f r i n g e rasr e V i s i tH a l L e o n a r dO n l i n ea t www'halleonard'com

CONTENTS PAGETRACK ....4 lntoduction... Electric? . . .4 Acoustic or .......5 Picking ...5 Standingvs.Sitting .....6 Cowboy0hords ...6 I TuningNotes 2 .......6 SweetDreams ...7 3 RockyTop.. ...8 ScalesandChords .......8 4 CMajorScale .......9 ChordsinC.. . . . 1 0 5-t0 l m p r o vi n iC s i.n. g .....11 CarterPicking il .....11 lWalktheline . . . 1 2 12 T hH eammer-0n ...12 13 ThePull-0ff... 14 . .. 13 Wildwood Flower. "BoomChick"Rhythm. ....14 (Rhythm) . . 14 15 Lookin' Hey, Good ... 16 t6 T hSe l i d e . . . . . 16 17-rg The Major Pentatonic (Melody) . .11 20 Hey, Lookin' Good ..18 21 IheStringBend. .... 18 22 Vibrato. .... l8 23 C h a t t a h.o. o c h i e . . . . 2 0 24-25 GM a j o r ...21 BarreChords... A - T y p e B a n e C h o r d . . .. . . . 2 1 ...22 26 R a m b l i n( 'CMhaon.r.u s ) (inG) . 22 Exercise 2t Hammer-0n Rhythm . . . .23 28 inThirds Double Stops 29 . . . . . . .24 Ring ofFire. b3rd withAdded . . . . 26 30-32 Pentatonic GMajor . . . . . 2 7 33-34 a,o g. .t. . . r , . . . S u g a rRf o ....28 DM a j o r . . . . . . 2 9 35-37 Licks. ......29 Chords

PAGE TRACK .. . 30 .. . E-Type Bane Chord .11 38 M e r c u r y B t u e: :s::::::: . ...31 39 l-vi-lV-V ....32 Chords Chords &Seventh Sus ...33 40 DsusWalt 41 ....34 Buckaroo 42 ......36 GraceNotes . 43, 46 Amen . . . . 36 Forever and Ever, b3rd. ..... 38 44-45 DMajorPentatonicw/Added ....39 4l-48 AMajor .....40 49-50 TravisPicking . . 40 Pickin' inA. "51 . . 41 52 Freight Train ...42 MovableScales. . .42 53-54 Major b3rd . . 43 55-56 Pentatonic with Added Major ....44 57-59 ChickenPickin' CountryGentleman ...45 60-61 ..48 Iwelve-BarBlues . . 48 62-64 The Rhythm Shuffle . . . . 49 65,70 Move lt0n0ver. . . . 50 66-69 The Blues Scale 11 ......51 SixteenTons. . .52 72-73 Movable Patterns Shuffle ....52 74,81 TheRacels0n. . . . 54 75-80 Blending Scales. Extending and ...56 RiffsandLicksinE... J a m e s B u f t o n s " S. u s i e.-.0. ."5R6i f f 8 2 ......56 83 MysteryTrain. ....56 84 LittleSister.... (lntro) Blues . 57 85 Folsom Prison ...57 86 BoogiePatterns. (riff). 87 Hot Rod Lincoln . 57 ....58 88-gl BlendedLicks. .....58 g2-g8 Sixths gg ......60 Rebel'Ro

INTRODUCTION e l c o mt o et h eH aLl e o n aC c0 r do u n tG r yu i t amr e t h oTdh. er e a l m o fw h aitsc o n s i d e r" e r "a sr e a l leyv o l v e c d u n tgr yu i t a h thelastfewdecades intooneofthemostexcitinq andc h a l l e n gsi nt ygl eosfg u i t aprl a y i nTgo d acy0, u n t rgyu i t ai rn c : ' porate a sb r o arda n goefi nlfu e n c ef rso, mt r a d i t i o sn oa ul n dl isk eT r a v p i si c k i ncgh, i c k epni c k i nb,l u e g r aasns d,W e s t esr n \ ,-,:, g t ot h ec o n t e m p 0 rpahrrya s i n o f m o d e rbnl u easn dr o c k Inthisbookwell touchonmanydifferent techniques yetauthentic using simplified guitar arrangements of country class .: Working thr0ugh tunesbyeveryone fromJ0hnny Cash to fret-burner you'llacquire Albert Lee, "pick thebasic skills to a f:.., tunes" byyourself 0r "fireupa jam"withsomefriends.

ACOUSTIC OR ELECTRIC? Mostofthetechniques inthisbookcanbeplayed oneither guitar. acoustic orelectric Some techniques maylendthemguitar; selves moret0 acoustic other techniques-like string bending-will beeasier onelectric. Let's brieflv talkabout s0meclassic guitars acoustic andelectric thatmayhelpyouinfinding a country sound. guitar Anyacoustic cangety0ustarted, buth e r e a r ea f e wt h i n gtso c o n s i d A e rg u i t awr i t ha s o l i d top-meanin t hgat h e f a c eo ft h eg u i t ai sr m a d o p i e c e s ef o fs o l i d w o o d( m o sct0 m m 0 nslpyr u c e i n)s t e aodf p a r t i cbl eo a rodrl a m i n a t e -gi so i n g t o g i v ey 0 ua m 0 r er e s o n asnut ,p e r itoorn eS. o m oe ft h eb i g g ens a t m ei snt o p - q u a a l i ct yo u s t im c so sct 0 m m 0 nf ol yu n idn thehands 0fc0untry artists, bothpastandp r e s e ni nt ,c l u dMea r t i n G,i b s oann, dG u i l dT h es i z eosft h ei n s t r u m evnat sr vb, u : t h e" d r e a d n 0 u igsht ht "em o spt 0 p u l a n r disavailable ina variety of prices froma hostof manufacturers

popular guitar Themost electric incountry music haslongbeen theFender Telecaster. Players such asJimmy Bryant, LutherPerkins (guitarist forJohnny Cash). Buck0wens. Waylon Jennings, MerleHaggard, James Burton, AlbertLee,Vince giant justafew)have Gill, andsession (toname Brent Mason guitar alldefined greatness electric couniry witha "Tele" in "mellow" their "twang," hands. From tomaximum theTelecaster anditscommon counterpart, theFender Twin amplifier, comprise thequintessential guitarcombo. country otherclassic c0untry toneshavecomefromguitarssuchastheGretsch 6120(inthehands ol ChetAtkins)andtheGibson (used Super400 byMerleTravis). TheGibson LesPautandotherhumguitars bucker-equipped witha rounder, fatter tone, have also certainly made their mark intheidi0m ofcountry music. Clearly, pickups however, single-coil glassy, withtheir twangJriendly tone arethemost widely used incountry music. Asforamps,theFender Twinandothersimilar-styled amps-especially Peavey-with theirabilityto outputcleanlgnesat highvolumes were,foryears, thechosen ampsof mostplayers. Withrockandblueshaving anever-increasing inlluence 0n c0ntemp0rary c0untry, ampswithbuilt-indistortion, suchasmodern Fenders, Peavey, andMESAr/Boogie, aremorefrequently used. Whenpickingouta guitarand/oramplifier, youdc findsomething thatis -lriendly andthaty0ulookf0rward to playing. n0thave t0spend a fodune gear onequipment; choose thatwillbeaneffective inspiration forvouto0lav. -!$:

'

"1S '$i.

ffr \\*l i$...

ItY

D r e a d n o uagchot u s t i c

Fender Tel ew i thFender Twinam p

PICKING ,',: cegin yourthumb (llat)pick.heldbetureen ourstudies using flatpicking-that basic is,playing witha standard and -::x frnger. playing you'll Eventually, though, if you're serious about c0untry music, want10trysomemethod of picking y0urfingers. you'llhave :'a: alsoincorp0rates Basically, twooptions: Hybrid Picking: A flatpickinconiunction (particularly y used withtheother lingers themiddle andring)s themost\,/ide right-3^i technique "hybrid" guitarists. bymodern country This approach helps facilitate a variety 0f lechniquesisty nuances like e -'a. pickin', pedal-steel growth rsprcking, youto chicken and A little bends. bit of nail 0n the middle and ring iingers r'/i I help ' more. younowcomfortab ::c thestring Trythistechnique introducing bygradually theother fingers to parts v playusng pick, y0u'll get. ,st a Aswithanytechnique, themoreyoupractice, thebetter Thumb & Fingers: Another option isto usea thumbpick, withtheother three incrime.Thistechorfour{ingers as"partners - tue.firstpopularized Atkins byChet andMerle Travis andthenfurther developed bymodern super-pickers Brent Mason and S:ottyAnderson, allows forthegreatest speed, flexibility, andaccuracy. lf youarealready extremely r/ th comforlable c0npicking, ..ntional pick. it canbes0mewhat di{ficult t0 "jump ship"to using a thumb However, if youarejustdeveloping anap:'oach, to Chet onelisten or Brent willstate a powerful for"thumbin' case it."

f lat pic k i n g bas ic

h y b r rpdr c k r n g

t h u m ba n df i n g e r s

VS. STANDING SITTING yourself performing youto periodically Toprepare foreventually in publicor inlrontofyourfriends,I encourage standwhen youpractice. youneedto standeverytimeyougrabtheguitar,butonceyou'vegota newlickunderyour Thisdoesn't mean puta straponyourguitarandgetusedto playing yourweight, fingers, it whilestanding. Thewayyoudistribute howyouapproach thefretboard andthestrings,andhowyou theinstrument willallmakea bigdiflerence in howwellyouplay when ingversus stand sitting. Andwhileyou'reat it, plugit in,Inthesamewaythatthedrfference between sittingandstanding canfeellikenightandday, plugging yourelectricuninto anamp(andturningupto "10")canbeaneye-opening experience if you'vebeenpracticing plugged allthewhile.Stringdampening, dynamics, andoverall tonecanbegrossly misludged if notamplified, sobesureyou guitar your spend enough timeplugged inittheelectric is instrument ofchoice, Nowlet'sgetstarted !

COWBOY CHORDS played 0penchords-that is,chords wilhone0r moreopen strings, usually within thefirstfewfretsoftheguitar-have a sound thatoftenconjures uptheimage ofa cowboy strummin'away These ontheprairie. typesofvoicings arecommonly referred toas"cowboy chords." Strumalongwiththefollowing twocountry classics togetthehangofswitching between some"cowboy" chordshapes. Listen t0theCDandfollow thesuggested slrumpatterns.

E.I'I TUNING NOTES TflACK 1

Thisfirstcountry favorite wasimmortalized bythegreatPatsy Clineandetched forever inthemindsofguitarists byTelecaster deitv RovBuchanan.

s

SWEET DREAMS

IRACK 2

A rrrrn I taaaI o

x o

TIII n-n-F 234

G/C

x

,G/"8

o o

ffi TTTT-I ffi1 3 4

G

.q. ffi $++f

o o o

i_.TTT] STTTT'

rT_TM

+!+

324

-

g" ffi aTTTlil ffi 324

-,:

o

Em

coa)

rfiTT'] taaltl TrT-T-'n

ffi 23

E. r.TTT'] .TTTII

ffi

32

4

D rnTl tLta a |TTT-1

nTll-r I I

132

W o r da s n dM u s i cb y D o nG i b s o n C o p y r i g@ h t 1 9 5 5S o n y / A TSVo n g sL L C Copyrigh Rte n e w e d A l lR t g h tA s d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i nBgM , u s i cS q u a rW e e s tN . a s h v i l lTeN. 3 7 2 0 3

g" ffi .TTTTI

H++F

324

Yourrighthandwillgetquitea workout asyoustrumalongto thissecond number, a well-known bluegrass tune.(lf thepace permeasure pattern 6 toofastforyou,lrytwostrums instead ofthe shown.)

o

ROCKY TOP

NAfi 3

G -.1T: |l+1

ffi

t,

/,)

I

Em

OOO

-r.T1T taatll i-r-Trn ffi

n*ffn

6

23

g" |TlTfi

t?l++.l Hl+l4 32

,,1

er (,

6 g.

rfml t?1#1

ffi

&

32

4

g,

rfiTI t?-r+f,l

ffi

A

32

4

Y a

W o r d sa n dl V l u s b i cy B o u d l e a B u xr y a nat n dF e l i cB eryant C o p y r i gO h t 1 9 6 7b y H O U S0EF B R Y A NPTU B L I C A T | OGNaSt t, i n b u T r gN, C o p y r i gR h te n e w e d

SCALES AND CHORDS A greatwayt0 combine yourcountry a number guitarplaying of concepts thatwilldevelop aswellasyourunderstanding of general music in istostudy themajor scales andthechords linked tothem. Let's startwithc major. First ofall,a scafe isa series ofnotes arranged ina specific order. Perhaps themostcommon scale islhenaiorscate.ltis used the as basis forcountless progressions. melodies, riffs,solos, andch0rd Scales areconstructed usingacombination ofwholestepsandhalfsteps.(0ntheguitar, a halfstepisthedistance ofonefret: awhole stepistwofrets.) Allmajor scales arebuild fromthefollowing steppattern: WHOLE_WH OLE_HALF_WH OLE_WH OLE_WH OLE_HALF Thisseries gives ofwhole andhalfsteps themajor scale itscharacteristic s0und.

CMAJOR SCALE Tobuilda C major scale, startwiththenoteCandfollow thesteppattern shown above. whole

C I

half

D L

whole

EFG 315

whole

whole

A 6

B 7

C 8(l)

Thefirst(andeighth) degree of a majorscaleis called thekeynote or tonlc. Thisisthe"home" toneonwhichmostmelodies end. Practice theCmalorscale, ascending anddescending.

1stposition Thisscale isplayed inlirstposition-that is,withyourfirstfinger atthefirstfret,sec0nd finger atthesecond fret,andso0n.(Thename of theposition is determined bywhere y0uplace y0urfirstfinger.) We'llbelearning a lotofscales andchords inthisarea 0fthe "0penposition"-as fretboard-also called thecombination of openandfretted notes available here tends t0 s0und very"country" allbyitself.

T",thefollowing scale exercise, lf youplayit asindicated, (n)andupstrokes pickingusing (\ )-i.e.,alternate downstrokes . o u ' lal d dt ot h e" c o u n t rfye"e lPractice . gradually thisslowly, without mistakes, and s p e eidt u pa sy o utre c h n i qaulel o w s .

o NAfi 4

t

l

1,,:

+;

a

te

3

'

f,

€23

CHORDS INC lVhen a piece of music is based ona C major scale, it issaidto be"inthekey0f"C.Thiscould apply to a melody, licks, riffs. s0l0s, andeven to chords. Forevery key, there areseven c0rresp0nding chords-one builtoneach noteofthescale Bdim

Am

viio

Theseven chords arec0mmon to thekeyof C because allseven contain (nosharps onlynotes oftheC major scale orflats). They're created bystacking notes inthirds-i,e., every (1-3-5, othernoteofthescale 2-4-6, etc.). Because each consists of three notes, these chords arealsosometimes referred to astriads.

Roman numerals (l-ii-iii-lV, etc.)areusedto labelachord's location withinakey,aswellast0 indicate thequality(major, minor, diminished) ofthechord.Taking acloserlook,notice thatmai0rtriadsarebuiltonthefirst(l),fourth(lV),and,fifth(V)notes ofthemajor scale; minot triads arebuilt (ii),third(iii), (vi)notes onthesecond andsixth 0fthescale; anda diminished triad isbuiltontheseventh (vii") note ofthescale. lt is important to memorize thissequence of chord types, asit applies to all maj0r scales. The"cowboy chord" orfirstposition chord versions 0fCmaior areasfollows: C

xoo

Dm

XXO

o

Em

ooo

G

Am

ooc

rfn-f t?ll I

e| |t

rillt

231

lrlI 32

4

xo

o

l-1.TT5r

x

G/B oo

|.--]--_1---#

|??tl

rl_[]-l ltltil

tr]-r-l 231

NotethatI didnotusea diminished chord(B")fortheseventh scaledegree, astraditional theorywoulddictate. Forthepurposes ofthisbook, theslash chord G/Bismore stylistically (The appropriate.seventh degree, B,thebass noteofthechord, stillserves asa "leading tone"-i.e., a note thatresolves tothetonicorrootofthescale progression.) inatypical chord

IMPROVISING INC playThefollowing examples arein thekeyof C;thatis,theyusechordprogressions derived froma C majorscale. Practice playthescale ingthechords; thentryimprovising overthemusing theC maior When scale. beginning to improvise, ascendinganddescending, andnotice howthenotes workoverthechords. Then, mixupthenotes. lt helps to emphasize chord tones.

* TRACK 5 Pluy I tinrc.s

Pltty8 titrtc.s

picking Thefollowing lickssh0uldgiveyoua feelfor howalternate alongwithusingtheopenstringsgivea countryor bluegrass flavor t0 major improvising. scale These licksareplayed incultime.Cuttime,or"two-beat" incountry asit iscalled permeasure, music, hastwobeats withthehalfnotereceiving onebeat.0ntheCD,thesegobyquitefast.Practice themslowly at{irst.

* IRACK 8

IRACK 7 Vr\/-

?a?.

0

31

ffi

ffi

g IRACK

TRACK IO -V-V

10

-v"

\ /

I

\ /

3

CARTER PICKING Oneofthemostfamous guilarplaying, stylesoftraditional country Cailerpickingwaspopularized by(andnamed for)coun'20s '30s. :i' legend Maybelle Carter oftheCarter group Family, aninfluential olthe and picking Basically. Carter isasolostyle ct playing:The melody ofa songis picked onthelowerstringsoftheguitar, whileharmony isadded in between lhesenotes, slrummed onthehigher strings. rhisarrangement "l WalktheLine"isa goodplace ofJohnny Cash's picking. to startwithCarter Themelody sh0uld stand0ut lere:it'sinthebass. Play it more loudly than thech0rd (onthehigher strums strings) andholdeach melody note foritsfuil .alue-or longer, if need be.

o

IWALKTHE LINE

TRACK 11

33+3

33

s2

l

l

C

|, t1

'

a

24

3

I

II

tl

W o r d sa n dM u s i cb yJ o h nR C a s h o 1 9 5 6( R e n e w e 1d 9 8 4H ) 0 u s E0 F C A S Ht N d GM U S t c . C( B M t ) / A d m i n i s rbeyrBeU

11

probably Before wegett0 "Wildwood Flower," themostnolable of Maybelle Carter's classics, weneedto discuss a couple of you "slur" net'rtechniques thatallow t0 twoormorenotes together tocreate asmooth, flowingsound andhelpgiveyourmusic flavorandexpression. These twoarticulations (waysofplaying andconnecting notesontheguitar)arethe"hammer-on" and the pull-off."

THE HAMMER.I)N Thehammer-on is named tortheactionoftheleft-hand fingeronthelretboard. Toplaya hammer-on, followthesesteps: .

Playthefirstnoteasusual(Fret thenotewithyourleft p i c k h a n d ; t h es t r i nw g i t hy o u r i g h t , )

.

pressure Maintain asy0uquickly useanother left-hand f i n g et o r p r e sdso w n( " h a m m0enr " )o n t oa h i g h ef rre to f t h es a m set r i n gs,0 u n d i tnhges e c o nndo t e .

TBACK 12 -'-/

Hammer-ons canbeplayed fromfretto fret,or fromanopen string to a fretted note.Regardless you'llalways of fingering, hammer pickattack f roma lower toa higher note. usetheinitial (onthefirstnote) to carry thetone

THE PULL-OFF Thepull-off istheopposite ofthehammer-0n. Toplaya pull-off, follow these steps: .

Playthefirstnoteasusual. (Fret thenotewithyourleft y o u r h a n dp;i c kt h es t r i nw g ith ight,)

.

M a i n t api nr e s s u raes,y 0 uq u i c k l"yp u l l t"h a tl e f t - h a n d f i n g eorf ft h es t r i n gs ,0 u n d i tnhges e c o n( d l o w enr )o t e on thesame string.

TBACK 13

Pull-offs canbeplayed fromfretto fret,or froma fretted note t oa n0 p e n s t r i n gR e g a r d l o e fsf isn g e r i nyg0,u ' a l l l w a ypsu lol f f froma higher to a lower pickattack noteUsetheinitial (onthe firstnote) to carrv thetone. possible, place TIP:When bothfingers ontheirrespective fretsbeforepulling offfromonenoteto thenext.

Thisisnotalastsong, butpractice it slowly to keep a consistent tempo before bringing upthepace a little. ' Keep yourleft'hand fingersin chordposilion, except whenit'snecessary to movethemto playcertain melody notes. . Useyourthirdfinger to playtheA noteinthemelody when it occurs overlheCchord. . Pickusirgalldownstrokes. ' Have funwiththehammer-ons andpull-otfs, whichaddvariety andexcitement t0 thearrangsment. Notice that theyareall0ntheDstring, between theopen string and2ndfret. 12

o

WILDWOOD FLOWER

IRATX 14

(l

;_ ra

T

,l

a

II

,

ll

a

Oa

0

a+ B-

:l? .

C

te

l.

,

t

.

l I

3 D.S. al Coda

&4 a)

--€2

3

]

$ coao

W o r d sa n dM u s i cb yA P C a r t e r C o p y r i gOh t1 9 3 5b yP e e Irn t e r n a t i oCnoarl p o r a t i o n C o p y r i gR h te n e w e d

13

'Btlt)M CHICK'RHYTHM

p0pular "boom guitar Another technique is sometimes thisisa styleof rhythm frequently c0untry called chick"; associated "boom withWestern swing, butit isapplicable toa broad range ofother styles aswell.The chick" rhythm basically calls for (the"boom") hitting thebass noteofa chord andthentherestofthechord immediately alter(the"chick"). y0ualternate Typically, between therootandthefifthofthechordforyour"boom"notes. Thismayor maynotrequire afingeringchange. 0nthisCchord,forexample, thethirdfingerusually moves fromCto G,whiletherestofthefingersremain onthechord shaDe.

Agreattuneforpracticing thisis "Hey,GoodLookin"' bythegreatHank Williams. Thissongisanexcellent example of"boom chick"rhythm.Notice thattheDchordinthistuneis majorinstead of minor;thisgoesagainst therulesof Cmajorthatwe havelearned sofar,butdon'tbealarmed. Thistypeof substitution isfrequently usedin popular music.Here, theDchordis partof a ll-Vturnaround. pr0gression Although thell-V oftenutilizes a minorii chord,themajorll chordis alsocommonly used incountry music. playing When thissong, usealldownstrokes andtrymuling eversoslightly withthepalmof yourrighthand(see"Palm page). Muting" ontheopposite Play rhythm withtheCD;we'll along learn themelody next.

* THACK 15

HEY GOOD LOOKIN' (nHnHlvt)

2. C

W o r da s n dM u s i cb y H a n W k illiams

Copyrisht o 1e51 t.r/olY::.ln; t_t"?fl:^t't.'rr Music intheu s A A l lR i g h t o snbehao l ff H i r i a m M u s i cA d m i n i s t e rbeydR i g h t s o nl M g u s iIcn c , A l lR i g h t o s u t s i dteh eU . SA C o n t r o l l ebdy S o n y / A TSVo n g sL L C A l lR i g h t os n b e h a lof f S o n y / A TSVo n g sL L CA d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i n gM , 8u s i cS q u a rW , a s h v i l lTeN. 3 7 2 0 3 e e s tN 1A l-?

I t

l

a 2 3 2

o

JI J

,

a

e'

r_

,

t

f,,

t

'.

t

U

A littlemutingwiththepalmoftherighthandreallyaddto the"boom chick" effect. Palmmuting isbest achieved by usingthesideor heelofyourpickinghandto restagainst the bridge, muffling 0r"muting" thestrings asyouplay.

15

Before wetackle themelody to"Hey, Good Lookin'," let'saddanother articulation to ourrepertoire. Thistime,it'stheslide.

THE SLIDE

s

Theslideis played byfollowing these steps: .

Pickthefirstnoteasusual.

.

pressure, yourleft-hand Maintain as y0umove("slide") finger (Thesecup0rdownthestring to thesecond note. pickattack ondnoteisnotpicked; usetheinitial ofthefirst noteto carry thetone.)

TRACK 16

Y o uc a nu s ea n yf i n g et ros l i d a e n o t et h ; ef i r s ts, e c o nadn, dt h i r d f i n g e rasr et h em o sct o m m o n .

THE MAJOR PENTAIONIC page) Almost theentire melody (seeopposite 0f "Hey, Lookin"' Good is based onjustfivesnotes oftheC m a j osrc a l eC:,D , pentatonic. E,G,andA.These actually formtheirownscale, called C major l f w et h es a m en u m b e r i snygs t e m t h a tw e u s e df o rt h em a j osr c a l et h , em a j o rp e n t a t o ncioc u l db ed e f i n el d i k et h i s : 1-2-3-5-6. Notice thatthe4thand7thdegrees ofthemajor areomitted. scale "c0untry" pentatonic Themajor isanextremely effective forsounding scale whenimprovising. Here's anexercise theC using pentatonic position. major in first scale il

III

TRACK I7

k w h i l eu"s i n g W e ' rgeo i ntgo p l a yt h em e l o dt oy " H e yG, o o L d 0 0 k i na' ,n" dt h e nt h e r iesg o i ntgo b ea c h a n cf oe ry o ut o " p i c a pentatonic. theC major scale and/or C major Play through these twoC pentatonic licksasideas.

ru

TRACK 18

ru

THACK 19

I l ^

* Ham m er-o f{ i c k1 s tn o teo n l y ). a nndp u l l -o(p

"fromn0where"; Notice thattheabove licksmake useofslides these are0rnamental slides to a mainnote. Toplaythese, simplybegin 0ne0rtwofretsbelow theindicated fret,pickthestring, andslideupto thatnotequickly. 16

twice;the beplayed of "Hey,GoodLookin"' onthefollowing CDtrack.Thewholesongwillactually lby atongrviththemelody "pick withtheCmajorscaleand/orCmajorpentatonic, Also,trythrowlcond trmethrough, awhile"-thatis,try improvising just just play you you In licks learned. lf try variati0ns here and there. lhe like, the melody again, but adding some il

v rszo

HEY, EO()D LO()KIN' (MEL0[)Y) | -. lo ? I

J

+ 6

J

tl

W o r da s n dM u s i cb y H a n kW i l l i a m s C o p y r i gO h t 1 9 5 1S o n y / A TSVo n g sL L Ca n dH i r i a m M u s i ci n t h eU . SA C o p y r i gR h te n e w e d A l lR i g h tosnb e h a ol ff H i r i a m MusiA c d m i n i s t e rbeydR i g h t s o n Mgu s i cI n c . A l lR i g h t os u t s i dteh eU S A C o n t r o l l ebdyS o n y / A TSVo n g sL L C A l lR i g h t o s n b e h a lof f S o n y / A TSVo n g sL L CA d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i nSgM T N3 7 2 0 3 . u s i cS q u a rW e e s tN a s h v i l e

11

Some othermeans ofarticulating (asa guitarist notes inthe"c0untry" vein) arethestring bend andvibrato.

THE STRING BEND Theslringbendproduces "moaning" thecharacterislic guitar, orvocal-like sound rock, of blues, andcountry andmakes possible pitch tochange without changing thefretposition ofthefinger. Tobend a string, follow these steps: .

Playthefirstnoteasusual. (Theleft-hand 3rdfinger is optimal forbending notes.)

.

pressure Maintain asy0upush thestring upward orpull it downward tothesecond, higher note.

.

Useyourfirstandsecond fingers foradditional

TRACK 2I

Bends areindicated in music bya pointed slur(andanarrow in tablature). Bending strings worksbestonelectric or steelguitars stringacoustic andis donemosteasily on thefirst three strings.

TIP:Whenbending upt0 a note,it mayhelpto firsteslablish thecorrectpitchinyourmind.Todothis,findthenoteonthe fretboard firstandplayit;thengoback andtrybending uptothatpitch fromthestading note.

VIBRATO

$

Vibrato quick quiver canbeeither a shallow, 0ra wide, earths h a k i nmgo v el t. ' sa c h i e v be ydp u s h i nagn dp u l l i nt gh es t r i n g 22 upanddownwithyourfrethandaftersounding a note. This TRACK w "singing" gives quality. thenotea m0re guitarists Country vibrato apply asfollows:

u/ first l'inger

.

Pickthenoteasusual.

.

pressure Maintain perasyoupushandpullthestring pendicular to itslength.

Vibrato isindicated inmusic byawavylineabove standard notation andtablature. Nowlet'splaythemelody "Chattahoochee." to AlanJackson's Here area fewtips:1)Thevibrato indicated should befairly justt0 givethemelody shallow andisadded someattitude, 2)theintroriffcanbeemphasized bypicking closertothebridgb "twang," t0giveit thenecessary and3)inmeasure "roll"fromEtoA,tlattening 2 ofthechorus, letyoursecond finger a bit t0playbothnotes. 0ntheCD,thesongisplayed twotimes: slow, thenfast.

CHATTAHOOCHEE

TRACK 23 StOW/FAST

Intro N.C.

W o r d sa n dM u s i cb yJ i mM c B r i daen dA l a nJ a c k s o n C o p y r i gO h t 1 9 9 2S o n y / A TTVu n e L s L CS , e v e n tSho nM u s i ca n dM a t t i e R u t hM u s r c r A l lR i g h t o s n b e h a lof f S o n y / A TTVu n e L s L CA d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i n8gM , u s i cS q u a rW e e s tN . a s h v i i lTeN, 3 7 2 0 3

18

Chorus C t

o

e

,

'|

tA't

-

tt i'{ru\--

ll2

0

2

,]

tt.a

33

C

Bridge F

t^a

+ tA'a

i

'1 t'i'!

aA,t

T't/i|A'

Chorus C nA'!

t^'t

C A

19

GMAJOR

your"cowboy younotonlyto playmelodies in between in openposition allows Having a goodgrasp ofthemajor scales guitarist! to sound likea country A very fashion-in other words, inan"idiomatically correct" chords," butalsotoimprovise popular "country" keyisthekeyofG, (W-W-H-W-W-W-H). thispatT0complete Tobuilda Gmaiorscale,startwiththenoteG,andapplythemaiorscalepattern tern. theFwillbesharoed. whole

whole

half

whole

whole

whole

half

t-------;-] pf

D -5

1

G 8 (l)

(F# thatevery isonesharp forG maj0r inopenposition, thekeysignature Practice theG maj0r scale 0bserve: ). Thismeans Fshould asanFf,. beplayed

we'velearned sofar.Listen to howjustafewnuances TrythesetwolicksusingtheGmajorscaleandsomeofthetechniques "country": (like make these licks slides orbends) scalar sound

THACK 24

TfiACK 25

FAST/SLOW

FASTJSIOW

\.^._.

.,.'t^'t't

7.,.7__

l_ -

U2 f=--.

+ *l,tt

,/

-._

tl-

inthekeyof G: Here chords arethe"cowbov"

g"

|frTTI t?llll

?lI

t?

TTTTN

ff-fft

32

4

Am

xo

o

"rTTTF C.c

1| t?l 1??tl .T-t-T---l

t-TfTf

[aTT-n

tt-tt-l

mil tttttl

tl-IT-I zJ

I

D

Bm

FFFFF

13421

J1

|

XXC

o

Em ooo

tT'-ff | ?? | | | n-[T-n

t-It-l ttttrl 23

TheBmchord here iswhat's known Let's takea moment t0discuss these tvoes ofchords. shown asa "barre chord." 20

BARRE CHORDS r , o sbt a r rceh o r dcso v efirv eo r thes a m fei n g eM two0r m0restrings using inwhich aredepressed Barre chords arechords t h en e c tko d i f f e r Thefingering andc a nb es h i f t eud00 rd o w n noopenstrings. shapes aremovable srxstrings andcontain quality. positions produce to other chords ofthesame ent

A-TYPE BARRE CHORD isonthefifth Therootnoteofthisshaoe A chord. movable barre chords istheonebased onthe0pen 0neofthemostuseful it willbeused to playmajor Therefore, chords upanddownthefifthstring. string.

A

Follow to formtheA-type these barre chord: steps 1 . P l aay n0 p e A n c h o r du,s i nygo u 3r r df i n g eorn l yL: a yi tf l a t 2-4. thesecond fret,covering strings across

J

2 . S l i dteh i sc h o r sdh a puep0 nf r e ta, n da d dy o u r1 s tf i n g e r the1stf ret,forming across a barre, to playyourfirstbarre Makesure chord. Strum allfivestrings rings each noteoneata timetotest each string outclearly. Strike forclarity.

3

TlP.Thisfingering having trouble canbetrickyatfirst.lf you're your you middle knuckle finger, may want to the of 3rd elevating playing (either thefirststring it withtheright bynotstriking avoid h a n do,r b ym u t i nigt ) . (ornf,major). to any Youcanapply thissame shape Because itsrootisatthefirstfret,thisparticular barre chord Bbmajor rootalong the5thstring. E B G D A E

o $

x#tsb

B

C

c*nb-

3rd fret

@

@

D

-o|"trb- E

-5thfret

Cil

F

7th fret

pftcb 9th fiet

G

@

oltrb A

l2th fret

thatit resembles Thebarre isderived fromtheA-typemajorbarre You'll notice anAmchord chord shape below chord above, youjustlearned (This istheshape to playtheBmchord inthekeyof G.) used xo

Am o -

4

21

This"A-type" "Ramblin' barre chord rendition ofthechorus to thecountry-rock classic Man"bytheAllman Brothers Band is a great exercise fortheplaying ofthese chords inthekeyof G.

a

RAMBLIN'MAN (cH0RUS)

TRACK 26

-_=

(-

Em I'TTTI iffTfT-aT]

rlt-fTt t t t t l

1 34 2 1

G

fi5TTTl.1 lr

C

T'TTT'

ffi

nitH rfrtn trrtl

I taaa

rfm lrtttl 13331

13331

(-

1.l a

ffi Eltl

l l a i f r

t t t l t l

13331

G

|-TTTT| l tr

tatlla

ffi

HfrFI T-t-n ttrttl

ff---

r[TT]

trtttJ 13331

13331

WordsandMusicby Dickey Betts C o p y r i gO h t 1 9 7 3b y U n i c h a p pM e lul s i cI n c .a n dF . RB. e t t sM u s i cC o

o,,mn". oo.n,l',iJliTlNijLl}ne$p,rr nr,.ilnc Nowlet'sgetbackt0 firstposition in thekeyof G.Thefollowing exercise utilizes thechordsof Gmajorbutalsointroduces theideaof usingthehammer-on asa rhythm technique. Asin"Wildwood Flower," usealldownstrokes andletthechords ring throughout, andyou'llhavelearned playing a veryeffective rhythmtechnique guitar. for country Afteryou'veplayed rhythm alongwiththeCDandfeelcomlortable, switchto playing leadusingtheGmajorscaleandlicksonpage20asyourguide.

IRACK 27

(tNG) HAMMER-0N RHYTHM EXERCTSE

D/Ff

-

=H '1.T= Thumb nn @

22

Plat'3 tinrcs G

DOUBLE INTHIRDS STOPS th

guitarists e stopissimplytwonotesplayed it'safavorite simultaneously; toolusedbycountry to harmonize a melody

lck 0neofthemostc0mm0n double istheinterval stops ofthethird. s youmayrecall, were thebuilding blocks ofchords. lf weharmonize noteoftheGm a j osrc a lient h i r d sw, eg e ta each major of andminor thirds consistent withthechords ofthemajor scale.

t M3

M3

men improvising, it helpsto thissequence ol majorandminorthirds.Majorandminorthirdsfeeldifferent from onthefretboard, o.reanother andtheirshapes change depending onwhatsetofstrings theyareplayed. fuy thefollowing double-stop, lwo-octave exercise, consisting ofthirdsinGmajor. Whenplaying thedouble stops,trythese drtferent technioues: . Using alldownstrokes ofthepicksothatthehigher string isstruck almost simultaneously withthelower one. . Using yourthumb plucking onthelower string andfirstfinger onthehigher string, thestrings simultaneously. . Using yourfingers picking"), inconjunction witha pick("hybrid sounding thelower string withthepickwhile simultaplucking neously thehigher string withthemiddle finger.

o

nAcK 28

IJ

"Ringof Fire"combines Thisarrangement ol thegreatJohnny Cash's double-stop thirdswithsomeoftheothertechniques we'velearned thusfar Whilestating themelody inCarter style,feelfreeto letthechordsringoutbeyond thebarlinesto give thepiece aflowing leel. playing When theages withdouble stops, usewhatever fingenng feels moslcomfortable. Incountry, aswellasblues guitar position androck, traditional rules areoverruled bytheneed to utilize articulations thatdepend ona player's confijustify (slides, dence level pinky vibrato, etc.). your So,inother words, theends themeans-if feels wimpy, trudge onwith lingerings thataremore comfortable.

RING OF FIRE

* TBACK 29 Intro

N.C.

:

J--

U

Verse G

W o r d sa n dM u s i cb y M e r l eK i l g o raen dJ u n eC a r t e r C o p y r i gO h t 1 9 6 21, 9 6 3P a i n t eDd e s e rMt u s i cC o r p o r a t i oNne, wY o r k C o p y r i gR h te n e w e d

Internationar o,l ',lt' nn Reserve d " " ::T'o;'r'Jl,?.lr, f;

24

lJ

tr_-

-aJ

r

I 2

I

2t

4l

7l I

t a'

:

itr L

Thispiece alsoprovides anexcellent opportunity to experiment withdifferent approaches to picking. Playit through withyour tnumbandfingersandthenwithpickandfingers. playing your Notice themellow soundandsofterdynamics of with thumb picking," andfingers versus themore aggressive, brighter sound ofthepickwithfingers, or"hybrid approach.

25

GMAJOR PENTATONIC bmu WITHADDED

Aswelearned inthekeyof C,themajorpentatonic "country." is anexcellent toollor sounding TheGmajorpentatonic scale position particularly infirst is important because it formsa "box,"visually speaking, thatiseasilymoved uptheneckto form themajorpentatonic scaleinotherkeysaswell(we'llseemoreofthislater).Adding aflat3rd(Bb) to ourGmajorpentatonic provides "flavoi' scale anextra useful formelodies andimprovisatton. t3rd, Let's takea lookatwhatthis"box"looks like.Note thetrianqles around theadded ( o )o o o o o

A I

L

\

o-=

()

G

A

I

I

}{}

.'

{B 3

$:

z

f:H

D 5

_-H

EG 6

(8)1

Now,let'shear whatit sounds like.

THACK 3O V-V

i it;q;

- +0303

320

20

2-=+

b3rdandsomeofthearticulation TrythesetwolicksusingtheGmajorpentatonic scalewiththeadded techniques we'vecome across. Inthefirstlick,youmayfindthewhole-step you're bendto bea challenge if notplaying electric. Trysubstituting a slide forthebend, if youprefer.

TRACK 31 FAST/StOW

0

.^ F 30-3

+

0urnextlune,"Sugarfoot Rag,"is inthefiddle-tune tradition of fast,flat-pickin' classics thatarea lot0f funto play,0neol great the thingsaboutfiddletunesisthat,ata slowtempo, they'rerelatively youcan easy; then,asyourtechnique develops, youcan't speed them upuntil seeyourhands move! Thetunewaswrittenandperformed guitarpioneer bycountry popularized Hank Garland andmorerecently bythegreatJunior Brown. Thisarrangement in Gis goingto require you little youshouldhavenoproblem, a bitof dexterity, butil startslowly, 26

Tlp CDincludes botha moderate, melody-only version of "Sugarfoot Rag,"anda laster,full-band version. Playalong{irstat picking, tempo;usealternate a moderate andmakesurethatthedouble-stop slidesarellowingandmusical. Thenspeed it up (without a brt.Ajamtrackversion themelody) Iollows-"pickawhile" usingtheGmajorpentatonlc scale, theabove licks,and we've learned J theskills sofar.

o

SUGARFOOT RAG

TBACK 34 IAfr 33 i.',',:.:

G

a.a

a

131

a

a

31

B--

?_o

i&' :

_3_=3_€--

€

#-

,6" #0

,_{ 2

F

2+

* 0 I

0

i

W o r d sa n dM u s i cb y H a n kG a r l a nadn dV a u g hH n orton T R 0- O C o p y r i g1h9t 4 9( R e n e w eadn)d1 9 5 0( R e n e w eCdr)o m w eMl lu s i cI .n c a , n dH o l l i M s u s i cI ,n c, N e wY o r kN Y I n t e r n a t i oC n aolp y r i g S h te c u r e d A l lR i g h t R s e s e r v eI ndc l u d i nPgu b l i P c e r f o r m a nFcoerP r o f i t U s e db v P e r m i s s i o n

2l

DMAJOR In keeping withourthemeof learning ourfirstposition scales, let'smoveonto thekeyof D,Tobuilda D maiorscale,start withthenoteDandapply pattern themajor (W-W-H-W-W-W-H): scale whole

D I

whole

E 2

whole

G 4

Ff

3

whole

whole

B 6

A -5

Cf l

D 80)

Practice theDmajor scale ascending anddescending infirstpositi0n. 0bserve: thekeysignature (FfanO istwosharps Cf).

2ndposition y0urfirstfinger lf youplace atthesecond fret,you'll beplaying inwhatiscalled second position. Theprincipal position advantage of playing in second liesin theeasewith ages which certain canbefingered Tryplaying a D maj0r scale again, positi0n. thistimeinsecond

H-

? lttt+

ffi

0

I2

s

Notrce thattheopenstringscanstillbeplayed position. insecond Manytimes,a scaleor lickin "openposition" is moreeasilylingered yourhand bymoving playing uptothesecond fret-i.e., position. insecond

Before wemoveon,let'stalkaboutanother element thatwillhelpuswithourcountry sound. Theorganization anddelivery of "phrasing," notes ina soloiscalled andtheuseoftriplets phrasing isanessential toolinmostpopular music, including country.

28

Itipleh subdivide a unit(l:kea quarter nole)intothreepartsinstead ol twoparts.In4/4or3/4time,twoeighthnotes g€tonecount, s0aneighth-nole triplet willalsogetonec0unt: 3

I =,n =J-n

"3".Tocountatriplet,simplysaytheword"tri-pl-et" Triplets arebeamed together witha number duringonebeat.Tap yourtoottothebeat, andcount aloud:

tri-pl -et

Count: I

4

tri-pl-et

tri-pl-et

&

3

r r i- p l - e r

1

LICKS Here pull-offs aresOme bluegrass-tinged licksusing triplets. Theopenstring andhalf-note inthiskeyarewidely bends used , nc o u n t ar yn dhavea s0undall of theirown.Everyone fromChetAtkinst0 VinceGillhastakenadvantage of this uniques0und. These position. licksareplayed insecond

TRACK 36 FASIiSLOW

lt2 ll*

':'I /:l-quarter-step bend

TRACK 37 FASTi StOW

CHORDS Here arethe"cow b o y c" h o r dyso us h o u lkdn o wi n D major: ",

oD

EmFfm

g" rrir t?llll

*oA

iT-f-ff

fl+#

?t I

I

| ?

ttttl 132

2 3

134111

.tz

+

mtFl

_A/Cf,

c

tfI.T-l r-ffi--t--1

ffir T-T{[l-l-|--

t]-f]-t.l

l-'-I

333

?:

13421

3111

pictured l n e F f i mchord hereis based onanE-typebarrec h o r dL.e t 'tsa k ea m 0 m e tnot d i s c u st hse stev o eos fc h o r d s

2g

E-TYPE BARRE CHORD TheopenEchordcanalsobeconvefted intoa barrechord.Thisshape willhaveitsrootonthesixthstring.Follow thesesteps: 1 . P l a ya no p e nE c h o r db,u tu s ey o u r2 n d , 3 r da,n d4 t h fi n g e r s .

2

2 . S l i dteh i sc h o rsdh a puep0 n ef r e ta, n da d dy o u lrs t f i n geracross thelst fret,forming a barre.

134211

S t r u ma l ls i xs t r i n g sa ,n dm a k es u r ee a c hs t r i n gr i n g so u t clearly. Strike eachnoteoneata timetotestforclarity. Thisparticular barre chord isF major because itsrootis Fonthesixthstring. Youcanapplythissame shape to anyrootnote a l o ntgh es i x t h s t r i n gP.r a c t itchei ss h a puepa n dd o w n t h en e c k :

E B G D A E 3rd tret

5th fret

7th fret

9th fret

l2th fiet

yoursecond lf yousubtract fingerfromthe"E-type" majorbarrechord,youhavethe"E-type" minorbanechord:

Em o oo ?t t??e ---.------___---

rl-ltTt t??|

t

rT]-It

lrlrtl

134111

TIP:Analternative guitarists fingering thatmany particusef0rE-type barre chords, ularly onthelower frets, isto forma partial barre withthe1stfinger across thetop strings, letting thethumb wraparound thetopoftheneck to playthebottom string. "shortcut" Thiscommon canbeeasier onthelefthandthana fullbarre, andis perfectly acceptable incountry, guitar folk,rockandotherp0pular styles.

30

T 3 421 1

T34111

0f "Mercury Blues," dongwiththisexample using all"E-type" barre chords:

MERCURY BLUES

,/

,/

D a

I laa loll

rT-r.Tl aal

tmu t l t l l

1 3 4 2 11

,/

Bm -::::-

a

lr

atttaa

a

rT.rfl-r

ii-: .-3-t

D

A

aaa

H+H

tl 13421 1

1 3 4 2 11

1

|aa

[T*r.T] aal nTl-fl

taa |

./

Writteb n y K . CD o u g l aasn dR o b e rGt e d d i n s ( B M l ) / A d m i n i s tbeyrBe U d GI V U S I C O 1 9 i 0( R e n e w e 1d 9 9 8B ) - F L APTU B L I S H IaNnGdT R A D I T I 0MNU S I C

Tlefollowing (l-vi-lV-V)thatisverycommon exercise usesafamous chordprogression inallpopular music,including country.Thisexercise alsoprovides anexcellent 0ppoftunity to practice usingboththeE-type andA-typebarrechordvoicings. Try prcking each string individually andletting thenotes ringtoachieve anarpeggio-type effect.

o

l-vi-lV-V

IRATX 39 D ta

A

tta

rrFtrn

a

ffin

aattl |...]...1...m

I

I J J J

I

aa:tr

rTTF

aaal

tffffl 134211

I

D i a

l l a ) l r

TFFN i taaaI

rt-t-fn I J J J

I

D a

laa l0lr

FTraTl

$t++ ffn-n

1 3 4 2 11

A at

aa:tr

rrraTt iaa tt rfI_ITI

1 3 4 2 11

< l

SUS CHORDS &SEVENTH CHORDS Getting backt0 our"cowboy" chordsin D major,let'saddtwom0reflavorsto furtheryourcountryrhythmrepertoire: sus chords andseventh chords. D sus4

youreplace Insuschords, thethirdoftheachord withthefourth, asinsus4(pronounced "suss f0ur"), 0rsometimes withthesecond, asinsus2. Theresulting is incomsound plete quality or unresolved butcreates aninteresting thatisneither maj0r n0rmin0r.

Dsus2

Here aresomeexamples:

Dsus4

Dsus2

XXO

Asus4

XXO

XC

134

O

13

Asus2

xo

C

234

oo

23

14

3

Seventh chords arec0mprised offournotes: thethree notes ofa triadplusa major 0r minor seventh interval. Themostcommonly usedseventh chords in country music theadded c0ntain minor seventh. Forexample, if wetakeourD major triad(D-F#-A), andadda minor seventh (Cq), interval wegetD7.Thisisalsoreferred to asa dominant seventh chord: Here aresome"cowboy" chord voicings of dominant seventh chords:

D]

A7

xo

XXO

o

G7 coo

a

C

F.7 O

CO

D] The"A-type" and"E-type" barre chord versions ofthedominant seventh looklikethis:

l0 fi

1

1 3 ' 14 ' l

Eml

lf westart witha minor triadanda minor seventh interval, wegetwhatiscalled a minor seventh Forexample, chord. if wetakeanE minor triad(E-G-B) andadda minor sev(D),wegetEm7. enthinterval

rninor seventh

"cowboy" Some chord examples of minor seventh chords: o

Eml

Aml

oooo

xc

optional

c

o

roptional

2 1(4)

z

The"A-type" and"E-type" barre chordversions of them i n osr e v e nct hh o r d l o o kl i k et h i s :

1 2f r

)

optional 1 3 1 1(4)1

32

waltzin D,strumming h lollowing alongwiththecombination of major,minor,sus,dominant seventh, andminorsevplaying "pick After dlords. thechords twicethrough thearrangement, taketwochoruses to awhile"usingtheD major r uide. a n dt h el i c k isn Da sy o u g

DSUSWALTZ D

:- 3 4 II:.. ,

Dsus4

]a

Asus4

A7

.i .

. J'

Ds us 4

A sus4

ta'

.., a

Em7

u

_i

A

Asus4

T

TU

i&

A ,l

Dsus4

r1+

rfm

forcein countrymusic.This Buck0wensandhisright-hand man,guitarist andfiddlerDonRich,werea mightyinfluential "Buckaroo" gives good inthesuspended 4thnotesior effect. example ofworking usa arrangement oftheir1965chart-topper is statedin D in firstposition froma technical standpoint. Themainmelody challenges Thistunepresents someinteresting notesmoves upto thefilthfretto G.Thisis donebybarshape thatencomes allthemelody andthenthesamechordal fingers. Togetthesus4wheninthe withyourthird,fourth,andsecond the"openD"-shape ringyourfirstlingerandmaking position, your (C). thenote with fourth frnger tocatch G barre across withsomeofthepickfeel.Youmaywantto experiment Make allthenotesringwellbeyond theirbarlineto geta niceflowing particularly (pick& fingers) technique discussed earlier. ingvariations, thehybrid songs.The6/9("sixchordin manycountryandrockabilly Notice thatthesongendswitha D6/9chord,a familiarending theseventh We'll seemore i.e.,a chord thatincludes notes beyond scale degree. nine") iswhatiscalled anextended chord; just (D), (Ff,), (B), root 9th(E), that the notes this D6/9 chord are: 3rd 6th these later. For now, realize comprising of chords sth(A),androot(D).

BUCKAROO 4I TRACK

I et r itt,e,t lt roLtg hout

W o r d sa n dM u s i cb y B o bM o r r i s C o p y r i gO h t 1 9 6 5S o n y / A TSVo n g sL L C C o p y r i gR h te n e w e d A l lR i g h t A s d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i n gM . 8u s i cS q u a rW e e s tN , a s h v i l lTeN, 3 7 2 0 3

34

7ii 2

{-0

1

1-

?q

NOTES GRACE

inanystyle. notes arebasically Grace notes wayto addsomepersonality to melodies orimprovisations areanexcellent Grace quick played indicated with note()) befast that they a small rightbefore note. Infact,theyhappen so are note anintended a grace grace note thusfar,buthereares0meother We've notes, to someextent, withourbends foretheintended note. used examples:

#

TBACK 42

Travis, hasplentyof gracenotes.Thedouble-stop Thisarrangement of "Forever andEver, Amen,"madefamousbyRandy gracenotesareof particular Youmayemploy interest astheyarevery"country" sounding. anypicking stylethatyoufeelcomyoufor furthertechniques fortable with,butthehybrid(pick-and-fingers) technique is highlyencouraged asit will prepare guitar position insecond throughout. unique tocountry stylings. Thissongisplayed

FOREVER AND EVER, AMEN 43 TBACK

-2-, 24

t-2

a u^

74

iAAA'IAA'

----// TAA'IAAA'I

Words andlllusicbyPauloverstrcet andDonSchlrt2 O 1987SCREEN GEMS.EN4II\4tIS]C INC,,SCARLET MOON ijIUSIC. UNIVERSAL IVCAI!,IUSIC PUBLISHING. A DivisionoI I.JN VERSAL STUDIOS, NC.andDONSCHtTZ[/]USIC - MCA AllRighls forD0NSCNLITZ NIUSIC Conlrolled andislered byUNIVERSAL ftrlUSlC PUBL]SHING ADivsion0fUN|VERSALSTUDl0S,lNC.

36

Chorus D

E' -

l I I

-,_

t.- J

.J-

r& jc

37

DMAJOR PENTATONIC bIRU WITHADDED

Let's pentatonic addanother scale to ourimprovisational repertoire: D maior scale withanadded flat3rd.This"countrv" quite sounding scale cancome in handy, aswe'll soon see. ooo

oo

D 1

EF 2b3

pf J

ABD 5

6

(8)1

These licksshouldgetyoustarted withsomepossibilities. Feellreeto Jindyourownfingerings forthese,usingfirstor secondDosition. orboth.

TRACK 44 FAST/SLOW

s

TBACK 46

Here's ajamtrackversion of "Forever andEver, Amen." Take afewes lo "pickawhile" overit.Trythesetwoap proaches: 1. UsetheDmajor you've scale andthelicks learned. Becaretul yououtof ontheE7chord, though, asit takes theusualDmaj0rtonality. Trystaying awayfromtheGnoteoradda Gflor justthatmeasure, andyoushould befine. 2, Another wayof dealing withtheE7chordisto useonlythenotes0ftheDmajorpentatonic withadded flat players 3rd,Many genres incountry andinother just areable togetthrough tricky chord changes byusing thisscale.

38

AMAJOR proceed withourstudy popular of major scales withanother keyforcountry music, thekeyofA. whole

whole

half

urhole

whole

whole

half

-flo o

B

D 4

Cf -1

L

p'f 6

E 5

6t 7

A 8 (1)

thetwo-octave A m a j 0src a laes c e n d ianngdd e s c e n d iR ne gm . e m btehre:k e ys i g n a t uf r0erA m a j oirst h r e se h a r p s position. G ,) .T h ef i n g e r i shown n g mixes firstandsecond

lleresomelicksinAthatmimicthesoundofa popular instrument inc0untrymusic,thepedalsteelguitar.Pedal steelisan pedals nstrument thatutilizes t0 bend your thepitches ofthestrings with feet,whilea steelbaris usedasa slideonthe guitarists strings.Manycountry havelearned to imitate thesoundofa pedalsteelguitarveryeffectively. Wewillcontinue t0 explore these kinds oflicksinthisbook, buthere area fewtooetvoustarted:

IMTX47

IRACK 48 FASTISL0W

,+

?, i l

-

-+--+

T A B Here are"cowboy" chord voicings ofA major:

Bm

1

D

Ffm

xoo

13421

z

practice Let's our"cowboy" chords andother A major chords using a fingerstyle technique named afteroneoftheg.ea:s :. cou ntryguitar, Merle Travis.

39

TRAVIS PICKING picking Travis isalingerstyle technique. Thebasic approach hastwomaincharacteristics: . Thethumb alternates quarter between twobass strings, either onbeats 1 and3 orinsteady notes. . Thefingers pluck thehigher strings, (0ntheupbeats). usually between thebass notes Theresultis a drivingrhythmic feelthatwasthebackbone of thestyleof notonlyMerleTravis, butChetAtkinsandmany others. Although MerleandChetusedthumbpicks, played thistechnique canalsobeeffectively usinghybridpicking-but let'sstartoutwithjustourfingersto getthehangof it. Theright-hand fingerandthumblettersusedinthisbookarebased ontheinternationally accepted system ofSpanish words andletters. p pulgar= thumb i indice= index finger m media= middle finger = a anular ringfinger picking patterns Practice each ofthetwomain Travis below. Notice thedifference rntheuseofthethumb bassnotes.

TBACK 49

TBACK 5O

* +___ 4 _ f-1l,

e a

e a

p

p

Thisexercise usesa fewdifferent versions of TravispickinginthekeyofA.Tryit slowlybyyourself atfirst,andthenwhen youaremorecomfortable, playalongwiththeCD.lf youaddsomepalmmuting(withyourpicking hand)onthebassnotes, letting alltheother notes ring,you'llachieve thesound thatMerle andChet made famous!

PICKIN' INA

Q

TRACK 5I

+ J a

p

rmpalm

u pimpai

impaim

D / F #E / G # Plut'4 times

+ i m n r

NowgobackandusetheA maiorscaleandthepedalsteellickstoa "pickawhile" overthechordchanges totheabove Travis picking exercise. 40

pattern youmayalsousea variation additi0n t0 beinga greataccompaniment t0 a vocalor otherinstrument, onTravis n gt 0 p l a ym e l o d iw e sh i l e k e e p i nt hged r i v i nbga s sl i n eg o i n ga,l aM e r laen dC h e t . "Freight hjce thatthefollowing arrangement ol theclassic Train" iswrittenin divisli.e.,astwoparts. Thethumb(p)will paft, your play (i) the l0wer index (m) and and middle fingers will the melody and additional harm0ny notesthatmake 3 part. pick pick the higher You may alsohybrid thisarrangement bysubstituting thethumb withthe andtheindex andmidT withyourmiddle andringfingers, respectively. - fingers

(hceyoustarttofeelc0mfortable partwhileletting part"ring0ut, withthispiece, trypalmmuting thelower thehigher

FREIGHT IRAIN

Y nlfl 52 ;r.. A 2 Q,2

i lTl

I

pppp

mll

ITI

pppp

ppp

m

?

J

m mrmltniii

pppppppppp

ppp

ml

c#t

? mm

tTl

mimi

ppppp

mr

iiii ppppiin

-I

T m p

? I

ppppppt'l

W o r d sa n dM u s i cb y E l i z a b eCt ho t t e n C o p y r i gO h t 2 0 0 3b y H A LL E 0 N A RCD0 R P 0 R A T | 0 l ,

t't

MOVABLE SCALES you Youalready knowhowto playmanyscales inopenposition. Tobecome a skillfulsoloistincountry orinanyothergenre, mustlearn to playscales anywhere onthefingerboard.

pentatonic Theconcept ofmovable scales issimilar totheconcept (e.g., ofbarre chords. Foreach scale major, major with b3rd,etc.),youwilllearntwomovable patterns, onewithitstoniconthesixthstringandanother withitstoniconthefifth youcanmovethescalesupanddowntheneckto accommodate string.Byusingtheset0nicsasa pointof reference, any key.Simplymatchoneofthetonicsto itsrespective noteonthelingerboard, andtherestofthepattern followsaccordingly.

MAJOR Letustakea lookat movable major scales, withthekeyofA,Tonics starting areindicated withanopencircle.

Tonic on6thstring 4fi

guitarpioneer Country JimmyBryant wouldoftenaddsomechromatic notes(ahalfstepabove or belowscaletones)when "fire" playing themajor scale, toaddsome ofhiscustomary tomelodies orleads, asinthissegment which isreminisce pieces ofoneofhislegendary instrumental recorded withSpeedy West.

Jimmy Bryant-Style Lick #1 THACK 53 FASTi SLOW 1-4

B

Tonic on5thstring

42

_

-style Jimmy Bryant b another major lick,thistimeinthegthposition,

Jimmy Bryant-Style Lick #2

,'--_

-1

1l

tlI

bIRU OR PENTATONICWITH ADDED mentioned earlier, theG majorpentatonic scale withadded flatthirdformsa "box"shape thatiseasily moved uptheneck.

isthatshape again, thistimeinthe2ndposition, formingtheA majorpentatonic scalewithadded flatthird(root0nthe

string). Notethetriangles, whichindicate theflatted third,andtheencircled notes, whichforma majortriad(Amaiorin d position T )h.el a t t ei sr a h a n dvyi s u aali df o ru s i ntgh i ss c a lw e hen soloing

Tonic on6thstring

Thisscale, "pedal-steel" inthisposition, isparticularly friendly, meaning rt'sgreatforthosestylelicks.Herearesomeexamples. ' Thefirstlickrequires youto bend theGstring upa whole stepandkeep it there formostofthemeasure. Thispreplaying sents get a bitofa challenge first, you at but withtheCDshould along help it right. ' Thesecond lickhasyouplaying a pre-bent noteandthenbringing it back downto pitch, fora "pedal typeefsteel" fect,verymuchinthevein0fcountry/rock guitar pioneer James Burton.

IBACK 56 iSL0\\r FAST

t

hold hend

-

iJr^T

-

- _ l ?s- fsH

s ++HH 5

._Af

-

i 1I

t I

Thispattern hasitsroot0ntheSthstring. InA,thattakes usupto the9thfret.Note theA major n "c h 0 r sdh a p T t r i a d( e n c i r c l tehda)rt e s e m bal ens" 0 p e D e .h i si sa n o t h h ea r n dvvi s u aali df o rf i n d r n gt h i ss c a lfeo rs o l o i n g .

Tonic onsthstring Jooo o oo o

oo

ta

+J

PICKIN' CHICKEN pentatonic (withb3rd)pattern Thefollowing licks, based ontheA major incorporate onthesthstring, a technique called pickin'.Chicken pickin'isatechnique chicken thatinvolves mutingnotes, them,to produce orchoking apercussive snapthat, "clucking." tomany listeners, conjures upthesound ofa chicken pickin'sound: There area number tocreate ofways lhechicken (-), andletthesame thesideofyourthumb Use onyourpicking hand to mute or"choke" a note asyoupickdown (v) Repeat noteringasyoupickit withanupstroke thisprocess rapidly.

'tt

.*e

TRACK 57 FAST/SLOW

great Useyourthumbandfirstfingera lacountry-f lavoredrockguitar MarkKnopfler. Thisisachieved bypicking a note w i t ho u rf i r sfti n g e(ri )t h e np l u c k i n t hges a m n e o t ea g a iw n i t hy o utrh u m (bp )b u tw i t hy 0 u fri r s ft i n g erri g hbt e h i ni d t, actually 0nthesame string, muting it.

A

i/> (i) p

TRACK 58 FAST/SLOW

i

(i) pp

(i)

i

hold bend

yourthumb(p)withtheflatpickand Usea hybridpicking technique; basically, dothesame thingasabove, butreplace yourfirstfinger(i) withyourmiddle finger(m).Notethathaving a littlebitof nailonyourmiddle fingerallowsyouto snapthestringa littlemoreeffectively. Let'shearthesamelickaboveusingthistechnique, andnoticehowbrightand aggressive it s0unds incomparison tothethumb-and-fingers approach.

TRACK 53

FAST/StOW

"Country gentleman Gentleman" isatunewrittenandperformed bythecountry himself, ChetAtkins. Thelegendary, Englishguitarist borncountry AlbeftLeealsorecorded thistune,andthisarrangement drawsfromhisrendition, whichfeatures a lot techniques we've learned thuslar.Wealsohave three newchords inthisarrangement: E"J

E7 5fr

X

89

5fi

2314 B9

Notice the89,whichisanother extended chord. lt'sactually a dominant ninthchord; thatis, a dominant seventh chord withanother majorthird stacked 0ntopoftheseventh scale degree. 44

#

orh

ultry Gentleman" requires eitherfingerpicking orhybridpicking insections indicating twoparts.Thesingle-note linescan laprcked or played withfingers. Notice thesections pickin'; withthechicken feelireeto experiment withthediiferent p i c k i n ' t e c h n iw q uedeiss c u s s e ( Tdh. e C Df e a t u r a eh s y b r ipdi c k i npge r f o r m a o n fct h e i st u n e , )

COUNTRY GENTLEMAN

? xP.M. throughout

f

-0-

$.-]fr=r. --

?

'-Ttfl a

F c

t

-

-

.,t

l

j

!

-ffi

-6-Z-

-oB9

i6

A -

-

r

--l-

't

-t f!-

7+-_

l--rr-,_h z r 'u

e l

r l

iAA/|

0-

+

42

43

B yC h eA t tkina s n dB o u d l e a u Bxr y a n t C o p y r i gO h t 19 5 3S o n y / A TSVo n g sL L C C o p y r i gR h te n e w e d A l l R i g h tA s d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i n8gM u s i cS q u a rW e e s tN . a s h v i i lTeN, 3 7 2 0 3

45

---

letrittg

A

TAAAAAAAAAT

^**

t=Efi=-,:+#.4+-*

J

---

chickenpickccl-

l

-#==-l1iii=r4i#. I -.....: A..

ll

f--'.

t

\

(7I

A

D

t

:r[c|'-Vfrt

--:

46

<-\

tAA'f

+

* +

l

themovable . using scales and/or scales inopenposition, withthelickswe've learned thusfar,"pickawhile" along over rhythm trackfor"Country Gentleman." Asa guideto whichscales to useoverthechords, herearesomesuggestions: pentatonic A major withadded flat3rd Amajor Dm a j o r pentatonic D major withadded flat3rd pentatonic B major withadded flat3rd pentatonic E major withadded flat3rd

o

o v ear l lc h o r d s overAandEchords overD chords overD7 over89or Bl overEchords

(RHYTHM) COUNTRY GENTLEMAN

lrfi 6l

To Coda

q^

D.S. al Coda /./,/:

Q coaa

r'7

BLUES TWELVE-BAR

Thetwelve-bar bluesisasongformusedoltenincountry music, fromwestern swingto bluegrass andallpointsinbetween, A basicbluesis a 12-measure formcontaining threechords: thel, lV andV chordsofthechosen key.Inthekey0l A major, would Here's inA: thiswould beA (l),D(lV),andE(V). More olten thannot,these chords bedominant sevenths. a basic blues A7

D7

A7

(E 7)

Thistwelve-bar formwouldconstitute averseorchorus ofablues, andcouldberepeated adinfinitum tocreate acomplete song.

THE RHYTHM SHUFFLE Theshufflerhythmis oftenusedwhenplaying bluesin c0untrymusic.Inthisrhythm, eighthnotesareplayed the unevenly; firstnoteistwice aslonoasthesecond: r

J ---r

3

\

=l

l-'F

i

aa.

aa

guitarists piece. Thefollowing rhythmpatterns arewidelyusedbycountry whenplaying a shuffle 0r rockabilly-flavored When playing these,try several different approaches withyourstrumming hand: 1)alldownstrokes, 2) accenting theupbeats with pstrokes. u

Shuffle inA

Shuffle inD

XC

XX

.l-

\t )=)

48

XX

XO

XX

XXO

TBACK 63

1 -,t

XC

[.

t')

.

F

l..

t) )=) )')

X X

XXO

X X

I

Shuflle inE

r

'[+#f O

ril v

XX X X

iffi

rnActt64 ,!ffl

Hl+l

+#

r.'l=:'.ir

l-_

'+ffi

fJ'...a....1 ll--ttt.a

I fll |^

Flr r' B

! I

- -H 9

2 0

0

2 H

1

.l |1

4 0

patterns Using theshuffle youjustlearned-actually, rhythm a slight variation-play along withthisarrangement of Hank lVrlliams Sr.s "Move lt 0nOver."

II\Z .D I

-

MOVE ITON OVER

nAcK65

r..l=j .lr

IA7

II

#ffi: ffii-=E

. . a - . . . .

t'

I

lr+t I I

r"

tA F.--t

o iij

:TTt-::r t4.

r o t o Ja a a_.. ;) a

. . . . ..--.1-i . . . .

rl I

ffi

m a z Ie ffia ff F 6 LA " u u u e u |o e o r_, r, u u l

6-ffi

tI

D7

r.,-n-{_ a{^-alataaaaOtta.aa

;

|

-.4...c-

....

:Z==.

T=r-.

I

II-l Itl

Ii

,'*Afr?IAffia?r'z=t'f H o o I u-

tt

I

e -e

v

91t

(' u

u

u

ti.1" u o I II o I

I

lATE? i

I II

.:-

'II -

|l f r ' - |

I

.

.

-LAn

r

l-.

.

.

--

.

.

.

t

a a o

.-t , .

a

-

a-. n ,

.3

Z 3 |

rr_

2 LLA

_uu

fr?

_

--

.- a i ; t rttr-

Z

r .

-_

l

. . _. l

* 2 2 r a #^

lL

l

n**

r+

:_

|

.

A7

--

-.ZiiZ?iZ

at.aZZ..

..i......

aa.ZZ

tl ll-

I

f-

l[a-

|

-

I

ffii=laaaaa

.l

,l

Words andNlusc bVHank Williarns ght@1947Sony/ATV Copyr Songs LLCandHiriam IVtusic n theU.SA. C o p y r i gR h te n e w e d A l lR i g h tfso r H i r i a m MusiA c d m i n i s t e rbeydR i g h t s o n Mgu s i cI n c A l lR i g h t 0s u t s i dteh eU S A C o n t r o i l ebdy S o n y / A TSVo n g sL L C -' A l lR i g h t fso r S o n y / A TSVo n g sL L CA d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i n8gM u s i cS q u a rW e e s tN a s hr, :.

49

THE BLUES SCALE youwillfindthemajorpentatonic Tosoloovera blues, scalewiththeadded greatscalefor flat3rdworksverywell.Another playing overa bluesisthebluesscaleitself.Thebluesscaleis identical tothemajorpentatonic scalewiththeadded flatthird, butthelocation ofthetonicisdiflerent. Infact,another name lorthebluesscaleisa minorpentatonic scale(1-b3-4-5-7) with pentatonic anadded flatsth.InA,theminor would beA,C,D,E,G,andtheadded flatfifthwould beEb.

Tonic on6thstring

Here istheblues scale inA,withthetonic0nthe6thstring. Notice theflatted 5this i n d i c a tbeydt h et r i a n g l e ,

)+i++,

5fr

4 I

Here ares0melicksusing thisscale inthefifthposition

+

rO(

TRACK 67

FASTISLOW

FAS I, StI]\\

-;4t:r;;L.;;*--J - \\.7" V' I I

t

I

l

TBACK 66

-

rOr

1,7

-^

hold bend --a

-& L-

t--s

r

V

---

1/1 ^

f

stt--

I

t^,t

lllrt 77

|5

5/

:

T

s"s^-T-t_H

_qfl-:-

-tl

Tonic on5thstring Here istheblues scale withitstonic0nthe5thstring. In '12th you play A, can it atthe fret,0r inopenposition

-l

H

o oo o o

A

1 2f r

L

I tl

)

I

)

)( ) I tl

4\ Here aresomelicksusing bothpositions oftheblues scale withitstonic0nthefifthstring.

TRACK 68 FASTi StOW

I +

I

\l/2 1---/

i

v1 f '

iA'l

Gobackto "Movelt 0n0ve/'(page 49),andtrysomeoftheselicksaswellasmaking upsomeofyourownwiththe blues scale asyou"pickawhile" overthisiamtrack. TRACK 70

50

bluesscaleisalsoa veryeffective toolforsoloing overatuneina minorkey.Although it seems thevastmajority ol the popular c0untry tunesarein majorkeys,"Sixteen Tons"isanexample ofaclassic country tuneina minorkey.0riginally picking edbyMerleTravis himself, thefollowing arrangement includes someTravis andprovides anopportunity foryou usethebluesscale or-by 0mitting theflatSth-theminorpentatonic to "pickawhile" overthechordchanges. Playv/ith

chordal arrangement twice,andthentaketwotimesthrough thearrangement to solowiththeA bluesscaleor A minor t o n i cu. s i n sgo m e o ft h el i c k ys o u ' vlee a r n es d of a ra sa g u i d e ,

. Notice thatthethumb isused onyourlefthand inthisarrangement tohittheFnoteontheEstring atthelirstfret. . Aswithearlier "Sixteen Travis selections inthisbook, Tons" iswritten indivisi--i.e., astwopans. Inthisarrangement. thelowerpart(played withthethumb,orwiththepickif hybridpicking) occasionally hitsmorethanjustonebassnote. Thisisdone tocreate afuller sound; aimtostrike both strings atthesame timewithyourthumb 0rwiththepick. .

T h ee n d i nAgm 6 /c9h o r idsa c l a s s"i cm i n ot ru n ec" 0 n c l u s i 0 n .

o

-*-8

SIXTEEN TONS

lgTr

A mi G

*t

Arr/F

t

I z J+

Am I

.,

l0 ri

'-

i'P.M. throuchout

t

rf

F

IF+ t' f-. lr -_03

2 2

2

*downstemmed notes onlr'

re

€

* x T = T h u m bo n @

Dm

i)

#

Am

i

i

rr

I

u

i

1t

F 9 /C

E9lB t

F9/C

\

,A

Amq A

Plo l tintes

/6 /o

u=

W o r d sa n dM u s i cb y M e r l eT r a v i s C o p y r i gOh t1 9 4 7b y U n i c h a p pMeul ls i cI n c a n dE l v i P s r e s l eMyu s i c C o p y r i gR h te n e w e d A l lR i g h tAs d m i n i s t e b r eydU n i c h a p pMeul ls i cl n c

lt l

MOVAB LESHUFFLE PATTER NS

patterns Wecanmoveourshufflerhythm inthesamewaywemoveourbarrechords andscales. These twopatterns arebased onthesixthstring andfifthstring, respectively. Moveahle shuffle inA

Moveahle shuffle inD

* THACK 72

TRACK 73

s

13 -.'l

13

-

-

tJ J=, .ftt

-''-

(r , =l

,f )

-

T

J1

a

Youcanalsoplaytheserhythmpatterns withouttheshufflerhythm to achieve a morerockabilly feel.Thefollowing arrange"The mentof Race ls 0n,"aclassic tunemade famous byeveryone fromGeorge Jones lo English r0ots-rocker Dave Edmunds uses themovable forms chord above inmore ofa rockabilly fashion.

Toadda percussive, locomotive-type feel,release thepressure ofyourlefthand asyoufinger thechords onthe"and"-i.e., (V).This"staccato" 0ntheupstrokes playing. touch adds therightattitude tothisstyle ol rhythm

THE RACE ISON

* TBACK 74

- ^ A v

Worda s n dM u s i cb y D o nR o l l i n s C o p y r i gO h t 1 9 6 4S o n y / A TSVo n g sL L Ca n dG l a dM u s i c C o p y rhi gt R e n e w e d A I IR i g h t os n b e h a lof f S o n y / A TSVo n g sL L CA d m i n i s t e rbeydS o n y / A TMVu s i u b l i s h i nSgM . u s i cS q u a rW , a s h v i l lTeN, 3 7 2 0 3 e e s tN

52

B -- -

t 1

--7J-;

1-=----- -1--a> t

j--rr't

J zt--u

G-

t j.r..o.to | 1 ,'Caeteeo

r

,. -a-a-+-4 41+1+

tJ

-1=d--:+-1-1 ''C-

1

111

7i1

1

11J++e

.oJa?oC' ao.eeoto

5

6

t

o

t--j=j

EXTENDING AND BLENDING SCALE Notes0f a scalecanbefoundallovertheneck,andif youwereto seethemallat once,it mightbea confusing andintimidatingexperiencel Soit is s0metimes easier to identify scales bytheirlocation withina corresponding chordshape 0r other position visually identifiable (likethe"box"position ofthemajorandminorpentatonic position scales). Y0ucanextend the of ascaleina number ofways,butto avoidthe"intimidation" factorol seeing a myriad of noteoptions, let'sconcentrate onone verycommon exlension (t0whichwe'veadded ofour"box"position ofthemajorandminorpentatonic scales theflat3rdand flat5th,respectively). A Major Pentatonic b3rd w/ added

A Minor Pentatonic bSth w/ added

* D a r k ecr i r c l e sr e p r e s e n t extensi0n n o t e sc,i r c l e(sO ) a r et o n i c sa,n d t r i a n g l e(sA ) a r et h ef l a t t e d 3 r d so r 5 t h s . (

-5fi-

I I

I

+ I

Here ares0melicksusing themaj0r andmin0rpentatonic scale extensions above. il-

AMajor Pentatonic withb3rd

ltt

-5r

Il$c*Jf

5

54

--_ 75

5

AMinor Pentatonic withbSth

;. '1t-

a

i

-585-+-7-

H

5t

in modern whichis comprised country, fromWestern ofeverything swtngto fullteal f/ayto allowyouto soloeffectively (with rockn roll,istocombine thenotes fromthemaior scale added llat3rd)andtheminor oentatonic 0entatonic scale added flatSth;i.e., theblues scale). Having notes allofthese atyourcommand-in addition t0 getting asmany"open

Involved inyourlicksor riffsaspossible-willbringyoua longwaytowards guitarsoloist beingaconvincing c0untry

follovring licksc0mbine bothscales guitar andutilize some0penstrings inthestyleofc0untry iconAlbert Lee

Albert Lee-Style Licks

Y lrfi 79 ? e-

+

,

'Et )u -----

I

o

20

Pcxs! ,--f-gl

(r't

.-'''j14

i

,/s

a) holcl bcnd i^

T A B

qq v

oo

9, 8'-

9r 8....

g* €-

+ J 8, 'I fJ7T I

5 5

lt l

Tt 1t I

77

715 756

1r l,I

Nowlet'spractice ournewfound soloing ideason"TheRacels 0n"(pp.52-53). Herearesomeideas0nwhatscales to useto soloover thechords: b3rd) pentatonic (withadded A major Ablues bsrd) pentatonic (withadded D major Db l u e s bgrd) pentatonic B major (withadded Bblues b3rd) pentatonic (withadded E major Eb l u e s

o v ear l lc h o r d s o v eD r chords overB chord o v eE r chords

" P i c ak w h i l eu"s i n sg0 m e o ft h el i c k tsh a ct 0 r r e s p ownidt ht h es c a l easb o v0en" T h eR a c les 0 n S t a n, ' ,: ^ : - : A - b a s ei dde a(ss i n cteh e y 'w l l 0 r ko v etrh ee n t i rteu n e t) h, e na d dt h eo t h e rassy 0 ug e tm o r ec o r n f o r t a b r e 55

RIFFS AND LICKS INE place Because theblues scale withitstoniconthesixthstring isa common to findcounyouplayinthekeyof Eyouareinopen, trylicksandriffsinanykey, thefactthatwhen 0r firstposition, makes it evenm0recountry friendly involved. because ofthe0penstrings

Eblues scale oooooc L

greats: Thefollowing famous aresome licksandriffsfromsomecountry

-T--

' i ' P . M .t h r o u c h o u l

'i'clclwnstemnrcd notes onlv

W o r d sa n dM u s i cb y D a l eH a w k i n S s ,t a nL e w i sa n dE l e a n oBrr o a d w a t e r C o p y r i gO h t 1 9 5 7( R e n e w ebdy)A r cM u s i cC o r p o r a t i(oBnM l )

MYSTERY TRAIN

* TRACK 83

-2 2 'fdownstemmed notes onlv

W o r d sa n dM u s i cb yS a mC .P h i l l i pasn dH e r m aP n a r k eJrr C o p y r i gOh t1 9 5 5b yU n i c h a p pMe ul ls i cI n c . C o p y r i gR h te n e w e d

* TBACK 84

LITTLE SISTER

W o r d sa n dM u s i cb y D o o m u a s n dM o r tS h u m a n y u s i cI,n c . C o p y r i gO h t 1 9 6 1b y E l v i sP r e s l eM C o p y r i gR h te n e w eadn dA s s i g n et o d E l v i sP r e s l eM y usic A l l R i g h tA s d m i n i s t e rbeydC h e r rR y i v eM r u s i cC o .a n dC h r y s a lSi so n g s

56

r dI r L

"SUSIE-0" JAMES BURTON'S RIFF

* TRACK 82

I

I

\? |

(|NTR0) PRTSON BLUES FOLSOM IRATX 85

ta"'r' tl 1l II W o r da s n dM u s i cb yJ o h nR C a s h d GM U S I C 1d 9 8 4H ) 0 U S0 EFC A S HI N O 1 9 5 6( R e n e w e . C( B M l ) / A d m i n i s tbeyrBe U A l lR i o h t R s eserved U s e db v P e r m i s s i o n

PATTERNS BOOGIE patte'n patlern A srngle-note. Here isanexample rE repetitive riffcalled a boogie iscommon incountry music. of a boogie

,l ,#-

tJ

rt---lt

J

2.

frt

J-

aa

\-'

-^' 2212

greatboogie patterns "HotRodLincoln." isCommander Thiscanbechallenging atfirst,sopractice Oneoftheall-time Cody's ,t slowlyuntilyoucanplayit flawlessly, gradually played position, then it up.Thisis mostlyinsecond speed butwatchforthe position theBchord, shift tofourth during andagain attheend.

H()T BoD LtNC0tN

.f' INACK 87

EA

++Jtl

r r e r

JaoJoa

'ltfr-

03

+

H1+

+

42 J.{

:-fi ++

6 7-H

H,

22

2 2 4-6

:ll

W o r d sa n dM u s i cb yW , S S . tevenso a n dC h a r l eRyy a n C o p y r i gO h t 19 6 0S o n y / A TSVo n g sL L C C o p y r i gR h te n e w e d A l lR i g h tAs d m i n i s t e rbeyd S o n y / A TMVu s i u b l r s h r 8n g M u s rS c q u a rW e e s tN , a s h v i lTeN3 ' 2 i - .

57

BLENDED LICKS n i ct ht h ea d d efdl a t3 r da n dt h eb l u essc a l e licku s s i ntgh ec o m b i n a toi of m H e ra e r es 0 m e n a j opr e n t a t ow

TRACK 88

lls 101

1

il

T A B

-:12

+

'^'120^

H.0

gO IRACK FASI,SIOW

'+f* F

t---

[r.__t

lt

.-+

T A B

02

3Z 32

SIXTHS withintervals intervallic toolincountry music forlicks, Thelastlickabove ends ofa sixth. Sixths, likethirds, area popular pattern thechord fills,etc.Theyarefrequently usedinanascending ordescending 0ntheneckoftheguitar,usually accenting tones and/or a scale. Here arethree examples o{sixthpatterns inE,using thefirstandthirdstrings.

IRACK 92

TRACK 93

E

= ??,, aaaa

?..

E]

2V Ta

12+SI75+2+Il

+i]+1 +l++tll

il il

* TRACK 94

E 7 o r ErnT

+09 12a1

58

9+

Wnarusings i x t hosv ear d o m i n asnet v e nct h o r da,d d i nagc o u p loefc h r o m apt iacs s i nt ogn ecsa nb ep a r t i c u l aerflfve c t i v e

v

rMcx95

i6"

E] p r_

72+09 Jii

7G

9

i

4

2+ 21

i

Here aretwomoresixthlicksforanE7chord. /7 r r

f,l ltt fDa

l-------..

= ' -- [a-\ .l

7g

tl II II

B

?2\rfio -

-l

n 'Bll

1r *

!t

ltz

e

ls .r4

74 r+

l J1 l5 +

pedal Here's lickusing a great steel-type sixths.

ll I

rs

f6

11 15 Jt

'Ro" Thekingof "twang," Duane Eddy, made"Rebel a country-flavored classic. lt isagreattuneforusto endonbecause picking it incorporates a lotofwhatwe'velearned inthisbook.Playalongwiththemelody, closeto thebridgeto achieve the "twang." necessary Notice thatthetunechanges keys, three times. WestartinE,thengoto F,thenF{,and{iormodulates, position position nally toG.Start insecond f0rE,move t0firstposition forFandFf,andthenlinishinsecond forG.

ru

'R[)USEB REBEL

TRACK 99

-..'F'..-J

U U

v2

Jl=

,,9. LJ

-e

B yD u a n E e d d ya n dL e eH a z l e w o o d C o p y r i gOh t1 9 5 8b y U n i c h a p pMeul ls i cl n c . Rte n e w e d Copyrigh

60

+++

+i+ e-e

d-t

e

?

( 1)

ct7

r$

F{ TIi,

i1

:,P'

1-

f

if-1 o_J

l1

.-

r-

t.'Da.

t

v \.,'

a

l/)

t

(s)

(r-\rt

l f y o ul i k et,r ys o l o i nogv e "r R e b e' Rl o u s elrt,'"l lg i v ey o uo n el a s o t p p o r t u nt iot "yp i c ka w h i l eo"v e rb, a s i c a lbl yl u e.s' . ' : youh a v lee a r n es d in E,F,Ff,, changes andG.Tryusing thelicks of a ra sa g u i d e - i n c l u dtihnegs i x t hjsu s ct o v e r e d - c ' t Z -, r w nG f e wo fy o u o . o o ldu c k !

I

c