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Book

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I S B N 0 - b 3 q - 0 e 1 3 0 - 3

ZJHnlol-EoNARD.L - a c o R p o R A - t - r o N7 7 7 7 W . B L U E M O U N D R D . P , O . B O X I 3 8 I 9 M I L W A U K E E . W I 5 3 2 I 3

Copyr ight 01983, 2000 by HAL LEONARD CORPORATTONInternational Copyright Secured All Rights Reserved

No part of this publication may be reproduced in any form orby any means without the prior written permission of the publisher.

ill/

UHby

Steue Inouatoand Jenome Annold

Intruduutiolls an a r t fo rm, coun t ry mus ic has been a cons tan t l y g row ing and ever -chang ing fo rce in Amer ican mus ic ,wh i le s t i l l re ta in ing and nur tu r ing the roo ts tha t gave i t l i f e . S im i la r l y , coun t ry gu i ta r i s t s a re a un ique , ve r -sa t i l e b reed themse lves , d raw ing f rom a w ide range o f mus ica l i n f l uences tha t wou ld as tound no t on tv the

casua l l i s tener , bu t a l so o ther mus ic ians . As an examp le , years be fo re e lec t ron ic gadge ts became s tap les o f roc<'n ' ro l l , e f fects such as ta lk boxes, echo uni ts , reverb, v ibrato bars, wah-wah, octave d iv iders, and fuzztoneswere used on country records.

The stage was set on August 1, 1927 in Br is to l , Tennessee, when J immy Rodgers recorded h is f i rs t s ides for theV ic to r Company ' Rodgers , o r ig ina l l y f rom Miss iss ipp i , was heav i l y i n f luenced by the b lack b lues mus ic ians hehad met in h i s t rave ls as a ra i l road b rakeman. The mos t no tab le o f these was B l ind B lake , "The Fa ther o fRag t ime B lues , " whose record ing o f "He 's in the Ja i lhouse Now" p reda tes the ve rs ion f rom Rodqers bv near l vtwo vears.

In 1935 , Bob Dunn , w i th M i l ton Brown 's Mus ica l B rown ies , became the f i r s t e lec t r i c s tee lDunn was no ted fo r h i s ab i l i t y to ph rase l i ke a b ig band horn sec t ion , no t on ly on the iazzb u t o n w e s t e r n a n d " h i l l b i l l y " t u n e s a s w e l l .

gu i ta r i s t to record .s tandards o f the da ' ,

J immy Wyb le p layed w i th Bob Wi l l s 'Texas P layboys and Spade Coo ley in the la te fo r t i es and ear l y f i f t i es . Wi thbo th g roups , he demons t ra ted a d r i v ing sw ing s ty le ( in f luenced by Char l i e Chr i s t ian ) tha t l a te r l ed to h is oos i -t ions wi th iazz greats Benny Goodman and Red Norvo. Today, Wyble is s t i l l very act ive and is garner ing acc la i r -fo r h i s "c lass ica l l azz " s ty le o f con t rapun ta r improv isa t ion .

Dur ing the f i f t i es , Grady Mar t in and Hank Gar land cou ld no t on ly be heard on coun t ry records , bu t they a lsop layed on rockab i l l y , rhy thm 'n ' b lues , and rock sess ions as we l l . Gar land , who was one o f the mos t h igh lyregarded gu i ta r i s ts in Nashv i l l e , se t the en t i re jazz commun i ty on i t s ea r in 1961 w i th h is bebop a lbum JozzWinds from o New Direction.

Che t A tk ins , by 1960 , had es tab l i shed h imse l f as coun t ry mus ic ' s l ead ing gu i ta r v i r tuoso . He a lso appeared a tthe Newpor t )azz Fes t i va l and w i th symphony o rches t ras a round the coun t ry . As one o f the mos t i n f luen t ia lgu i ta r i s t s o f the twen t ie th cen tu ry , Che t i n f luenced the rockab i l l y s ty les o f James Bur ton , Sco t ty Moore , Car lPerk ins, and even a y0ung rock p layer f rom Liverpool named George Harr ison. Later , Chet was responsib le forrecord ing and p roduc ing h is two mos t accomp l i shed d isc ip les : Je r ry Reed , f i nger s ty l i s t de luxe ; and LennyBreau , one o f the wor ld ' s l ead ing jazz gu i ta r i s ts .

0n the wes t coas t , a t the same t ime , J immy Bryan t waswh i le b luegrass f l a tp i cker ex t rao rd ina i re c la rence wh i tep ro to typ ica l coun t ry - rock band Nashv i l l e wes t and la te r

mel t ing s t r ings wi th h is h igh-veloc i ty country )azz,created a new vocabulary for the Tele, f i rs t wi th tnewi th The Byrds.

o f t h eThe coun t ry gu i ta r i s t s ment ioned above (and the many more who were no t ) have acc6un ted fo r somemost exc i t i ng and innova t i ve p lay ing in Amer ican mus ic to da te . In wr i t i ng th i s book , we have t r i ed tothe essence o f modern coun t ry gu i ta r and i t s myr iad in f luences . We hope tha t th i s vo lume w i l l expandcur ren t reper to i re o f mus ica l i deas and he lp you deve lop a persona l s ty le o f coun t ry gu i ta r .

c a p t u r eyou r

Iaile uf hntcnts

Open-Str ing Licks

Editor's Note: Due to the personal nature of the right-hand technique, picking directions are left to the prefer-ence of each player. Jerome plays with a thumbpick and f ingers, whi le Steve usual ly plays with a combinat ion off latpick and f ingers. As a rule of thumb (no pun intended), we offer th is suggest ion: Experiment, play slowly, andalways use the easiest possible choice for r ight-hand picking.

Also , the accompany ing CD w i l l ass is t you in dec ipher ing the f i nger ing , sound , and t im ing o f each l i ck .0n theaud io CD, each examp le i s pe r fo rmed tw ice -once up to speed and once s low ly .

$iltulu-$triru lirlrsOProLick#1Here 's a very typ ica l l i ck or tag in C. l t lays wel l on the f ingerboard and employs a un ison bend inbar 2 .

OProLick#2Th is dominan t l i ck works g rea t i n coun t ry tunes as a V7 mov ing to the ton ic . l t a l so works we l l i n sw ing tunes .

gProLick#3This l ick works wel l over a C ( l ) or Am (vi) . l f you move i t up a minor third, i t wi l l work over Cm or Eb. Remember,any tonic major l ick moved up three frets wi l l g ive you a tonic minor l ick.

C o r A m

OProLick#4This is a fami l iar l ick ut i l iz ing sixth intervals. Try playing al l the notes on the third str ing with your pick, and al l thenotes on the f i rst str ing with your middle f inqer.

C7

gProLick#5Th is l i ck a l so works we l l over Am.

OProLick#6Th is b luegrass f l a tp i ck ing l i ck i s wr i t ten inc losed posi t ion (no ope n s t r ings) so that i t

open pos i t i on (us ing open s t r ings ) , bu t i t shou ld a lso be worked ou t i nmay be t ransposed to other keys.

++-a

-

-

OProLick#7Here we have a very bluesy l ickposi t ion at beat 3 of 6ar 2.

A1 r' /-t--

which uses un ison bends in ba rs 1 and 2 . I sugges t sh i f t i ng f rom f i f t h to second

OProLick#8The fou r th no te in th i s long two-oc tave s ing le l i ne in G i s an openthe open E can rema in as par t o f the l i ck because i t i s oassed over

E str ing. As the l ick is t ransposed to other keys,so ra pid ly.

---------

gProLick#9This is a movable l i ck w i thsweep at the end o f bar 3 .

a b luesy f lavor . A posi t ion shi f t f rom four th to n inthTh is i s done by sweep ing the p ick ac ross s t r ings 3 ,4 ,

i s requ i red a t ba r 2 . No te the upwardand 5 us ino an uos t roke .

OProLick#10This is a l i ck in the s ty le o f A lber t Lee. A l though i t may lookp rob lems w i th ph ras ing w i l l be c rea red up by i r ' e aud ib . Ba ri n terspersed th rouq hout .

d i f f i cu l t , i t ' s ac tua l l y one o f the eas ie r ones . Anv1 i s mere ly a b lues l i ck w i th an open B s t r ing

t

OProLick #11The on ly t r i ck here i s to lea rn the l i ck s low ly and remember tha t speed i s the by -p roduc t o f accuracy .

Pedal-$teel lirlrsOProLick #12

This is a c l iche pedal -s tee l l i ck . Not ice that severa l t imes the B note is bent up to Cf throughout the f i rs ttwo bars.

gProLick#13This is a lengthy pedal s tee l - typeand he ld to p i tch throughout theso be sure and l is ten to the aud io

l ick over a fa i r ly common count ry progress ion. Inbar . Th is happens aga in in bar 5 . Bar 7 has someto hear how they ' re suppose to sound.

ba r 1 , t he E i s ben t t o F#d i f fcu l t doub le-s t r ing bends,

I

tutld bend

D A1-',}-."\ ,/^'-:--\

/--{ a l

OProLick{14Here is a typical country l ick. Be careful wi th the two str ing bends; they are di f f icul t to play in tune but absolutelynecessary for that Hawai ian gui tar f lavor.

t> e;i c-t-fi

gProLick#15Here's a pedal-steel tag which gets i ts sound by bending Ff to G{ on beat 1 and holding the bend through bar 1 unt iis f inal ly released at the end of bar 1.

10

gProLick#16' i e re i s a l i ck over C7e a s i e r i f y o u i m a g i n e. o e p e n d e n t l y o f o n e

v o u r s t r o n g f i n e r w i l l

us ing t r i cky doub le -s top bends . When bend ing two no tes s imu l taneous ly , i t seems to betha t the two f i ngers you a re bend ing w i th a re we lded toge ther and unab le to moveano ther . You th in bend the no tes , cbncen t ra t ing on bend ing your weakes t f i nger in tune .fo l l ow your weak f i nger and bend the o ther no te au tomat i ca l l y i n tune . T ry i t , you ' l l see !

gProLick#17This is a var iat ion on the preceding l ick-this t ime moving to ei ther a I chord or a lV chord, depending on how you look at i t .

C 1

OProLick#18T h i s l i c k h a s a s w i n gprobab ly need some

D7

f ee l and works we l l i npract ice.

a wes te rn sw ing s i tua t ion . The doub le -s t r ing ha l f -no te bends w i l l

,/'\

11

lpglt-$trinu litltsgProLick#19This l i ck or tag in C u t i l i z ies severa l open s t r ings which fa l l in to themot ion between the p ick and midd le f inger . Remember , tn a l l openand perpendicu lar to the f ingerboard so a l l sur rounding s t r ings are

C sca le . The l i ck i s bes t p layed us ing an a l te rna t ings t r ing l i cks , t r y to keep the le f t -hand f i ngers a rcheda l lowed to r ing th roughou t the en t i re l i ck .

G1 C

O ProLick #2nThis l ick uses a.descending hal f-step f inger ing with an open str ing to create a banjo sty le l ick through a cycle of fourthscnor0 0ro0ressr0n.

le t ri tt g t lt rutt F, lrr tttl

let r ing lhroughoul

12

g ProLick #23

I

O ProLick #21r " s b lues o r sw ing l i ck can a lso make a g rea t end ing (Gz to C) . Pay c lose a t ten t ion to the open s t r ings .

G7 a l t .

O ProLick #22Tn;s one may be a b i t t r i cky as i t i s mean t to be p layed fas t . l t ' s a b luesy l i ck , and may be used in a va r ie ty o fcoJn t ry and b luegrass s i tua t ions ,

C 1

C

Nere's a funky bluesy l ick ut i l iz ing open str ings. There are no special t r icks-other than remembering to al low the opens:r ings to r ing throughout the ent i re l ick.

A]t\

13

[ltoril litltsEProLick #24

This l i ck demonst ra tes

C

the popular count ry sound

C]

o f p lay ing s i x ths over a t yp ica l chord change .

F D l

Ie

O ProLick #25The vo ic ings in theach iev ing the s tee l

f i r s t measure may take some s t re tch ing . A lso , theg u i t a r s o u n d .

nb Gt Gl

use o f a vo lume peda l can be he lp fu l i n

C

14

O ProLick #26T" is i s a wes te rn sw ing-s ty le chord me lody phrase tha t makes a good in t roduc t ion .

A1

O ProLick #27I r i s chord l i ck can be p layed over any dominan t seven th chord (C7 , V7) reso lv ing to the ton ic (F , l ) .

C ]

' - J I ' , - i l

v v r v f- , 1 C ? O E 1 e E 1 a E at

ve a E r a a E A t- v v v

E A E tf v v t v v

15

[nukalilly litltsMost coun t ry g igs requ i re the p lay ing o f f i f t i es pop and rockab i l l y mus ic . The phrases in th i s sec t ion w i l l a idbo th coun t ry and rockab i l l y qu i ta r i s t s who need au then t i c rockab i l l y l i cks in the i r reper to i re .

ln the words o f Car l Perk ins , "M ix Fa ts Domino , Chuck Ber ry , and a l i t t l e B i l l Monroe and you 've go t rockab i l l ymus ic . " To be more spec i f i c , rockab i l l y was a fus ion o f coun t ry ( then ca l led "h i l l b i l l y " mus ic ) , Ch icago-s ty leb lues , and the then-p reva len t sw ing sound .

For a go ldmine o f l i cks and phrases tha t can be app l ied to rockab i l l y , l i s ten no t on ly to ea r l y rockab i l l y gu i -ta r i s t s such as Sco t ty Moore , Car l Perk ins , and James Bur ton , bu t a l so go back and check ou t the record ings o fChar l i e Chr i s t ian . In the ear l y fo r t i es , Chr i s t ian ' s b lues - f lavored e igh th -no te sw ing l i nes were a d i rec t fo re run-ner no t on ly to rockab i l l y , bu t to bebop jazz as we l l .

O ProLick #28Th is l i ck works g rea t over G, G7 , o r Em as a lead l i ck o r end ing .

O ProLick #29T h i s w e l l - k n o w n r o c k a b i l l y l i c k o u g h t t o r i n g a b e l l !

16

ProLick #30her very popular

A o r A T

b lues o r rockab i l l v l i ck .

b3rd (G) in the f i rs t and th i rd measures to get the "b lues" sound.- a -

a a /

OProLick#3lNote the use of the

Su ing Feel ( e e

E]

17

g ProLick #32This l ick works best over a | [A7) or lV [D7) chord. Not ice that the l ick is repeated in the last two bars, phrased in t r ip lets.

eProLick#33This is an expanded version of I ick #28. l t 's been used by everyone from Chet Atkins (who probably invented i t)to the Stray Cats.

G. G7 or Em:-F--

---,,--\

;-_--

------

1B

Pro Lick #34i s a rockab i l l y b lues chorus in C

stops f rom a hal f -s tep below,on the down bea ts .

,-^--

con ta in ing many o f the c lass ic l i cks o f therepe t i t i ous rhy thmic phrases , and a d r i v ing

s ty le , such as : s l i d ing in to therhythm der ived f rom play ing

zT-

F]

19

rQProLick#35

Th is boog ie tune re f lec ts a b luegrass in f luence a la Doc wa tson .

D o r D T

20

Pro Lick #36

t p i ca l boog ie l i ck can be p layed as a rhy thm par t o r a rea l l y ho t so lo a t fas te r tempos .

,I

.J

P \ I

J

E]

g ProLick #37' l r is

l ick can be played using only one f inger, but the t iming is t r icky. Try moving i t up twelve frets (one octave) ando ay i t over the same chord.

aL V L g E Vo a l . l n a t a l n nL V6 i a n a n a

L

nL..| ! v

. ! n

L W L V L V L 9 L V

21

lunky [uuntry tinks

A

, l told bertd

0ur l i ck fo r th i s t yp ica l chord p rogress ion depends on the bends and funky sound fo r i t s e f fec t .

gProLick#38Here 's a funky coun t ry l i ck tha t cou ld a lso be p layed as a b lues l i ck .

E

, ltold bt'ntl

, l told l tend ,_ !":"'_'':"'! _

A

I told bend

gProLick#39

OProLick#40Th is coun t ry b lues l i ck can be p layed over A7 o r D7 .

22

Pro Lick #41i s one o f ou r favor i tes and i s ac tua l l y a lo t eas ie r than

wh ich a re ach ieved by no t p ress ing the s t r ing a l l t hea n d p i c k i n g i t w i t h t h e r i g h t h a n d s o i t s o u n d s l i k e a

C '

, holt l bentl

i t l ooks on paper . Theway down to the f ret ,t h u m p .

X 's ind ica te ghos t o r muf f ledbu t j us t touch ing i t w i th the le f t

Pro Lick #42Htre's a var iat ion of the preceding l ick which again resolves to a I or lV chord depending on where you're coming from.

c7

23

OProLick#43Not ice in th is l i ck the pre-bends and re lease bends in beat 2 o f!V benOing both notes up a ha l f s tep us ing the f i rs t f inger . Thef inger whi le f re t t ing F wi th the four th f inger .

bar 2 and beatsecond i s done

1 of bar 3. The f i rs tby bend ing the C to

bend i s accomp l i shedD w i th the th i rd

OProLick#44This is a great four-bar funky. l ick which employs ef fect ive use of both the pentatonic and blues scales with a shi f tfrom fifth to second position in bar 3.

24

Pro Lick #45: s a th ree-bar funky l i ck , any bar o f wh ich may be used as a l i ck in i t se l f .

C 7

*

V

t h i s up - tempo b lues chorus in A , ba rs i3 -16 con ta in a funky l i ck remin iscen t o f ea r l yJe r ry Reed .

J

Pro Lick #46

25

26

Pro Lick #41bends in th i s l i ck c rea te an ear thy peda l -s tee l sound . Be su re to bend in tune and wa tch the t im inq .

I told bend

a l

G

27

OProLick#48Th is i s a p iano-s ty le l i ck tha t i s g rea t fo r l ead o r backup , espec ia l l y i n the b luesy coun t ry ve in .

OProLick#49Here is another p iano-s ty le boogie l i ck which

Swing Feel ( ,l , ,\ )

cou ld be used as a rhy thm par t o r a lead l i ck .

OProLick#50The use of double stops, bends, and blue notes gives this l ick i ts funky sound. Be careful of the pre-bends in bar l ,beat 3. and in bar 2. beat 1.

28

Pro Lick #51V- lV-V- l l i ck shows a de f in i te Br i t i sh rock in f luence , bu t the phras ing makes i t coun t ry a l l t he way .

e ProLick #52Al though th i s l i ck looks d i f f i cu l t on paper , p rac t i ce i t s low ly and the speed w i l l come la te r .

30

Pro Lick #53f o r the pu l l -o f f s , hammer -ons , and s l i des in th i s b luesy coun t ry l i ck .

p lay ing th i s funky l i ck , i t i s necessary to use r igh t -hand f i ngers as we l l asp lay ing the open A s t r ing w i th your p i ck and the doub le s tops w t th your: i s e , b u t i t w i l l g i v e t h e l i c k m o r e s n a p .

hold bertd

l i cks to p lay once i t i s mastered. l t i s ex t remely funkybe carefu l o f prebends in bar 1 . A lso, be sure to bend

a p ick because o f w ide in te rva l sk ips .f i ngers . Th is method i s no t on ly more

a la Je r ry Reed o r A lber t Lee .the notes to exact o i tch

Pro Lick #54

A1

Pro Lick #55s i s one o f the mos t

hy c lose at tent ion toIt fore playing.

sat isfy ingf ingers and

e

Guitar Notation LegendGuitar Music can be notated three different ways: on a musicat staff , in tabtature, and in

D Drhythm s/ashes.

A E G@@open -jfrRHYTHM SLASHES are written above the

staf f . Strum chords in the rhythm indicatedUse the chord diagrams found at the top 0fthe f i rs t page of the t ranscr ipt i0n for theappropr iate chord voicrngs. Roundnoteheads indicate s ingle notes

THE MUSICAL STAFF shows pi tches andrhythms and is d iv ided by bar l ines intomeasures. Pitches are named after the f irstseven letters of the alphabet.

TABLATURE graphically represents thegui tar f ingerboard. Each h0r izontal l inerepresents a str ing, and each numberrepresents a fret,

HALF-STEP BEND: Str ike the note and bendup 1/2 step.

BEND AND RELEASE: Str ike the note andbend up as indicated. then re lease back to theor ig inal note. 0nly the f i rs t note is st ruck.

WHOLE-STEP BENO: Str ike the note andDend u0 one steo.

Notes:. Ft nU On nr E

Str ings:EI

DAE

HAMMEB-ON: Str ike the f i rs t ( lower) note wi thone f inger, then sound the higher note (0n thesame str ing) wi th another f inger by f ret t ing i twi thout o ick ino.

PULL-OFF: Place both f ingers on the notesto be sounded Str ike the f r rst note andwithout p ick ing, pul l the f inger of f to soundthe second ( lower) note.

PRE-BEND: Bend the note as indicated. thenstrike it.

VIBRAT0: The str ing is v ibrated by rapidtybending and re leasing the note wi th thefret t ino hand.

LEGAT0 SLIDE: Strike the first note andthen s l ide the same f ret-hand f inger up ordown to the second note. The second noteis not st ruck.

NATURAL HARM0NIC: Str ike the note whi tethe f ret-hand l ight ly touches the str ingdirect ly over the f ret indicated

WIDE VIBRATO: The pi tch is var ied to a greaterdegree by v ibrat ing wi th the f ret t ing hand.

SHIFT SLIDE: Same as legato st ide. exceplthe second note is st ruck.

PINCH HARM0NIC: The note is frettednormal ly and a harmonic is produced by addrn, :the edge of the thumb or the t ip 0f the indexf inger o{ the pick hand to the normal p ick at ta, .

J -:T- rffi

L- --T -

lA-+--1 --X

ffiTRILL: Very rapidly alternate between thenotes indicated by cont inuously hammeringon and pul l ing of f .

tr%

PICK SCRAPE: The edge of the pick isrubbed down (or up) the str ing, producinga scratchy sound.

TREMOLO PICKING: The note is p icked asrapid ly and cont inuously as possib le

TAPPING: Hammer (" tap ) the f ret indicatedwith the pick-hand index or middle f inger andpull off to the note fretted by the fret hand.

MUFFLED STRINGS: A percussive sound isproduced by laying the fret hand across thestring(s) without depressing. and striking themwith the oick hand.

VIBRAT0 BAR DIVE AND BETURN: Thepitch of the note or chord is dropped aspecified number 0f steps (in rhythm) thenreturned to the original pitch

PALM MUTING: The note is partially mutedby the pick hand l ight ly touching thestr ing(s) just before the br idge.

VIBRAT0 BAR SC00P: Depress the bar 1uslbefore str ik ing the note, then quicklvrelease the bar.

RAKE: Drag the pick across the str ingsindicated wi th a s inole mot ion.

VIBRAT0 BAR DIP: Strike the note and thenimmediately drop a specified number ofsteps, then re lease back to the orrg inal pr tch

4th str ing. 2nd f re l

w.l n

ls t & 2nd str ings open, open D chordplayed together

GRACE N0TE BEND: Str ike the note and bend up asindicated. The first note does not take up anv time.

SLIGHT (MICR0T0NE) BEND: Str ike thenote and bend up 1/4 step.

32