Country Rock Riffs (by Mike Levine) [Book]

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[ [ { ] l J j j ] g j ] H s o u r c e f o r C o u n t r y R o c k B i n s 8 l i c k s

Featuring:

Major, Minor & Pentatonic Country Licks

Pedal Steel Effects • Slide Licks

Chicken Pickin' • Four Complete Solos



T h e UI f

s o u r c e f o rC o u n t r y R o c k R i f f s 8 l i c k s

Featuring:

Major, Minor & Pentatonic Country Licks

Pedal Steel Effects • Slide Licks

Chicken Pickin' • Four Complete Solos

The Great Riffs Series captures, transcribes and presents the hottest riffs in

our favorite style of music. In Country Rock Riffs For Guitar you get everythiyou need to play classic country bends and vamps, rockabilly riffs, hot slide

licks, flashy speed riffs, fingerstyle chicken pickin' and more in oneriff-packed, easy-to-follow book.

$17.95 . 1 = 1 u . s . _Book & CD

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R lis f o r GuitarI l y M i k e l e v i n e I

g r e a t

Copyright © 1996 Cherry Lane Music Company

mtemat lonel Copyright Secured Al l Rights ResaNed

The music, text . des ign and graphics in this publicat ion are protected by copyn@ht

taw. My dupl icat ion or transmission, by any means, electronic, mechanica l,

photocopying, recording or otherwise, is an infringement of copyr ight.

ock

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I'd like to thank the folks at Cherry Lane Music who helped guide me in putting this book together. I'm particularly grateful to

Jon Chappell for choosing me for tbts project and getting me started, Mark Phillips for all of his assistance with the details,

and Arthur Rotfeld for answeIing my questions.

I also want to thank my brother, Eric Levine, who taught me my first tiffs and started me off in the right direction as a guitarist. Finally, I'dllke to express my gratitude to Laura for anal the support she gave me while I was wrtting and recording for this project.

A b D U l T h e A u t h o r

Mike Levineis a session gu ita ris t, com poser and producer

who lives and works in the New York C ity area . He plays gu ita r, pedal

steel and dobra on many recording projec ts and nationa lly broadcast

c ommerc ia ls , as w ell a s for television show s in clu din g Se sa me S tree t. He

played in the Broadway and road productions of The wifl Rogers Fo ll ie s,

and was a band member for the recen t Off-B roadway musica l D as

Barbecue.

As a comm erc ia l composer/a rranger/producer, his m ost recen t credits

inc lude spots for M el, K ool A id and Advil. A lthough he now w orks pri-

m arily in the studio , M ike spen t years playing coun try and rock in c lubs

.across N orth America .

. A c k n o w l e d g m e n t s1-"



Contents

6 ...Classic Country

6, ,, .Low B end a 1 0 Pete Anderson

6, D ouble S to p In tro

7 Rhythm vor np

7 Palm ·Muted Melody

8 ...Rockabilly & '50s Rock

8 Rockab illy Doub le S lops

8 Low & Nasty

9 Chuck Berry-S ty le R iFF

9 .Rockob lllv So lo

11 ... Blues & Southern Rock11 Rocked-Out Rhythm Intro

1 1 .Funky M inor B lues L ick

12 D ickey Betts-S ty le Passage ' In A

12 D ickey Betts-S ty le Passage In D

1 2 A llm an Brothers-S ty le D orian Phrase

1 3 A ll m an Brothers- S ty le B lues L icks

13 B .B , K ing-S ty le B lues lick

14...Sllde14 Duane A llm an-S ty le S lide In Open E

14 S tonda rd Tuning S lide lick

15 Bonnie Raitt-S ty le Open A S lide

15 .lop Stee l a 1 0 DaV id lin d le y

16 ... Pedal Steel-Style Riffs

16 Peda l S tee l Fnd ing lick

17 IV -V -IS tee l In tra

17 Descend ing 6 ths

18 Ch roma tic . S te e l Wa lk -Up

18 C la rence W hite-S ty le S te el S olo

20 ...Chicken Pickin'2 0 .. , .B as ic C h ic ke n Pick in '

2 0",.D es ce nd in g C hic ke n

20 ... .F in ge rs ty le Ch ic ke n Pickin '

21 ... lyrical Country Rock21", Alber t Lee -S ty le L yr ic al P a ssa ge

21 ., .. B u ch anane sque

21 S low , Soulfu l a 1 0 V in ce G ill

22 S low & Tas ty So lo

23 ...Flashy Speed Riffs

23 .low Pull-Offs

24 Ho t Chromatic Tag

24 Earl S cruggs-S ty le Banjo L ick

24 Moveab le B lueg rass Run

25 B luegrass F idd le Tune Run

25 Chromatic Speed R iff

25 M ixo lyd ian Speed R iff2 6 .. , .V in ce G ill-S ty le F as t O p en -S trin g R iff

2 6 ... .F as t& Fu rious So lo

28 ... Tablature Explanation



If you asked musicians to define the phrase country rock,

most would probably say it referred to the period in the

1970s ond early 1980s, when

c o u n t r y R o c kR I F S

ads like the Eagles, Poco, Pure

Prairie League and Emmylou

Harris were at the peak of

their popularity.

INTRODUCTIONAlthough we will deal with riffs

from that ero, this book will useOR GUITAR

a looser definition of country rock that encompasses

mony different periods over the last 40 years as country

and rock have crossed paths. By using a broader brush,

we can touch upon many of the influences that have

contributed to making contemporary country the

styl istic melting pot that it is. After all, today's country

music is really a blend of country and rock (with some

R&B thrown in for good measure), in which you're olrnost

as likely to hear a distorted, bluesy slide solo os a twangy

Tele break. Ironically, while country was a significant

factor in the early development of rock 'n' roll, rock

music has now become a major influence in contemporary

country.

This book will present examples in many of the styles thai

make up the arsenal of a modern Nashville session gui-

tarist. There are also examples in the stylesof famous qui-

torists, 'both past and present, such as Albert Lee, Vince

Gill, Clarence White, PeteAnderson, Dickey Betts, Duane

Allman and Roy Buchanan. Butf irst, a litt le history..

The earliest mrxing of country and rock occurred in the

mid 19505 with the development o f rockabilly, which is

st il l an enduring inf luence on country. Elvis Presley, jerry

lee lewis and Bill Haley were among the artists who suc-

cessfully blended elements of country and R&8together-

the guitar, o f course, was an integral part of this union.

In the mid 19605 the Byrds emerged as a popular band,

with roots in folk, rock, country and bluegrass. The amaz-

ing Clarence White played guitar for the Byrds, and his

seminal acoustic and electric playing, as wel l as his pio-

neering use of the string bender, were milestones in the

development of contemporary country guitar.

The 19705 witnessed the heyday of country rock as a

genre. Artists such as Linda Ronstadt and Jackson

Browne, among others, proved that this stylistic mixture

could be a pop music gold mine. The guitar work in this

period often leaned more lowq rd rock-David Lindley' s

distorted lap steel playing an Browne's albums, for exam-

ple, was a signature sound of the era.

Around the same time, in the town of Macon, Georgia,

the Allman Brothers were pioneering another hybrid form

that was to become known as southern rock. Duane

Allmon and Dickey Befts' lengthy improvisations, harmo-

nized lead lines and searing blues playing (with an occc-

sianal bit of country flavor) would have a very tangible

influence on modern country guitar playing.

In the late 19705 Albert Leebegan making country-rock gui-

tar history while playing with Em'rnylou Harris and the Hot

Band. His inventive blend of lightning-fast runs, double-stop

bend. and imaginative note selection is, to this day, the rnosr

frequently imitated style in country guitar.

The mid 1980s saw the birth of the new traditionalist

movement in popular country, which brought fiddles,

steelsand guitars back to prominence. During this period

Ricky Skaggs helped bring a strong blueqross inf1uence

into mainstream country, which resulted in many blazing

guitar solos.

In the 1990s a new breed o f country singers and groups,

raised in the rock era, have changed country to a more

youthful-sounding, contemporary genre. And guitar is, of

course, never far from center stage.



HOW TO USE THIS BOOK

The chapters in this book are

organized by concepts rather

than by degree of difficulty. For

those who want to sample the different

styles without having to deal with the

more difficult riffs, I've put a relatively

easy exornple at the beginning of each

section. (C D tracks are indicated in the

black boxes.]

When learning an example, get com-

fortable with the left-hand positions

first. Depending on your taste and

style, figure out the right-hand consid-

erations next-whether you will be

using a pick, playing fingerstyle, or

using a combination of a pick and fin-

gers. There are some exornples in

which I've specified a method that I

feel is necessary.

Because this is not a beginner's book,

the recorded examples are played o.t

authentic tempos, which can some-

times be pretty brisk. I f you find that a

I

riff is too fast for you, practice

it slowly with a metronome until

you are comfortable with it. After

a while, you should be able to play it

faster and faster until you've reached

the tempo on the recording.

The shorter examples on the recording

are generally repeated with another

count-off (which is sometimes a partial

one, depending on where in the bar

the example ends). There are a few

cases where a short example doesn't

repeat, because it would have been

musically awkward to do so.

As you work your way through the

examples in this book, you will find

yourself playing in the stylesof someof

the world's most famous guitarists.

Learning how theseplayers approach a

given musical situation is the first step

toward developing your own style.

Good Luck!



CLASSIC COUNTRY

Low Bend a InPete Anderson 0 1

This example is similar to a riff Dwight Yoakam's guitarist Pete Anderson might play, and works well over a

I-lV-I progression in E.The low range of this riff is characteristic of classic country guitar playing. Note that

the lick in bar 3 is palm muted.

-3-

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E A E1 1 2 112 112 112

_/j_.~ ~f"---~---.------. J ) r-.

t.l

~

- - - -- -

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\

\

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, O J /v t

~ ~ r ~ v.~ ~ "....... &. U - ~ u . - up p

Double Stop Intro

This is a nice, mellow intro on the I chord, which combines hammer-ons and slides.

A

II~ -k. . . ~.• . . . . . .

t.l H

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6



Rhythm Vamp

This is a widely-used rhythm guitar fiqure. It C . : : ; I n be used in other keys if you omit the open bass note.

AH H

f\ II H - - - ...-, . .

,

"I ,.r'"

fJ " i I 1 " i l l " i I " i l l

let ringH H

. . . . . .~~.,...--.._ ~. :::.....-... t:~ v ~ u !..

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P~Im-Muted Melody

A muted melodic line Was very common in classic country lead playing.

f\ I s.

. . . - _~. . . . . sl.

P.M. throughout1 1 2r--; sl.

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7



ROCKABILLY '5 Os ROCK

Rockabilly Double Stops

The diminished 5th interval used at the beginning of this riff adds tension and excitement. As with all

rockabilly, make sure to play this one aggressively.

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IF7 c

~~~'i ~~~~ f!~~"~~~,~~~~~~ ~ - -

"~ ; , : . . . ~ r ; . : ~ . . . . 11 11

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.u In .... ~'v

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Low & Nasty

Make sure to add vibrato when bending those low notes; it makes for a very cool effect.

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1 12 A D

"II H ~ - - = - = - · = ~ - = - - = - - = l

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U . . . . .. . . . .

8



Chuck Berry-Style Riff

Berry's playing emerged in the same era as rockabilly, and is one of the basic building blocks of all rock

guitar playing. This lick combines single notes and double stops.

B

I" II H

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i

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Full Full Full

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)

Rockabilly Solo . 1

This solo puts together some of the licks from earlier examples in the chapter, and then adds a few new tricks.

It starts with the diminished 5th double stop, and then drops down for some low, chromatic, palm-muted

lines. There are also Chuck Berry-style bending licks in bars 10-13. Be careful of the fast-moving chord

sequence that starts in bar 14-to play it smoothly you need to use alternating strokes with your right hand.

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Shuffle (n=J J »A

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"1-

~ ~ ~~.~.~ ~. .~.~~.~.P .M .-- -- - - -- - - ......... - _ . -- -- - -- -- - - _.. -- - --- - ......• •........ -- ...... _ - -- - - - ... - -.---

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D7 E71/2 ---------------------------------

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112--------------------_·---·_-------

l •••• 4 •

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10



BLUES & SOUTHERN ROCK

Rocked-Out Rhythm Intro

This sounds like it could be the intro to a Kentucky Headhunters song. Distorted rhythm parts like thisare no longer heard only in rock-they have become common in country as well.

E 1/2

, u ~ /'t H

IlJ = i- ~~~

~ i <i. *,---,* :~(j~IV ' :41 ~ ' , - - - ,

1 1 1 1 111 1 1 1 : _ : 1 1 1 1 1 1 ,i. '---H

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/ \ -n .1 / * -~ ~ ~ : : : :

- ft ;: : ft ~ J~J h: ~ v

v v v v v v v . . . . v

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I::' - : : : : !: c .~ ,-., ',I ,- '=:- . . . _ ~~I ¥ V V v .~ O f I~~

V ,VIp

Funky Minor Blues Lick

This must be played with a pick and middle finger, or with the thumb and either the first or middle finger. It

is basically a lick to be played against a minor chord, but you can use pieces of it against a dominant 7th for

a chromatic sound.

Am

fI ~ ~ · 1 ~ . . ~ , , , " I~ ~ . . ~ ~-.; I

L._3--J -P P

'" '". . e- . . .- . . . .

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v v v v"! "! ~ '! "!

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v v . /" v . . . . . .

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1 1



m

Dickey BettS-Style Passage InA

This lick, based on the A major scale (without the G#), is in the style of Dickey Betts of the Allman Brothers

Band. Notice the subtle variations in the melodic and rhythmic ideas, helping create the weaving-like effect

of his style.

A

p

E A

1\ W f! l ~ r> I,

tJ I - ~.:> <:.: ~ ~pH P P

H PP- -.....,_ n . . .; n ".-.,.

_ . " . .A.

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. , ."

' " l : ~ . . " "..__.

"H pp

Dickey Betts-Style Passage InD r

This Betts-style run uses the D pentatonic major scale in a high register.

D A Dp p

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, , _ , , _ - - . . . sl. si .

• ." . f'-~st .

w f '- .".. ~ :-\/-- - r- .". - -

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P

sf. ".-..." P sf . sl . P sf .-, ..--.,n , .. . , . . . 'v , . . 'v 'v ....- - -- 'v

,_ ,. . . . . . ,_ 'v- , .. . ,- . . . ,_ I. . . .. . ~. ,' . v .-

Allman Brothers-Style Dorian Phrase

In the style of some of the Allman Brothers' early minor-key jams, this lick uses the A Dorian

mode (A BCD EF#G).

Am Cmaj7 Am

~ • f'- ~ j ! : «,•

L--J _____.

p

~ .. . , . . . .. .~~

"

v

-_n'"v

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.... + + ~+_+ 4 : a o . .. .

• •

- - - - - - - -,

12



Allman Brothers-Style Blues Licks

The Allmans helped to prove that repetition can be a good thing. This blues phrase shows that repeating

ideascan make a solo more memorable.

~3-

Shuffle (n= J )l)

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1 1 2

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I.

B.B. King-Style Blues Lick

One of B.B.'s classic moves is to jump up an octave to the high tonic (the high G in the last bar) and give

it a stinging attack with a lot of vibrato.

~3~

SbufDe (n=J JI)

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---!: J MMM;\M~~ fih

J M M ! I A M M NINI~

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rake rake Full rake

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V IV

n D

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H Full FullFull

_j Full

13



s LID E

Duane Allman-Style Slide In Open E

Notice how well. this lick sits on the neck when played in open E tuning (E B EG#B E).

sltume (IJ=r]J)

c

w/slide

, ,,-. n n

"

n "U·

n·U

nu

nU

nu v , . . . . , . . .

" r» . . "u

U U ·U

. . "u u

+Open E tuning (low to high): E BE G# B E

. . . . . . . . . . . . . - . . . .

lIT'!.

I

. . . . . . . " . . . . . . . . . . . . . -. . . . . . . .rn\

.. ~.U

Standard Tuning Slide Lick

There are some situations when alternate tunings are not practical. learning to play slide in standardtuning is extremely useful, and this example shows you some of the possibilities.

~~~SbuffJe(JJ=J )J)

D

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.. w ... . .. .. . ~ . .. . .. - . .. " '+ . .. .. .. ~ . .. .. .. .

+ ..... ~+ +~

II

"-"

I I

w/slide

~ . . . . . . . - ..-. - . . . . . .~. . . . . . . . -

in

14



Bonnie Raitt-Style Open A Slide

Bonnie Raitt often uses open A tuning (EA EA c # E) for her tasty slide work. In this example, notice that

vibrato is used extensively to add emotion to the held notes.

D c

* -~~ ' - . r -A"_lt~~~". . . . . . . . . . . . . . . . . . . .

;./~.-..,, . . . - - . . _ , h • 'I"-~f1

" . , . . - - . ,,--,_ . . . . . . . . . . . . . . . . . . . . k ..--.._ a-a,:..; - -"' " '- ~

.J.w/s lide

_...-..., --",--.,. . . . . . . . . . . . . . . . . . .

- - - ~- - ~n

y y y .; ;..

_. . .

-:'. . .. .,,--; .. . y . . . . . . ., -: -.. . "

.. ,

'w " "

*Open A tuning (low to high): E AE A C~ E

F

•

y

n

u u ,...

Lap Steel a 10 David Lindley

This example, in open G tuning (D G D G B D), is reminiscent of the lap steel playing David Lindley has

done with Jackson Browne.

A E

'" ~ , . _ " - , p ~ - - - -. . r - «:«:. , 1 0 1 f I : - - ~. I " - .~.J

w/slide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

~ n - -: -;. .w. . . . . . .

' . . .

", y . . . .

n

,_y

"Open G tuning (low LO high): D G D G 8 D

15



A B A

-----~~

)1/~"-"'a- " " " , . _ - - ~J~, . / ~ : ~~.

f ~, ~~-~- - I--- ~ C'~ ~- .,--- I- -

L!

~

. . . . . . . . "' " ..~~. . . . .~ "~ . . ,"~" /, ,,\ (.,0,n

- -~ , , ,,"~ . . .

' " uV . .. , , . . . A :;" . ,~

\ 'J. _ .

'~I

E Cjrn A E

flif H - : : : : , it. ,..-.., J1~'-"_,~ '~f: ,--...,'- ~ ~~.~ -

I

t. l

- -I

~ft --; . . r, ~ o n -~~

. _ . _. . . . . . . .'"

y ,w

PEDAL STEEL ... STYLE RIFFS

Pedal Steel Ending Lick

Each bar of this example is a riff un to itself. The bend in bar 2 shou ld be played with your m iddle

and ring fingers fo r m ax im um bending strength.

~J-

Shufile (iJ= J ,j))

D G D A D

d YII -H

r=,p

r>.

I I I

-

.

P .M . -------- - - -----" ' - - --- - -- - -" "- - --- -.--- ---- --- - - -- -.--- -- - - .-- .. - - j

• pJi .--.

,, ; : : ;

'_ "

16



IV-V-I Steel Intro

A classic steel-type intra. Note the hammered double stops in bar 2. In addition to bends, hammer-ens

are another good way to make your guitar sound like a steel.

~3-

S.huffle rrr, )))F G c

F u l l F u l l 112

. 1 ) 1 - - ,H P H.

~X. A!~ .~ J~'! ! - J •'. l..

_-

~ '- - JI

lei ring""i

F A A F u l l

1 \H P H I\." "

'" .. I';;' '"o. _.u.., :: : r" n Q":;~"

,un . .

" "" , "I 'v ,VI v v u

'"U ' , , _ . u u u.

" :: : :: :. . . . . . ' . .'L

In Descending 6ths

This is a variation on a standard country lick, with the rhythm turned around and some chromatic passing

tones thrown in for interest. Even more important than the note selection is the phrasing, which gives this

example a steel-like sound.

r. II H~ ~ ~--._ ~ ~ (I#- sl .

~. j,j.-- r - - ,

,

f) I

sl. sl.

s/ . ~ sl. ---.. .. ~- ." .", - - u

. . . . n A

"'" "u ,U . . U . .

sl

sf .

~~s f.

E

17



Chromatic Steel Walk-Up

The most difficult part of this riff is to coordinate the sliding up with the release of the bends. If it seemstoo hard at first, get your metronome out and practice it at a very slow tempo until it becomes more fluid.

c F

I

Full FuJI Full FuJI Full

~ · · · · · - A - - V - - - - · ~ · · · · - 7 L ; ! - - - ~ ~ · · ) r ; t ~ · - · · ~ - - N ~ · - · - - - ~ - ~ - · - Q.. I

Ful Ful Ful Full Ful

1.- .... -.d\_I--.----.--~·----··--·---sN-------·---._;L'J-··---------.--:~

/ ,... ... n '" •

Clarence White-Style Steel Solo

Although Byrds guitarist Clarence White used a US" bender to achieve his steel sound on guitar; this solo

attempts to capture that flavor using ordinary string bends. Not for the faint of heart, this b reak con-

tains some of the same type of slide/bend combinations as the previous example, as well as two

slide/hammer-on combinations in ba r 15. Once you have this one mastered, you'll. have a large arsenal

of steel licks at your disposal.

~3-

Shuffle (JJ"J Jl)

1/2

Ful Ful

_!-- ----·-··-----------V--------~

G7

Ful

j ~ - - - - ~

G

J}.~ ~ ~ sf . ,~ sf .

I II , , . ~-~ ~ ~ ~-~;-~ = ~ - ~ ~ • ~ .-.,.

f)

Full Full Full1/2 t-"",-----------------\- - - - - - - ~ ~ sf . I " - - - - ~ sl.-.

' l o o 'v v v - I ..... 'I

~. .-:'- . • f•• \ r. .. \ . .. .. .. ,. . '," .(,..,\

,n . . . ., . . .

, . . . . . . ' . . . . . . ~.,. ./ ~. . . ./ - ., . . , . . ".... ~ . .. ,1

. . . . , . . . ,. .

c DFull Full

_/- - -- - - -- - - -

.r>1sL

sf .

1\ If ~ • h-. . , 1 1 . I L ",.--...

~

._ ; -ul Fllll

f - - - - - - - - - - - - - - - - - - - - - ~ Fullsl . r> sf .• - - -. .

- : : : / . . ,,;-. ..// . . . .".:;' . . . . . . . . : : . . . - ~ . ; c o : - ;: ~ _ . . . . ;; : !,. Oy . ~. . . .. . _" . . ,

" • ~-

- - - - -----~ Full

18



G D

11 2

1 1 2 n .~ sf . sl.t. n H a.~

fl Jt" I . . - - . . - 1 1 ""I l£"- I -~ 1 ~ I L T J L .____ 3_______j

I L . . . . . . . . . . . . l

11 2 1 1 2

sl.t. I\ H sl. n~ sL"" "

' ": r

'"~-t.-- ,- .. :-'" ~ :,.- :. _ . : . _ ~ . ; = : ' . : ' :; :.~ -: ~ :. ,/ ;:: ' . : ' ' . : ' :=

' "j_u u ~. _ . . . ~ . . . " - - . .

..- <» ._ v U _ -- - -- -

G G 7 c

D

Full

/Full

..--..~ sl .

~ ~ ~ ~ ~

I~~

s.

II

r - I .

- -~ ~

~"~ «:f-- f--

1 = ~ ., - -- -

~f--- f-- - - . - _J_

• b I-=-

- -.:>U

r IJFull

FuJI

~ Fullst. s! .

j_Full

-"~ ~"-..,,,~ /, . .., ./\ U ,f t

'"U ~ . . . u

_., . _

' . . . . " . . . . /. _ .

/ 11. . . . . .

11\ . " " " _ ' _

'". . . . ., . n -- = ".- ,-

n "':v . . . ~

U - -

G D G

, .. . - . . . . . sl.I ~ ~-

J : ; : :'1 II '-.. • -I _tI__

_ - . . . . . .

tJ~

p I) U l l

r>. P sl.

'";: : ~~ ;;:: r... . -, -; :. _ _ L \ .,y ,_

~y

- -L V

--

Full

:/

19

/



CHICKEN PICKIN'

Basic Chicken Pickin'

By sounding only se.lected notes and blunting the rest in this example, you achieve a syncopated rhythm.

This one really sounds like a chicken.

E

1/ 2

__J- - - - . . .

I j j . ~

~ ~.

fJ1/2

__), .

~. n"w .,

Descending Chicken

Note the rhythmic variation in this riff. In the first two bars the notes change every two beats, while in

the second two bars the notes change on each 8th note. This makes for a nice feeling of acceleration.

G

F u J I

)

"II

..,... x x • x x ! . . . I I

fJ. I ..~*~*~.F u l l st .

}" "V v u . .

u , . . . ... . . . . . . . . • ". ~ . . . .

Fingerstyle Chicken Pickin'l

By using your thumb and one finger to chicken pick, you will naturally create a muting effect similar

to palm muting.

E

. F u l l~.----------------.-.-.-- .. -.---.~.---------------------------_- ......... "--- .. -----".-----~ p

...---.., - - - - - - - ,...-.,. - - - - - - - . . . .""

I

F u L Lj" ---_._ _.---------_--- ._----- .._ ---------- -_---.--- .._.---_ _ ------ . .-----.---........_

»> \.-f.,

.2 0

/



LYRICAL COUNTRY ROCK

Albert Lee-Style Lyrical Passage

Though Lee is known mostly for his amazing, fast playing, he also excels at slow, melodic soloinq.

Pay close attention to the 16th~note-triplet flourishes, which are key to this passage,

H Psi. sf.

Asl.. _ .

: : : : f L A «>___H P p

f - f f , , _ II- •

D

sl.--3 -

s. sl. -~Ii

n "'. . .:........--

.', ~ y

.;:" . . '". . . . . ' . . . " '; '" ,. . . .

'",,-

" '" " . . . v

H P ! sfH P p~ sl

Buchananesque

This gritty example, in the style of the late Roy Buchanan, incorporates artificial harmonics in the 3rd bar.. -3-

Shuffle (jJ",J )I )

B B

A.H:"················---""·.····l

( 8 \ 1 a)

FuLl. .. I .6.

1/2

N P .,. .

1 /2.r: .." /..,\

1/2__j ......,_

... f~\

. . . . . ~.A.H ...· . .. . _·, --"----"... . ··. . .. --1

Full

)

I

" U v

l~ P +" +++++++

/ t.

u \U,'" "

Slow, Soulful a 10 Vince Gill

Like most contemporary country players, Vince can play in a wide variety of styles. This example is in the

style of some of his more lyrical playing, and hasa definite R&B influence.

D

HH

___ +++++++

FUll

W• !-".

!-" ..

::_....,'

H -H H + + •••••

Full

1\- - y

. .H

21

/



Esus4

Full

E1 ( 2

DA

; f - - - - - - - - - - - ~~

. . . . . . . . . . . . . . . . . . . . , .. . ..~.. ~.. .

~ ~ ~, , _ , , - . , . . , , _

I ~ p- - ." " "

tJ I

Full 1/ 2

v'>, I\... ... P I:, ; . .. " t !o o t :t - . . . o t : , . . . . . . .

. .. . . . . . . . .

} 'v .- IA

~ A

. _v '"

Slow & Tasty Solo

This solo demonstrates some of the more expressive qualities of country guitar. It blends sensitive melody

lines, a little blues and some pedal steel riffs to create an emotionally charged feeling for the listener. The

rakes (bars 5 and 6) are added to selected notes for emphasis.

Dadd2 A Full

J \ pfI ~ ~

P H . . . H. . * . t o . . . . . .. . . . . .. . . . . . 4< . . . .

":-" '_t. -r-~-

•11 . . '-"

~ H psi. sf. 3 3Full

H P sf. sl. H H. . . . . .~. . . . . . . . . . . . - . . . . _AA

P" '". . . . . . .

.- ~ "

n - " " . . . " - " - - " - -.. . . . . . .

E A A7Full

fI ., ~~p . . . . . . . . . . s t . p

~E~ f j p " _ ,~ - ~ - - - . . . ~ -- h -

x

tJ l 1 I

= =I

Full 3 rake r a k e

D~p . . . . . . . . . ~ . . . . . . . . . . . . . . . . . . . :LY H st . -- Full

- I.. r--;

e . . ,. , n . . ~ /, - - ~ ~ ~ ~ ~ ~ ~ '! ~~ , /- - - ~ r ,-

- -

Ful!

Dadd2 A

-

Full

- - : !~ ~F

l__3__j

rake FuBj.n ..\ . FuB

j

Full

~ HFull

J-'

I." ,;; .. A _. _ " ",

. . . . / 7

,.IU

22

)



E F~m Full

DDadd2

- - - - - - - - = : \ H~~- - --~ ~" _ : - - - - , , _ , . . . . . , , , , _ ~t~~

H~ ~~~.~

, . _~

" ~ H ~t- l- I-, _ ~ .~ t- t- t- t-

•

t. J~ -

rake Full

---------~--..,.~~ .~~. .. . . . . . . _ . .

~~ ,-.~ ,.,. . . . ,-

~" f.,,\ ~" -v \_V ,- ,-

" '"~

H

A

Full

b

E A

Full

~--------"~Full

~,.-._ ~ ~ " ' F. .

"H ~±~,_---,,_-,,_-

st. PII~~ I- I- ~ = , , _ - , , _ ~ ,k~ ,-....::

_.

t. l I..--

Full Full P Full

1\ r:>,"

st . P t/ :: '... ::

" ",, .

"r : : : : . ~ : ::

. " " 'v 'v 'v . . . - ::' r

I - I P

FLASHY SPEED RIFFS

Low Pull-Offs

You can play this with a flat pick and palm mute it, or you can use your thumb and fingers and chicken

pick it unmuted.

E A

t ~~ I

t.l = \.1. ~ .. ~ -J ~ qi~ - ~~~~~- ~ . . . . . ~J~.fP ......__.... \.J

... p ~ H P H PH P H P

<:» .....____;./ HH H H P

",-...

"'- n n-, -

~ V . . . ".. .v _ ~_

~v v ... ~

" "v ".

. . . "': v . . .

. . -H P H P:»

H~H H

H

23

I



Hot Chromatic Tag

This bluegrass ending works equally well on electric or acoustic.

G D G, J , I

. . .

-~ ~ #~ - , J • H· • ~

. . - tT •

"~ ,

",.

" ", . , \T .Ie - ~ ~

".,

"\T .I . . . . .

.. ,

Earl Scruggs-Style Banjo Lick

This riff, in G, has an Earl Scruggs-style banjo sound, yet doesn't use open strings. The #4 to 5 (C# to D)

hammer-ons are the key to this sound.

GH H H H

1\ j,I ...--.. - - - • • • - - •ur-

tJ

H H H H

...--.. . . . . . - . . . . . ~ - - ~ .. . . .. . . u . . .'"

u . . . . u

~ . . . . ~ w . . . . ~ u u w ~ . . . .

Moveable Bluegrass Run

This moveable riff has a first position bluegrass sound as well. Notice how the one slide in this run smooths

out the whole passage-subtle variations such as this can make your playing much more interesting.

c st .1\ I J ~

- -.-

tJ L I I I - ,-I I 1 1 I _ J

I

st .

-~ ~ ~ , . . . .. . . . . . . . . . . po ~ . . . . . . ." . . . .. - <I . .. . . . . . .. . . . .

"

. . . u . ." . .

. . . . . . . .

. . .

24



Bluegrass Fiddle Tune Run

This is a moveable version of a fiddle tune-style bluegrass run-try it as a flatpicking exercise with the

metronome.

A D A Bm E A

" ~ ~ I - - -~..11 •tJ L I 1.J I -

,.~ ~ ~ ,. . . . ",

~ . . ~ ~ ~ ~'"

~ ~ . . . . _'".. .

,. . .. .u ~ u

". . . . u

u v , ,

Chromatic Speed Riff

This run sounds best when played fingerstyle or with a pick-and-finger combination (hybrid picking).

G

" ~'f'- ~ . 1 . . _ . _ ~ A I I r l

I.r.-r\ \I .@ .l

H'-.J...' • p ... ~ _ . . . . . - 1 I / 1P <::«

P Psf .

~ p_p P H" '" ". . .. . . . . .. .

. . . . . . . .. .. .

~A

'" .-' '-' ~ . . . . . . . -e ~'".. . .. . '( : . .

. . . . . . . .. . . . ~

p p

b~ p p

p ....__,-

sf .

Mixolydian Speed Riff

The Mixolydian mode works well for fast country picking. This run includes two chromatic slides (F~ to

F#) that add a bluesy feel.

D sl.

_fj . u . IP .I..~-iF . .

.J "_y" I I 1 '-...._J.Y . '..J

sl.sl.

p sf .

-" ". . . . . . . ~ .. . ~. . . . . ~ . . . . . .

'", . . . . . . . ~

'"

rr- . .

sf . sf .

25



Vince Gill-Style Fast Open-String Riff

This is typical of the kind of passage Vince Gill might play during a fast two-beat song. Here, the open 0

string creates a drone-like effect.

D G 1 1 2

I ) pliM 3 J 'A r- ,

~.

tJ · ~ - ~ - - Y ~I ~ _ . ~ _ ~ ~- , _ _ _ _ _ y 3 ~

sf P P <:: '-._..: sl .11 2P p

It~" /~\

"v,v/ v

~ A A .- - - -. v v - 'C ' - " A - -" '

,~ ~ . . .1 : r - - -t r t ,U

~

st . p P P p sl .

Fast & Furious Solo

Reminiscent of Albert Lee, this solo combines fast sequences, chromatic flourishes, fiddle-like low drones

and pedal steel licks-have fun with it!

A7

Full Full

~ *~.) n~ I - - - - - · ~ ~ - - - · · · ~ ~ . ) , .

- ... jJ ,_

tJ It- ~-- . ! _ _ _ _ _ _. -'-----"

sl.

Full Full

. . f-················~ p

"/ D / /", t_ ~

!:;/ : : : - - - ~ ~ r . . . . ". ".,, . . . . . . . . . - .. . ~ ~. v . . .. . .

<c:»

sl.

, . , » * sl. r : - ~ (L .~ * fL 6. * 6.- ~ - ~ - - _

tJ -A C O . , .. . . . , -

. •

. _. . . '" / - ~ ,.

, - . .",. , ~ . - .- , . .

v -sf .

A B c c~ D7

1\ ~ ~ I I I._ J . I _

tJ "6- - - . . - *6-'-.../sl . s t .

. . . . " ,.'v , . . " - ,. , . . . . ,. 'u '" , . . . . " 'v 'v/. /~

,'" . . . . . . - . . . .,-

sf . sl.

26



Il o H ! ! : . . 'I I ~

~tJ v- - • - * " : : : : ; - - - 1 '1 ' ' - .. /

. . _ _ . . , .I -l.

s !'

sl.

~ n

"-

"~, - /' n "

fr r ~ ~ .. . ,.'"

'(.IV r ',-

,. , . . . . . . ~. . ."

-sl. sl . sl. sf . sl.

A7Ful Fu)L __________

_ J - - - - - - - - - \ _ ) \~

~ , . _ _~

~ ~ ~~ ~ _ , , _ - , , _ - , , _

~f--

- r : - ~ ~ ~ , , , _ 6. 1 ' "r = / " " ' -

, . , I l o * f--- f--- f--- f--- , , _ - . , . _f-- ,,_'-- f-- f-- f-- f-- -

JL_itl.L

tJ Full Ful

r - - . . . . - - ~ c>. _,~ . I..

1"../ ~ . \ ./, . . . . ,. .

'"A '" " '"

~,,. . V IV " \" 'V

Full~- ....------~

E7r-. »<; ~ f ' - / ' " " \ f ' -~ H - , , _ ' '!'- f-- ,

. . . . . . . . . .tJ 1 1 ' - '- '" -...__/ <:»

- 1 '+ - _ _ _ _ . . , -

Full si . 5 1 , 5 1 .

<,

)..._ ....\~

r: ~'\

" V

, _

. . . - . . . . . . . , . . " . . . . . . . . . . . . "'.'( f'

, "', ", -,

sl. sl. sl .

D7 A7

~f. i 5~

r x t1 _ I f ~~- ~- , -

I *;:::...; -

- - - ' -

tJ - - • '--"" sl., L rake rake

,~,_' e :

, " - ,,,

, _ '~ J

-V 'v IV ,.<c:»

s t.sl.

~F ~

lilt

~~ ~

~~ f " - - ~ f " - - " - " " " _-

f'-~f'-. , ~ H - ,1 1 : . t - rx

_L

tJ

F fake rake

F~F u l l

Ful, r-.,~ / ~ ./

•. , . .

" f.,,\ t.,,\ f~,,\ " ;./. . . . \'W \,V V "VI " , . . .

Full Full

J\_JFull

L)

E AFull

f

27



• TABLATURE EXPLANATION/NoTATION LEGEND •

TABLATURE: Ii. six-line staff that graphically represents the guitar fingerboard. By placing a

number on the appropriate 'line,the string and the fret of any note can be Indicated. For example:

~ ~ i ] ~ : . n ~ . g : · H i 9 h ~ f.- = = = = = = = = = = = = = = = = = = = = = = ~ = = = = = = = = = ' ~ : ; f ~ ~ = = = = = = = = = = = ~ = = = = = = = = = ~ I · . · : · ' = = = = = = = - ~ = = ~th 5l,ing' / J . " f - . -------;33-------1-----------·-+------i-L_----~-_

ehI,ing' Low E--------------------------------{}-----

Sih .~9, iM I , . ' 2:nd st[ing" ~O t h I r' e~

and 3 r t1 "l<1"g, 91h1( "1I > I~y• d l o g. ' h e r

enopen Ecll:ord

Defini t ions fO I Sp ec ia l G u ita r N o ta tio n s

III

VIBAATO, Vibrate Ihe nole byrapiolyban oinqand relea;' in g

the 51,[ng'w, i l ' , a lefl·han~ f inger .

' PUl .l ·OFF; P lac /ibO th f ingel 'S

on ' !h a no t e s lobe sounded. Slrike

t he f i rs t '( h i gh .r ) note, th~QSOuno

l Il e lower nets by pul li ng . the f in·

g e , o f f t h e h ig h er n o te w h i Ie k .o p ·

ing, the l owe , note f ret ted,

PALM MUTE: With the rjght

hand, par t i , \Hy mute the r io ts by

l ig ht ly t ou ch ing th e .I ri ng lust

b 01"", the bridge,

'BEND: Sl ri ke Ihe no te and be no

up V, step (on~ IraQ,.

~Il

~"~WNNM

.

TRILL Ve ry rapid iy ahemete. be -

tween t h e ' n o t e ' In o i ca l eH and Ihe

S om a ll no ti3 s he wn I II p ar en th e s. es

by barnrne ring on an d p ul lin g O ff.

tr

MUFFLED STR INGS: Ley'the l e ! f i

hand across l Ile si l ings w i t h o u t

depresSi"" t hem 1 0'Ihe f rat-board;s t ri l< e l ba s t ri n -g s with ! he Og h! h an d,

producin~g G Il P e rc U s. -s M 3 s o un d .

'BEND: S trik e1 he no le a nd bend

up a who le s tep (two fra ts ),

F~II

WIDE OAEXAGGERATED VI·

BRATO: Vlbrale the p itch 10 a

9 r ea te r degree 1 'I ;lha left -hend

ffn{l"r o r lI1 e tre mo lo b ar,

BEND AND RELEASE: SIIil<a

the note and bend upY! (orwhole. )

s te p" I h'e n- 'r el eM e 1 he b en d bad';

to ti ; aoriginal nota. All th ro0 notesare ti@c;onlythe,firstllote isaI~ek,

S~IDE: Str ike l he f ir st no te and

then wil'h the same 'left -hand

~nger m ove up the s trln 910 IhO )

second note. The second n ote

is not struck,

TAPPI NO ; H . ,mme r nap") t he 1 , , ,1

i n < lb a te dw~h t h e "(!hl·handind"~or middle f in ge r'a oo p uJ I of f 1 0 ! he '

note fretted. by 1 1 19left hand.

P I C K S I I OE, R ub th e p ick ad g"

down the le n gill o f th e 8 1r in g 1 0

p roducee ~ ra tohy sound.

TREMOLO P ICK ING: Pick t i le

nota as rap id I yand con linuous'ly

as possib Ie,

11~~.;1r~l)

I SLICE: Same as above, exes pt

th e sa co ne note is struck.

NATURAL HARMONIC: WithB

left-hand f inger, l ighllytouch thO'

.str ing ove r the I rei i n d i cated,

r he .n s t l' 1 1ka if . ,A c h im e - ll k9 1 soun d

is produced,

PRE·BEND, Bend th e note up~,

(o r whole) step, then strike it.

In (;;"ir FYII~

I ; I I

R'HYTHM SLASHES: St rum

ehordsln rhy thm Ind icated. Usa

chord vclclnqs r ound in,~hefin.:.

ge ringdiagrams at th e top t>1h"

fi,st' p a ge I "i lt ha transcrlptton.

Am no

JTT)-JPRE·BEND AND AEl.EASE,

Bend th a n 01 '; up ~ (o r wl,ole)

sle~, str ike it andrete ase the

bend-back to t he O' i (l , ,, , ,1 note,

IR. l l ' rl ' fo l i ll ~

~

SLlDE: Sllde.up 1 0 Ih e O O le i nd io

eal l!d -Irom a fe w (,,,I. below,

ARTIFICIAL HA'RMONIC; F'~Ith $note n QfJ tls Jly a nd s ou nd th e

harmonic by addlhg the right .

h an d t hu m b e d g s o r i nd ex f in ge r

tip 1 0 Ih e n orm . I p ick a tta ck ,

A . I > ' ! ,

jll'njJ

±

U;!!I[W"r-1I111

ASI SINGLE·NOTE RHYTHMSL A SHES: The c lmled numbe ,

a h ove the no te nam e . I ndk : :a les

W h l ch Wing t o p la y, When s ue -

c s ss iv e n ote s ~ '" pieyed on 'Ihe

s am e s fri n g, o nly th e (te' n u m -

b e r s a re q lv en ,

0~n nt, ,.(). ' t ' I@.' l fC ft. A 0

J , J>..n)

UNISON 'BEND: Strike the two

notes s im u ll an e ou o ly a n ,d b e nd

the I'ower note to the pi!.ch of

the higher,

F 1 1 ~ 1

itA MM ER.Or. ... St rike t he Ii 'sl

(lows r) nol a.ln en sound the

h ig he , n ote w ilh a nQ th ~r r.nger

by Irettlng ,IWithQ,ul pick"~il

TFlEMO LO BAA, Drop I he not.

bylhe numbe,ofstep. ind icaled"

then 'eturn to originijl ' pitch.

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Country Rock Riffs (by Mike Levine) [Book]