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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
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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
02503479
Cherry Lane Music Compan~
• Quality In Printed Music •
P.O. Box 430, Port Chester, NY 10573
IS8N 0-89524-990-1
Printed in the U.S. 7777 W. E:lL.UIi iMr;lI" INI;I R!;I. f ".O,BQ ( 13 !11f9 MILWAUIC.E.E, WJ e:3.2.13
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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
_ For a comprell"nslva l is ll ng D r Ch"rTY Lane Music's s D ngbo6l<s , s/leet music, instruclional mala'ials, v ia ' eo s a n d more,
~ check out our entire catalog on I f . . ' "Ierne t. Ou r home page l!dd!<iSs ls: nUp://www.ciJerrylane.com
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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-"
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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
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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.
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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!
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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-
Shuffle (J)=J j))
E A E1 1 2 112 112 112
_/j_.~ ~f"---~---.------. J ) r-.
t.l
~
- - - -- -
y" ~.q~--:j:. = ' = 9- ::::; -
~ii ~ ~ __~- -
. . . . . . . . . . _ : j 0-
EM.. ----- .------ -------------.--1
1/2 1/2 If 112r - - - - - - - - - - - - - \~ C ' - . .
\
\
I} .. . ~
, 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
-J - - - i:::=::i
~~r ' r ~
~ sl. ,
.:; ~ , ' , . , ~Y , .,' : : : ~ n
"n, . , ~ ,
n
j - ~ ~- .,
-
sf
H H.H
6
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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 !..
A
.u U .U v u
..
f1 ~ ~H ~. --J- ~
L
1... I...
fJ ,~ I " i l l .:j
Hsl.
R1
_'".I
. . . .:::,--..... !.. : : : ;::::/
- . . _ .~
I·: :: u
!.. ~ v ;: : u
,
"u. . . .. . . v v
sl H
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.
/
-: \. - - - : - . .'". . . .
. . . . . . . .
- -v .. . v .. .
. . . . . . .
1 1 2
_/) F
s z .
GFull
.r>. c, _......
.11 .-...I - ...I .,l,;
,
~ I I
P <:» . .P
Full· r " · - - - · - · ~/ •. . . .
. . . . . . . . . Ie j'"
".u
.. .p p
7
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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.
.-3-Shuffle (n=J J ! )
IF7 c
~~~'i ~~~~ f!~~"~~~,~~~~~~ ~ - -
"~ ; , : . . . ~ r ; . : ~ . . . . 11 11
~ I
. 1 .;.: -e .\
'J,. r: : ; . }.. , ;. r. : :: : : : :: : n : : : : : : : 0 : - n n
'"
V IV 'v V IV .V 'v 'v .U IU "I-e---4&1v U u . . . . ~ ; : : : :: : : : : \U V : : : : : .: '!'
.u In .... ~'v
. . . .IV 'v U V
Low & Nasty
Make sure to add vibrato when bending those low notes; it makes for a very cool effect.
~3-
Shuffle (n=J J ! )
1 12 A D
"II H ~ - - = - = - · = ~ - = - - = - - = l
'":I:
.J -,J -,J - - , ; . . -,J -,} ~ ~ -,J -,j q • • ~4- .... . . . I
"PM. th roughou t
1/ 2+~··~-=-: :~~-=~~=~-=lJ
"-n n . . . n n n . '
u v . . . . . . ~ ~ . .. . . . . . . . . . . . . . u u . . . . . . . ."
E1/ 2
A- * · : n _ ~ _ ~ _ = = n ~ _ : ~ ~ ~ - - ~ n : " : = l
~ = ~. ~- - - - -
~-,j____..
~~-J1 1 1 ~ ~ • ~ -i
11 2+~::~~-~w~~-~--~-='::-~l 1 / 2
T'\.\
I J \
*ft ft
. . . . V
U . . . . .. . . . .
8
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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
. _- ~ ~/~ !- !- .- - -
i
~
Full Full Full
f t f sf .~ ~ . - - . . ,
/ ~ ./ / . : . . : . '"., . . .
. ..'"
x" "
.. -
'"v
.. -
Full
)Full
)Full
) sl
" II * ~ ~ ~ b :, •Ljfr-
\ l 1 J
~
Full Full Full
J . . ., . . t . . . '''' "
. ../ ./ ./ :x ~ . . . . . .
. . . 'w w ;: : .: . ;,
'"w - " '"
u
Full
)Full
)Full
)
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.
-3~
Shuffle (n=J J »A
" II H ~ ~ ~ ~ ~ ~ ~
"1-
~ ~ ~~.~.~ ~. .~.~~.~.P .M .-- -- - - -- - - ......... - _ . -- -- - -- -- - - _.. -- - --- - ......• •........ -- ...... _ - -- - - - ... - -.---
s a e ~.. .!:: ~ ~
~
. . . . . . .. . .. . w "-
U U U
vu
. .v
u
v
9
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D7 E71/2 ---------------------------------
II~M 11 t ; f f
•.J . . . . I 11 • • - , , . , . • • I TI
= ~ ~ ~
- - - -
- - - - _ ..- - - - - - -- - -- - - - - - - -- - -- - - -- --- -- --- - - --- -- - - ----- --------- - - - - - - - - - - - - -- -- -- - -- -- - - , . . . ~ ~ ~ ~
112--------------------_·---·_-------
l •••• 4 •
I: ; : : ; : . :;: :; : ~ - I I /u u . . . v u v - - . . / /
- . . . ,. _ . . . L L L L
1 1 2 A E71/2
1 /2
"-"p
A7Full
)
D7
Full
)Full
)Full
)Full
) sf sf
II ~ 1 ~ .- - - . . . . ~~.. 1~ !'- ~ _1L_J{~ , II- II- 1 1 ~ ' ###
v
.J -
) 1 1F ~ f : t
) 1 1 p P
: t " ; ! : _r:-, sf."r-
'"".- -= -= -= r r
""
oJ
" ".. . u • oJ
" ;. . . . . . . . . ."
oJ oJ .. .U . . U . . . .
slp ,P
~~
E7
I ~~L}r -~_ ~## ~~ f' - , . ~ :: 6 1 ~ ! , * - • ,''' u ~.•
.J -3
3
P PJL r
.----..._
-. . .
. . . . . . . . . . ; : : ; : : ;: : ;; :.- ,i. ~- ~" :: : x ;: ; ;; " " -.;! :; "
~ w . . . . . oJ U
D7 A7
II ~"! l ! - I!11~'" 1 ~,.. 6 ~ I! I'- 1 ~
. H H
- ----._:(
",-u
tJ.._
3
- -,. !. :: ;! ;; ;:: ~ . . .. . ~:; " ~ . . . . . . ;:: !. s; -~ - - ' " - ;!u . . u
_ L " _ ~ u
H H
10
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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
H
l I Z H
/ \ -n .1 / * -~ ~ ~ : : : :
- ft ;: : ft ~ J~J h: ~ v
v v v v v v v . . . . v
A E
fI ,ij H - H
,- . . . . . .
IlJ,~
-~ ~
~ :II,--,:II '---" '- "-'- .. ~~,-""i<: »
p111"'_"'~
1 1 2+ . - - - - - - - - - - ~
. . ./~ 'n ' f ;" . \ , , - - - . . . . .
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- . . .- . . . .
'". .
v v v v"! "! ~ '! "!
v v
. . . . . . n ... r . . . .- v v v ~ n
v v . /" v . . . . . .
J
H P P
1 1
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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.
. . - - - . . . . . . . n. - - . . . . . . . . . ." "
. , ."
' " 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
Isl..". .. . ~ ,, _~F~f '-
, , _ , , _ - - . . . sl. si .
• ." . f'-~st .
w f '- .".. ~ :-\/-- - r- .". - -
J
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
. . . "
.... + + ~+_+ 4 : a o . .. .
• •
- - - - - - - -,
12
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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)
D7s I / I . / V I I I A I\IIJ\N\
1 1 2
j)Afl Ii + l H~ ~ ~ " *
, , _" *
, , _fL
, , _~ . , . fl-
t) -
r.f. A/VIIIA f . . . N v v \ / I fJvVv\NvI . MMiVIIWI A ___....,
- - - ,n In . . . r~~\ In In
IV IV I~ I~ .V I~ 1- \"/ IV 'v, . . .
~
MA"AA/ \ i \
Full
}, Ii ~ L j{~
~~fI - ~ fI -
, , _ .,.r--.,-(;f-
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. , .-m. 1 1
t)
sf . - - - - - - Nv\MMF t
I I lV I I \N I . M A / lJ W . . M A M
""In n In . . . n
. . . . . '. ''''IV IV , . . 1- ", . . . IV I...
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)
G
---!: J MMM;\M~~ fih
J M M ! I A M M NINI~
f ,2 ~ _ _ _ . - - - - - _ ""sl.-
,., II ~ - - _ . ~ _ • -
x ' _ _ _ . . . --".~
t)
rake rake Full rake
H FJ.1INv\M,}. j I jJ-. Full _j Full!v\JvIM,,--.., 5 1 . 1vI!v\AM J . 'A
} MMfNN.A NINI ~r"
V IV
n D
". . . IV
" ". . . .
. . . .. . u u ... u . . .V . . .
H Full FullFull
_j Full
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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
,.., ~ It ,h .....--""
.. w ... . .. .. . ~ . .. . .. - . .. " '+ . .. .. .. ~ . .. .. .. .
+ ..... ~+ +~
II
"-"
I I
w/slide
~ . . . . . . . - ..-. - . . . . . .~. . . . . . . . -
in
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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
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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 .--.
,, ; : : ;
'_ "
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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
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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
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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
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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
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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
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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
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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
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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 . ." . .
. . . . . . . .
. . .
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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 .
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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.
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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
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• 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.