country guitar book.pdf

Pick

le (Numbers 1-11) . .. 4 -Solo ... 7

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Misty ~Mu,untai 11 - ~,~Jiu~ Country L~ad'="Guitar (No s 12-22) ... 13 Pull ~vour Spcks Up - Solo ... l8 Finger

Picking~

(Vamp Style) (Numbers 23-35) ... 20 ~ Clearwater Vamp- Solo .. . 26 River Valley Vamp - Solo ... 28 Arpeggios (Numbers 36-39) ... 29 Arpeggio In D - Solo ... 31

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Bluegrass

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(Numbers 40-50) ... 33 Bl~~grass_~,~r Solo ... 38 Combined Flat Picking ~ili.fl;, ,..e_ ~echniq~es (Numbers 51-65).. . 4C Country, Ba · e & Rockab1lly L1cks ... 40 Basic String Ben echniques (Nurrtbers 66-68) ... 45 Advanced String Be ing Techniques (Numbers 69-76) ... 46 Tracks 1-76 on the accompanying CD correspond to the numbered music examples throughout the book. Track 77 features a country guitar solo. Published by Wise Publ ications 14-15 Berners Street, London W1T 3LJ, UK. Exclusive Distributors : Mus ic Sa les Limite d Distribution Centre, Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, UK . Mus ic S ales Corpora tion 2 57 Park Avenue South, New York, NY 10010, USA. Mus ic Sales Pty Limite d 20 Resolution Drive, Caringbah, N SW 2229, Australia. Order No. A M 993795 ISBN 978-1-84772-573-8 This book© Copyright 1993, 2008 W ise Publications, a division o f Music Sales Limited . Unauthorised reproduction of any part of this publication by any means including photocopying is an infringement of copyright. Compiled and arranged by Alan Warner M usic processed by Seton Music Graphics Printed in t he EU www.musicsales.com

W ISE PUBLICATIONS part of The M usic Sales Group London I New York I Paris I Sydney I Copenhagen I Berlin I M adrid I Tokyo

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· A hammer-on is where you sound a note as normal then hammer your L.H. finger down hard onto the next note. ~ means hammer-on.

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The pull-off is achieved by pulling your L.H. finger down Qff the string to create the next note. ~ means pull-off.

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To perform an 'Upward String Bend' first strike the note, ~hen push string up to raise its pitch. The note in brackets is the one that it will sound like. An upward string bend will normally be on the Ist, 2nd or 3rd Strings. The arrow indicates upward string bend.

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For a 'Downward String Bend; pull the string down to raise pitch. A downward string bend will normally be on the 3rd, 4th, 5th or 6th strings. The downward arrow indicates downward string bend.

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A trill effect is produced by performing hammer-ons a.~ d pull-offs in rapid succession.

RELEASE STRING BEND R

Returning bent note back to its normal position. R

PICK -OR PLECTRUM TECHNIQUE •

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Place your thumb over the flat part with your Ist and 2nd fingers curled underneath the pick. Hold Firmly but gently. Poise the pointed end over the strings.

Try this exercise using the pick.

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We'll start with a couple of very basic exercises using chord shapes. The idea here is to play our original single note melody line, this time with a chord strum in between to fill out the sound. The first exercise uses the G major chord and the procedure is (I st bar): I) Pick 6th string (single note melody line). 2) strum chord. 3) Pick 4th string (single note melody line). 4) strum chord. Try the_second bar. Keep playing these two bars over and over again for a while. Now try the next exercise using Am and Am/D chords.

PICK 'N' STRUM EXERCISES Here are the chord shapes for the following two exercises.

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The hammer-on technique is useful for creating a more countrytype feel to the music. For this exercise first strike the open 4th string, then without striking again hammer your left hand 2nd finger down hard onto the 2nd fret of the 4th string.

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6.

COUNTRY PICKER BY ALAN WARNER

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First time around play the music in l1 .----to finish the piece. When you repeat, play the music in I 2

CHARLIE PRIDE (LEFT) AND JOHNNY CASH (PICTOR IA L)

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11. 'MISTY :M OUNTAIN' BY ALAN WARNER

The most difficult thing about this guitar solo is the F chord shape which is used throughout, so you may need to spend some time on · this before learning the whole piece. Also study the C (G bass) chord shape; all you do here is transfer the C bass note (3rd fret of 5th string from the C chord) to the G bass note (3rd fret of 6th string.)

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As you still have the pick in your hand, this is a good time to start playing some basic country lead guitar, starting with a G country scale and some picking exercises based around this and other scales. You will also get into slides, string bending and release string bending techniques, which will go further to adding a country sound to your playing. Other techniques like combined flat picking fingerstyle and peda! steel effects will be introduced later in this book.

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The key of G is very good for playing country music and this simple G country scale is an ideal place to start. There are a few open strings here giving it a full'ringy' sound. Just use downstrokes with the pick for the moment.

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PICKliN G EXERCISES BASED ON: . .. . ·~ G Cou:NTRY_ScALE ·. · · ·· _·_ · · - ~!· .

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These three flat picking exercises are excellent for loosening up the left hand fingers, as well as developing the right-hand picking technique. Practise slowly to start with. Try to play each note clearly and make full use of the open strings to attain a ringy sound.

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Incorporating slide techniques into your playing tends to smooth things out as well as making certain parts easier to play, so use these where ever you feel them necessary. On this exercise place your 2nd finger (L.H.) on the 2nd fret of the 3rd string, strike the string and literally slide up to the 4th fret without striking again. Now try the next part of this exercise where you slide down from the 4th fret to the 2nd fret on the 3rd string.

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Try the fo llowing two guitar licks combining hammer-ons, pull-offs and slides.

1 7. G COUNTRY LICK G

(NOTES fROM

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1 9. COUNTRY LICK IN

G

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We'll move up two frets now to raise the key to A As there are no open strings in this, the L.H. fingering has changed accordingly. A ./

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22.- PULL

YO-UR SOCKS ...

UP ·.

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BY AlAN WARNER

This country guitar piece is fairly straight forward. Try taking it slowly, and learning it in sections. It is important to get the left-hand fingering right- correct positioning will make things easier for you. Verse (Play verse three times) ~

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CHE T A T KINS ( LFI)

Finger picking can provide all sorts of possibilities both for accompaniment and solo playing especially so for the 'Vamp' style. This is where the right hand thumb alternates from one string to another (usually 6th to 4th or 5th to 3rd strings) to a steady count of I 2 3 4, whilst the right hand fingers pluck the other strings (usually treble strings). There are other timings but as we're dealing with straight forward country music here we'll leave those out for the time being. For the following exercise we will just concentrate on going from the 5th string to the 3rd string with the R.H. thumb. The P above the note indicates the thumb.

23.

RIGHT HAND THUMB EXERCISE (OPEN STRINGS) p

p

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WAYLON JENNINGS (LFI)

v

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and fingers: I) Strike the 5 the R.H. thumb (p) as before. 2) Then pluck the fst string upwards with your R.H. middle finger (m). 3) Strike the 3rd string with the R.H. thumb (p) as before. 4) Pluck the 2nd string upwards with your R.H. index finger (i).

(OPEN STRINGS)

••

Try this exercise again, this time using the C major chord. This C major chord position will automatically provide the notes written on the musical notation and.tablature.

\

(USING C MAJOR CHORD)

c

••

{VAMP STYLE)

These are the chords used for

e fo lowing two exercises.

C

G 0

0

0

In this exercise when holding the C chord down your R.H. thumb alternates between the 5th and 3rd strings as it did on No. 25 on the previous page. On the G chord your thumb goes from the 6th to the 4th string.

••

This exercise is more varied because in every other bar you pluck two strings together with your thumb and finger.

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You will ofte ~ ,., ~- ~e: ~a. · ng to modify chord shapes to conform to the -cture of a vamp solo or accompaniment. The following exercise gives you an example of this.

c

C (G treble note) X

0

cm

C (G treble note)

p

m

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i

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p

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We'll start preparing now for your rst ger picking vamp solo. Study and practise the exercises laid out below. Chord diagrams for the following preparation exercises for Clearwater Vamp

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s 'FoR tfAMP All but ree of e o o~ · g c ord shapes are quite straight forwa rd. The chords F, F(:1 S) and Om are difficult because you need to hook you r L.H. thumb over the Ist fret of the 6th string. There's no quick and easy way of getting used to this so you must practise hard.

c

CaddO X

0

0

F(b5) X

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4

G 0

Om 0

0

•

X

I recorded this solo with a capo on the 5th fret to give it a 'sweeter' sound, so although I've written it in the key of C (without capo) the recorded version is in the key of F. Try experimenting with different capo positions. *Notice I have introduced the ring finger a, this plucks the Ist string.

=

C

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.ARPEGGIOS

e se of arpeggios e in country music. An arpeggio is a successio of o~es from a chord played one after the other. Try the r:wo arpeggio exercises below.

36. ARPEGGIO··ExERcisE - USING THE D CHORD Once you have the D chord ready the picking procedure is: 4th string ,.., 3rd string v 2nd string ,.., 1st string v 2nd string ,.., 3rd string v 4th string ,..,

-

'

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D

v

D

,..,

,..,

v

,..,

v ,.., Keep going over this until you can play it fluently.

• •

\

Once you have the A chord ready the picking procedure is: 5th string ,.., 3rd string v 2nd string ,.., Ist string v 2nd string ,.., 3rd string v 5th string ,..,

A

,..,

v

,..,

•

• •

Keep going over this until you can play it fluently.

I

38. A 'R PEGGIO EXERCISE IN D Try this arpeggio exercise. Note the hammer-on at the end of the

2nd and 6th bars, also at the end of the third bar you will need to lift your second finger off (open 4th string). Remember to aim for a clean sound.

X

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39.

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ARPEGGIO:. IN BY

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0

The arpeggios in this solo aren't quite so straight forward this time, so V'{atch out for the hammer-on followed by a pull-off in bars 3, 12, 21 and 30.

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1>1

1>1

~

1>1

'l

••

'l

Section 2

P""~

fl

-

,.., v l

..

.u

c

v

D

•

..>

,..,

y l

r

I

,..,

~

,..,

~ ~

~

CJ

3

-

,..,

I

,.., y

,..,

y

,.., y

"-

,;' ' .u t)

,..,

~

,..,

y

,..,

A

y

•

~

y

,..,

I

" L

"

,..,

T

,..,

y

r

1

~

,.., I

..Y.

l..-..~

....

l'; n

I

-J..-..

y

c

,..,

;.. u

y

,..,

~

y

--

y

,..,

H

p

':'

4

,..,

y

tf*-

--

,..,

y

,..,

,..,

-

L

0

y .,

,.., L

2

G

v . ,..,

~

. 0

~

•

y

,..,

,..,

'!

........

~

4

~

3

y

2

~

--c

• ~

,.., v-H.~

n

0

y

y

~

y

v

n

'"'

,..,

,..,

x

':'

n

c

,..,

,..,

n

"

""

,.., y

tf*-

y

"

• •

•

1......1

,..,

,.., y

I J ,.., v ,..,

D

G

X ~

;;

n

0

"

~

•• *Don't forget double lines and dots to repeat section.

ADVANCED LEAD GUITAR BLUEGRASS STYLE FLAT PICKING 40. · _G CouN.TRv·- ScALE · .

'-~"

""~~-

.

~.

.

·.-:''·

.. -

,~.

.

-_- ·.

·.

.

-

16

G '

•

.If

,..,

v

.I

1

4

1

4

1

1""'1

v

1""'1

v

,..,

v

,..,

t

=i

--,J-

•

4

,..,

v

v

'

v

,.., ...

· v·

1

3

1

3

~

v

,..,

v

v

v

,..,

18

SL

1*---f-

I

,.. .<:.

v

17

r:

,..,

3

v

v

"

~

-SL-. SL

3

~

..J

~

~

v

v

2

4

4

3

This scale uses the same notes as the scale on page 9 of this book, but this time the L.H. fingering is different because no open strings are used. There are also two extra notes added at the end, (5th fret to 7th fret of the Ist string.)

•

____I

SL

3

Now try this scale in the key of C.

18

This first exercise uses notes from the G major scale. The notes are G A B C D E F# G

42. G

v

~

~~ ,If

•

~

v ,.., v

v

~

-

~

,. ,.

.1.

""1:

'

~

4

1

2

v

~

1

2

4

1

--v

v

~

;..,

;..,

~

~

v

~

4

2

v

-""""" ~

~

4

2

4

1

"

~

"

~

~

4

2

2

4

;.

3

4

1

3

-;.

1

3

;.

~

4

1

- -

4

- ,.... "

~

4

1

v

--- -=

413413

1

4

1"'"""1

c-=-

"

n

4

• 1

-

I'"'

"""'

~

v

4

1

etc.

~

"

v

4

--.

-¥ _._ • -,J- _._ • '"' 7

~~-.-~~-.----~ 2

-

etc.

3

-

~

3

~

.c

This exercise uses notes from the A major scale. The notes are ABC# DE F#G# A A ~

' "" fl:

v ,.., v ,.., v

~

v

~-,J----~-,J----·-,J-

•

2

4

1

2

4

1

2

~

v

~

v

~

v

~

,. ,.

I'"'

"T "T

"

-,

"

v

v

2

2

-,

_._. _._.

4

1

v

etc.

2

- -

"

-,

2

4

4

"

-,

2

4

1

2

• 4

-"

-

-

etc.

1

2

4

-

-,

1

\ "

2412

-,

3

4

1

3

- "'

4

1

""""""'

--u

-,

41341341

3

4

~ v

~ v

~ v ~ v

4

4

4

4

4

•

2

4

4

4

3

2

3

r""""''

3

1

v

4

etc.

4

1

-

This exercise uses notes from the C major,scale. The notes are C D E F G A B C

c

r""""''

3

4

4

2

3

4

4

2

4

-

v

3

4

is exercise uses notes from the D major scale. The notes are DE F#G ABC# D

_/

,.,D v ,., v ,., v ,., v

II ~

.- .-

.J

4

2

1

4

2

1

2

1

4

,., v ,., v ,., v ~ '"'"' 'r I

,.

~

2

4

,c.

~

'"

2

4

2

4

2

et:;;..,..

,....,

~

-

-

etc.

1

~

"

7

2

4

4

2

1

4

2

,...,

fl"-t "

fl"-t

~

1

4

3

4

1

-- 3

4

2

..;

~

~

- - - -

.....

2412

4

3

,.

"'

7

"

'

1

r-'1

"

7

..... .....

~4

1

4134

3

4

4

2

3

-

~

4

In exercises 46 and 47 watch out for the 5th, 6th and 7th notes in bar I. You'll have to stretch your L.H. fingers to manage them.

G I

r-ty,.,y,.,y,.,y 4.'

.loio

•

- .....

f' 4

2

1

4

2

"'· -. "'-.

'

"

,.

~

-

.,

3

4

1

etc.

3

4

1

. !'"'-!

3

4

1'-1

1

3

4

,.....,_

~

~

-

~

2

~-

1....1

,., y ,., y

, r-tV ,., y v

1

etc.

"'

"

"'

...

-

,.

~

"

.....

24124123

-

,. "

-

•·-.T•-:;t 7:J~~=d= 1

-

"

41341341

3

4

2

1

4

1

..,

-"

2

1

2

4

- -

~-

,

4

2

,

-"

4

4

x

1

2

...... "

<'

2

4

,:,

~

~

A ~

r-tVr-tVr-tVr-tV :.·

~

jf

.J 2

4

1

2

4

1

2

'

"'-r "'-r

2

<'

3

-

4

1

':'

"""'"-!

2

1

4

3

4

1

3

4

r-1

etc.

4.

1

"

-

2

7

..... 3

'

.,

1...,1 1

~

3

4

_1'l!!!!!l_

..,

"

-

~-

.....

":! y.., .,., y ,., y ,.,,. y "

etc.

-

"'

7

"'-_."2_

1

2

4-•-,J4

--

1

..,...., J:._

-"'-

2

-

J:._

7

1...,1

4134134134124

4

2

4

·~---:J:i 1

2

4

1

2

,;.

..,

,.

..__.,.

2

4

2

c

,.., v

v

~ -('-~ ~ .?- ~

' .

4

1

3

4

1

,.., V-.. ,.., v p

~

4

~

- -

-.!

T

4

4

"

2

v v

1

2

~

v

~

~

v

-

4

2

f-f'-t:+1L.~

~

4

1

3

4

~

v

~

v

,. ,.

~

•,v

v

......

T

4

3

1

~

4

-~

1 SL 1

v

~

v

~

':"

2

~

1

1

3

,..,~

,-. _v

l""'l.

4

4

2

~~ ~

~

':"

etc.

3

1

~

.... 2

"

1

..,

v

- ..... 3

1

2

~2

"

"'

'7

"'':"

v

-

~

c

4

1

3

-

1

~

~

3

2

4

p

4

1

-

:- . 2

2

4

- - .. "

--c...._--

_.. u

• 2

~

-

..,

A

'7

-.....!

=T

2'---

--

c

-

~

I

V_r-

4

~"-""!

·

"

-

4

3

•

"

,..,

'l.Y p

4

•

~1

2

~

2

- v- v

v

~

3

..,

"

~""'-!

etc.

v

4

~

• 2

2

3

v

1

-

1

3

,. , ,

1/

SL.-..

4

':"

'"'I

- v

2

0

"' ·~

-

~

1..

(

1 SL 1

~

v

0 ,.., v ~ v ~ v ~ v

..

'

""'

I

,. ,.T

'

v ,..,

'7

2

-

1....1 2

4

3

2

4

ELVI S PRESLEY, ON STAGE IN 1955 W ITH SCOTTY MOORE (PICTORIAL)

2

2

--

-

-

50.

BLUEGRASS -GUITAR SOLO BY ALAN WARNER

To play this solo through, play the sections in the following order: I) Play section I three times. 2) Play section 2 twice. 3) Play section I and section 2 through without any repeats. 4) Finish off playing section I once.

J Section I I jj.

,., ,.,

A

*

-

SL 2

1

3

2

3

1

1

1

1

3

" "-

~

y

-v

v

..... 2

SL 2

3

1

3

2

,.,

v ,., v ,.,,........v

,., v ,., v

SL 2

-

2

3

1

-

SL

"

v

v

3

3

1

-

.I

"--

3

2

v

,.,

v l'l,V ,., v

"

v

v

3

-

... 2

3

1.

1

';'

SL 2

1

0

1

3

~

2

v

~

0

1 .

1

-u-

1

0

,.,

,.,

v

1

3

1

1

~

,., ,.,

1

~

,.,

v

1

,.,

A

~ 3

0

v ,., v ,., v ,........

,.,

,.,

2

1

..

--a-

••

....

"

v

3

0

-:i- -,;- -:i,X o o

3

i

....

v....__.. .nv....__.. " ....__..v"

,., v ,., v E,., v ,.,

,., v 3

n

0

_._ ~ -,1-

,., ,., - v ,.,

I

0

1

-

~

2

v

u

~

-

3

,.,

-

,.,

~

SL ,.,

A

E

,.,

v

~

v

......

'2:

,.,

v

_.~-,J--:i--,J--:i-~

1

3

,.,

v

SL

'2:

.flo

-

2

1

,.,

,., v

v ,.,'I

,., ,., v ,., v ,., v r:...v ,., v ,., row'

'·

I jj.

,., v ,., v ,., v ,.,

-

I

t.J

v

3

"

"

3

2

c,.,

v

,.,

v ,., v

~_._

~

_._

..

2

1

2

4

v

,.,

v ,., v

"

....v

"

2

4

1

__.-,

v

~

0

0

3

0

Section 2 , jj.

u

,.,

* 0,., -

,.,

.I

v ,., v ,., v

..

~

-

3 SL 3

1

,.,

~

"-

" SL 3 SL 3

~

3

•

2

r'l. v

1

0

2

0

-

,., v ,., v

_.., "v

·~· 1

"

~

1

" 0

~v

1

0

,., .... v 2

~

,.,

v

•+-,;1

4

-

v

1

,., v

,.,

,.,

.:()=

~

,., ~ ~~

4

4 ____.,

4 SL

,.,

,.,

,., 1"""""""1

"

v

4

2

v

1

2

A

....

SL

~

~

4

____.,

4 SL

/

;

'::

- -: •-.

:

ilf

• =· :•

SL - · ~ -SL

,.,

2

3

y

,.,

-• -=· =·- ilf

-

'

-

). ~

-

r-

\

n

'7

'7

v

SL SL

,.,

SL

~

-

3

,., ~ v

b~

SL

2

3

-

,.,

,., v

SL

"'

1

SL

,.,

y

,.,

u 2

1

,., v_ '7

"

p

v

,.,

-

1

3

v

,.,

3

2

v

,.,

\

ov

·~

3

.

c

,.,

,.,

1

1

2

,.,

,.,

1

2

,.,

v

~ 3

1

H

p

v

-

v

\

""!

,.,

,.,

y

'

:

- -

-

-

y

e

y

2

3

,.,

v

1

2

,.,

y

4

2

,.,

y

'7

~

v

v

'7

v 2

v

4

2

y

,.,

1

y

,.,y_ ,.,

A

4

2

2

1

3

'7

'7

-

\

•

-#-

2

1

.:

I"!

\'

T

-#-

--

-

~

D

~

-

v

4

-

2

,.,E

..

0

I

1

3 3

,., v

v

\

3 3

3 3

,.,

,.,

"- "

"- "

;'(

3

3 3

,.,

3

•

4

.-

v

-

4

c,.,

,.,

'":

1

\

,.,_v ,., _Y

~.

~

3

-

v

I 1

,.,_v

v

'7

-

,...

\

ll

'7

3

4

,.,

ll

n

3

y

- -' - 1 a· D

\

y

n

I 3

ov

1·

'7

2

L. v~

1

"

-

D ~,

3

,.,

...I

y

•- =·

-#-

v

3

r

' .u

2

,., ,.,

v

I"'

'" '':

,., v ,.,

u

_L_

3

-

~

3

,., "~ ~

n

4

-

3

c

--#-

3 3

·~ " v

'r. ~

n ~

• •

COMBINED FLAT PICKING FINGERSTYLE TECHN~QUES Sound the two notes together with the pick and fingers on these double note scales.

51 • C MAJOR COUNTRY SCALE

"

' •

In this scale the low note is 1) picked down with the plectrum ,.., 15 16 17 and the high note is plucked upward with the ring finger, ------- --- --- ----a --------------------- ----j I I I

18

J

1

J

J

I I I I ,.., ---------------------------------------------------.., ..,

ra

" "

~

...

'

(DOUBLE NOTE)

52. G

~

"' "'

"

.

~

~

~

"

1n

n

1n

··-

~

In

~

MAJOR COUNTRY SCALE

(DOUBLE NOTE)

4

In this scale the low note is picked down with the plectrum 1'"'1 and the high note is plucked upward with the ring finger,

1_______1_____ 1

r:-, _ _____ ____ ____

j I a

J

-

11

12

13 16

------ ----- ------

17

J

T

1'"'1---- -- ---- ---- -- ---- ---~--- -- -- ------- - --- ---- -- ----

u:

I

18

0 ------------------- ---- ------------------------ -

c

G

1""'1

' ..

-

1

1

2

2

a 1""'1

,. ,.-y

-....

4Sl4 3fl3

4 3

1

2

4-4 3§!:3

----------- ---------------

'"''

SL

"

"'L

~

~

~

~

C

'

1

4 3

1

2

~

4

1~ 1

n

Sln

= nSl n

1

--.:r n

1

1

1

2

2

2

--.:r n

r=

5--

......

3 5:_ 3

----

n

~

....

~

4~

1

1

2

1 2

--

- ~

c SL.,

~

c;;T~

~ ~

~

cS'_,.,

--.:r

-u

-

-

.t!S_ ..:.

_2~L_! _ _ _ _ _ _ _ _ _ _ _ '"'l

~

lo....j

....

~

~

T

• •

Sl•~•

Sl

-

4 3

4 3

y-

-.

SL

-

2

3SL3

-.. --

-l-

This lick uses notes from the G major (Double-note) country scale (starts in D position). 0 a

,

--- . .. ~;

'

'

a

1""'1 SL

.!of

'-

~

4 3

1

1

2

2

4 3 SL 3

~

a

., .J

~·

55.

,~

-.

a

1""'1 ,.., Sl ,.., Sl

.

"

a

1""'1

'"

- -

"

....

If_

•

4 3

4 3

G

----------n

~

~

v

..,

"

c

•

~-

v

3

I

1

2

1

4

1

1""'1

.

2

3

v

1""'1

I

n

"

n;_-

\

p;..

nH·~

1\

" "' "

c

·" -

._ 4 -SL 4 3 SL 3

4 3

1

1

2

2

4 3

1

3

2

4

2

I

c

,-c:

-

-

:-"

COUNTRY LICKING G

!

'

--------------

~

1""'1

4~

e.J

a

1""'1

If_

l

1""'1

~

1""'1~

'

~2

1

3

.!of

,.-y "'

"'I

'

a

1""'1 ~

H

-

1""'1

1""'1

[,;_

1""'1

~~'"{L

r 4

3

4

3

4

c ,..,

"

1""'1

.__

-

y lof

a ·v

1""'1

~------

a

~

~

~

1

3 4

3

2

,.., a

a

G a

"

4'

a

a

~

":'

a

~.....-..,

1 2

,..,,_. I'.....--..-a

~

1

1

Em r"'1

,..,;),

.J

ff•......__....,1 2

57.

r"'1

m

-

....

2

0

r"'1

,. "'2: ,.

-

m

0

m

l

r"'1

. .

"

"

0

By using the pick & fingers technique, a 'banjo' effect is achieved in this exercise when played fairly fast.

2

0

'i.....

I

..

n

"

"

H

m

0

0

'BANJO' TYPE EXERCISE

I J),

/f

Em r"'1

.J

: (:

:ft•~1

2

,~

"I

1

---

2

0

"

"I

0

2

-

r"'l ____

~m

"

2

ff7~ 2

2

0

"

H

,~

0

~r"'l

~

-

r"'l - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

m

r---ii'

m

2

0

0

2

----------------------------

-

"

H

2

0

0

~

~

~ v

"

"

" 0

0

2

0

,......_

G ----------------------------------------------------------I J),

•

2----3

-

-

H

0

3

0

0

2- - - - 3

3

~

;,

"

v

v

3

-

~

v

0

0

H

3

0

G ,

1"""'1

•

m

1"""'1

m

1"""'1

·~ :i~g 3 0 1 2 0 ,.., ~ 1"""'1

1'""""""'1

~·

~

2

0

3

~

m

~

-y

v

'

"

v

v

0

-

H

0

m

0

H

,.,

"

p

"

~

0

2

0

v

p

-

v

v

2

0

0

m

"

,.,

v

H

3100020

I

~

v

0

3

m

1"""'1

~~

-

3

v

v

.v

n

T4 T4

0

0

n ~

•,.5 1

0

v

3

,......

a

J),

3

\

-

. r---'1

0

..

You'll need to practise this lick really slowly to begin with, then build up speed gradually.

•

•

59. C OUNTRY LICKING G ,/

"

·~

)II

aJ 3

2

"

3

0

0

-

~

;'

'

.. •

eJ

0

J I I

a

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The use of operi strings gives the following two licks a 'chime' effect G

61. 'CHIME'

1"'-.;1

'~

LICK

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63.

'BANJO' TYPE LICK Open strings are again used here, for a 'ringy' 'banjo' effect. G ,..,

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E

ROCKABILLY LICK IN

Damp the 6th string slightly at the bridge with the heel of your right hand to give a muted effect. Also, if you have an effects unit, use a short slapback echo setting for an even more exciting rockabilly sound. E

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ROCKABILLY LICK IN

Damp the 5th string for this lick, also use an echo effect if possible. A

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BEt~DING TECHr~!QL~ES

BASIC STRING

Ano e teen iq e for cou ntry gu· · g bendi g or ote bending. This is where you 'bend' e p· c up to a higher ote instead of fretting that note. For example if I wanted to bend from D to E on the second string I would sound th e note (3rd fred2nd string), strike the string then push the string hard upwards until the pitch becomes the same as the 5th fret This wo uld be known as a two-fret string bend because the notes are two frets apart.

Here's an illustration of this: ,/

Use your Istand 2nd fingers to reinforce the 3rd finger.

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Try adding a release bend to this. All you do here is simply release your finger back down to the D note.

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Now release back to its original pitch .

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68.

ONE-FRET STRING BEND (DOWNWARDS) Now try this one fret string bend. This time use your Ist finger to pull the string downwards. •

,/

' •

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1

r""''

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1

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Bend string upwards as before.

I

+ I '> '

Before attempting any of the following string bending techniques, I strongly recommend that you try light gauge strings. I use .008, .0 II, .0 14, .022, .030 and .038, but you must experiment with different gauges if you wish to do so.

1

An exciting technique which is being used more and more by today's country players is the pedal steel effect. Take a look at the pedal steel exercise below. Form the first chord with your 3rd, 4th and Ist fingers, then sound the chord and bend the 3rd string down with your first finger. This will give you a two fret string bend. Follow this by a release bend back to the original note. Make sure that you keep your 3rd and 4th fingers firmly in place to allow the rest of the chord to ring on.

69. , PEDAL

STEEL EXERCISE a

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70. PEDAL STEEL LICK IN E a m

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73. PEDAL STEEL LICK IN D Watch out for the last bar of this lick: while the 3rd strin~ is bent down catch the 7th fret note of the 2nd string and pluck the 2nd string. Then, while keeping your fingers on both strings, release back.;. Try it and see. Em

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75. PEDAL STEEL LICK IN F This lick starts the same as the previous lick, only this time when you bend the 3rd string down catch the 5th fret note of the 2nd string. Then push both strings up so the 2nd string note is raised by one semitone (one fret) and the 3rd string note is released back to its original note. F

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76. PEDAL STEEL LICK INC Although starting on an F major chord, this lick is in the key of C. F

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