T-1u1fJ1jJJjJJB IDirut llr CllllrJ liCk lifts I licks
Featuring:
Major, Minor & Pentatonic Country Licks Pedal Steel Effects
Chicken Pickin'
:heuy ane
lualc
•
•
Slide Licks
Four Complete Solos
Country Rock RiffS for Guitar IIY Mike levine
I
greatllit Copyright
© 1996 Cherry
Lane Music Company
International Copyright Secured All Rights Reserved The music, text, design and graphics in this publication are protected by copyright law. Any duplication or transmission, by any means, electronic, mechanical, r photocopying, reco ding or otherwise, is an infringement of copyright.
§Jiil For a compr
About The Author
Mike Levine
is a session guitarist, composer and producer
who lives and works in the New York City area. He plays guitar, pedal steel and dobra on many recording projects and nationally broadcast commercials, as well as for television shows including Sesame Street. He played in the Broadway and road productions of The Will Rogers Follies, and was a band member for the recent Off-Broadway musical Das Barbecue. As a commercial composer IarrangerIproducer, his most recent credits
include spots for MCI, Kool Aid and Advil. Although he now works pri marily in the studio, Mike spent years playing country and rock in clubs '
across North America.
-·-
. Acknowledgments
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 this project and getting me started, Mark Phllllps for all of his assistance with the details, and Arthur Rotfeld for answering my questions.
1 also want to thank my brother, Eric Levine, who taught me my first rtffs and started me off In the right direction
as a
guitarist. Finally, I'd
like to express my gratitude to Laura for all of the support she gave me while I was writing and recording for this project.
Contents
6
...
6.... Low Bend a Ia Pete Anderson 6....Double Stop lntro 7.... Rhythm Vamp 7.... Palm-Muted Melody
8
...
11
20...Chicken Pickin' 20....Basic Chicken Pickin' 20.... Descending Chicken 20....Fingerstyle Chicken Pickin'
Rockabilly & '50s Rock B.... Rockabilly Double Stops 8.... low & Nasty 9....Chuck Berry-Style Riff 9.... Rockabilly Solo
...
...
21
...
23
...
28
...
16
...
Pedal Steel-Style Riffs
16.... Pedal Steel E'nding lick 17.... IV-V-I Steel lntro
Fiashy Speed Riffs 23 .... low Puii-Qffs 24....Hot Chromatic Tag 24....Earl Scruggs-Style Banjo Lick 24.... Moveable Bluegrass Run 25....Bluegrass Fiddle Tune Run 25 ....Chromatic Speed Riff 25....Mixolydian Speed Riff 26....Vince Gill-Style Fast Open-String Riff 26... .Fast & Furious Solo
Siide
14....Duane Allman-Style Slide In Open E 14....Stondard Tuning Slide Lick 15.... Bonnie Raitt-Style Open A Slide 15 .... Lap Steel a Ia David Lindley
Lyrical Country Rock 21 ....Albert Lee-Style Lyrical Passage 21 ....Buchananesque 21 ....Siow, Soulful a Ia Vince Gill 22....Siow & Tasty Solo
Blues & Southern Rock
11 .... Rocked-Out Rhythm lntro ll.... Funky Minor Blues Lick 12 ....Dickey Betts-Style Passage'ln A 12 .... Dickey Belts-Style Passage In D 1 2 ....Allman Brothers-Style Dorian Phrase 1 3 ....Allman Brothers-Style Blues Licks 1 3....B. B. King-Style Blues Lick
14
17.... Descending 6ths 18.... Chromatic Steel Walk-Up 18....Ciarence White-Style Steel Solo
Ciassic Country
Tablature Explanation
If you asked musicians to define the phrase country rock,
with roo ts in folk, rock, country and bluegrass. The amaz
most would probably say it referred to the period in the
ing Clarence White played guitar for the Byrds, and his
1970s and early 1980s, when
seminal acoustic and electric playing, as well as his pio
acts like the Eagles, Poco, Pure
neering use of the string bender, were milestones in the
Prairie league and Emmylou
development of contemporary country guitar.
Country Rock R I f f S
I
INTRODUCTION F 0 R
Harris were at the peak of The 1 970s witnessed the heyday of country rock as a
their popularity.
genre. Artists such as linda Ronstadt and Jackson Although we will deal with riffs
Browne, among others, proved that this stylistic mixture
from that era, this book will use
could be a pop music gold mine. The guitar work in this
a looser definition of country rock that encompasses
period often leaned more toward rock-David lindley's
many different periods over the last 40 years as country
distorted lap steel playing on Browne's albums, for exam
and rock have crossed paths. By using a broader brush,
ple, was a signature sound of the era.
GUITAR
we can touch upon many of the influences that have contributed t o making contemporary country the
Around the same time, in the town of Macon, Georgia,
stylistic melting pot that it is. After all, today' s country
the Allman Brothers were pioneering another hybrid form
music is really
o blend of country and
rock
(with
some
that was to become known as southern rock. Duane
R&B thrown in for good measure}, in which you're almost
Allmon and Dickey Betts' lengthy improvisations, harmo
as likely to hear a distorted, bluesy slide solo as a twangy
nized lead lines and searing blues playing (with an occa
Tele break. Ironically, while country was a significant
sional bit of country flavor) would hove o very tangible
factor in the early development of rock 'n' roll, rock
influence on modern country guitar playing.
music has now become a major influence in contemporary country.
In the late 1970s Albert lee began making country-rock gui tar history while playing with Emmylou Harris and the Hot
This book will present examples in many of the styles that
Bond. His inventive blend of lightning-fast runs, double-stop
make up the arsenal of a modern Nashville se·ssion gui
bends and imaginative note selection is, to this day, the most
tarist. There are also examples in the styles of famous gui
frequently imitated style in country guitar.
tarists, 'both past and present, such as Albert Lee, Vince Gill, Clarence White, Pete Anderson, Dickey Betts, Duane Allman and Roy Buchanan. But first, a little history.
.
. .
The mid 1980s sow the birth of the new traditionalist movement in popular country, which brought fiddles, steels and guitars bock to prominence. During this period
The earliest mixing of country and rock occurred in the
Ricky Skaggs helped bring a strong bluegrass influence
mid 1950s with the development of rockobi/ly, which is
into mainstream country, which resulted in many blazing
still an enduring influence on country. Elvis Presley, Jerry
guitar solos.
lee lewis and Bill Haley were among the artists who suc cessfully blended elements of country and R&B together
In the 1990s a new breed of country singers and groups,
the guitar, of course, was an integral part of this union.
raised in the rock era, have changed country to a more youthful-sounding, contemporary genre. And guitar is, of
In the mid 1 960s the Byrds emerged as a popular band,
course, never Far from center stage.
HOW
TO
The chapters in this book are organized by concepts rather than by degree of difficulty. For
USE
r
THIS
'
BOOK
riff is too fast for you, practice it slowly with a metronome until you are comfortable with it. After
those who wont to sample the different
a while, you should be able to play it
styles without having to deal with the
faster and faster until you've reached
more difficult riffs, I've put a relatively
the tempo on the recording.
easy example at the beginning of each section.
(CD
tracks ore indicated in the
black boxes.)
The shorter examples on the recording are generally repeated with another count-off (which is sometimes a partial
When learning an example, get com
one, depending on where in the bar
fortable with the left-hand positions
the example ends). There are a few
first. Depending on your taste and
cases where a short example doesn't
style, figure out the right-hand consid
repeat, because it would have been
erations next-whether you will be
musically awkward to do so.
using a pick, playing fingerstyle, or using a combination of a pick and fin
As you work your way through the
gers. There are some examples in
examples in this book, you will find
which I've specified a method that I
yourself playing in the styles of some of
feel is necessary.
the world's most famous guitarists. Learning how these players approach a
Because this is not a beginner's book,
given musical situation is the first step
the recorded examples are played at
toward developing your own style.
authentic tempos, which can some times be pretty brisk. If you find that a
Good Luck!
CL A SSIC COUN T R Y
Low Bend a Ia Pete Anderson This example is similar to a riff Dwight Yoakam's guitarist Pete Anderson might play, and works well over a 1-IV-1 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.
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ROCK A BILL Y
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'50s 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. Shume (n=J J>) -3-
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BLUES
& SOUTHERN ROCK
Rocked-Out Rhythm lntro This sounds like it could be the intro to a Kentucky Headhunters song. Distorted rhythm parts like this are no longer heard only in rock-they have become common in country as well.
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SLIDE Duane Allman-Style Slide In Open E Notice how well this lick sits on the neck when played in open E tuning E ( BE G #B E). Shume (J:l=rl>l c
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There are some situations when alternate tunings are not practical. Learning to play slide in standard tuning is extremely useful, and this example shows you some of the possibilities.
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Bonnie Raitt often uses open A tuning (E A E A C# E) for her tasty slide work. In this example, notice that vibrato is used extensively to add emotion to the held notes.
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Lap Steel a Ia 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
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PEDAL STEEL-STYLE RIFFS Pedal Steel Ending Lick Each bar of this example is a riff unto itself. The bend in bar 2 should be played with your middle and ring fingers for maximum bending strength. �3�
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IV-V-I Steel Intro A classic steel-type intro. Note the hammered double stops in bar 2. In addition to bends, hammer-ons are another good way to make your guitar sound like a steel. Shuffie ( fJ= J )! ) -3-
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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. B
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Clarence White-Style Steel Solo Although Byrds guitarist Clarence White used a ''B'' 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 break con tains some of the same type of slide/bend combinations as the previous example, as well as two slide/hammer-on combinations in bar 15. Once you have this one mastered, you'll have a large arsenal of steel licks at your disposal.
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CHICK EN
PICKIN '
Basic Chicken Pickin' By sounding only selected notes and blunting the rest in this example, you achieve a syncopated rhythm. This one really sounds like a chicken. 1/2
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20 /
L Y RIC A L COUN T R Y
ROCK
Though Lee is known mostly for his amazing, fast playing, he also excels a t slow, melodic soloing. Pay close attention to the 1 6th-note-triplet flourishes, which are key to this passage. H p
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Slow, Soulful a Ia 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 has a definite R&B influence. D
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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 empl:lasis.
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F L A SH Y 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. 1\ .1.1
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Hot Chromatic Tag This bluegrass ending works equally well on electric or acoustic.
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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 (CI to D) hammer-ons are the key to this sound.
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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. '
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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 1\. �
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Chromatic Speed Riff This run sounds best when played fingerstyle or with a pick-and-finger combination (hybrid picking).
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Mixolydian Speed Riff The Mixolydian mode works well for fast country picking. This run incl udes two chromatic slides
F#) that add a bluesy feel. D
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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 D string creates a drone-like effect. D
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Reminiscent of Albert Lee, this solo combines fast sequences, chromatic flourishes, fiddle-like low drones and pedal steel licks-have fun with it! A7
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•
TABLATURE EXPLANATION/NOTATION LEGEND
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•
TABLATURE: A 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:
Af-·
-f
-f
-f
string · ---; 3------; � � string · Low E'-'-'-G 5th Siting, 3rd lrel
2nd 10th fret and 3rd strtng, 9th !ret played together
open E chord
Definitions for Special Guitar Notations
BEND: Strikethenote andbend
VIBRATO: Vibrate the note by
PULL..()FF: Place both fingers
up :;, step (one fret).
rapidly bending and Mleaslng
on the notes tobesounded. Strike the first (higher) note, then sound
lr.
the string with a leff-hand finger.
the lower note by pulling the lin
-------
PALM MUTE: With the right
hand, partially mu-te the note by lightly touching lt1e string just
before the bridge.
geroffthe highernote whilekeep ing.the lower note fretted.
BEND: Strike the note and bend up a whole step
(two frets).
Full
WIDE OR EXAGGERATED VI· BRATO: Vibrate the pitch to a greater degree with a left-hand finger or the 1remolo bar.
:
MUFFLED STRINGS Laythe left TRILL: Very rapidly allemate be· tween the note Indicated and the small note shown In parentheses by hammering on and pulling off.
hand across the strings wi1hout
depressingthem to thelf"Eit·board' strikelhestringswithlherighthand, producing a percussive sound.
,, _ _ _ _ _ _
"
BEND AND RELEASE: Strike the note and bend upY. (orwhole) step, then release the bend back tothe original nola. Alllhreenotes aretied: ontylhetirst note is s1rvck.
TAPPING:Hammer("tap")lhefret SLIDE: Strike the first note and then wilh the same left-hand finger move up the string to the second note. The second note
Indicatedw�hthe right-handindlex or midde finger and pull off to the
PICK SLIDE: Rub the pick edge
down the length of the string to produce a scratchy sound.
note fretted by the left hand.
Is not struck.
T p ..---._ ._,._, TREMOLO PICKING: Pick the
noteas rapidlyandcontinuoysty NATURAL HARMONIC: Witha
PRE·BEND: Bend the note up ;', (or whole) step, then strike it. 112c(II"Futl)
I
as possible.
left-hand finger, lighttytouch the string over the lret indicated,
t
SUOE: Same as above, except the second note is s ruck.
.
lhen strike it, Achime-nkesound is produced. HMIIII. ±
llonrt.
RHYTHM SLASHES: Strum chords in mythm indicated. Use chord voicings found In the fin gering diagramsat the top ofthe first page of the transcription.
PRE·BEND AND RELEASE:
ARTIFICIAL HARMONIC: Fret the note nor mally and sound the
Bend the note up 14 (or whole)
step, strike it and release the bend back to the original note.
1n ., ,.. Ft�l l 1
UNISON BEND: Strike the two notes slmullaneousty and bend the lower note to the pitch of the higher. F1111
SUOE: Slide up to the note indi·
I� � cated lrom a few frets below.
HAMMER.ON: Strike the first (tower) nota, then sound the higher note wilh another finger by fretting il without picking.
0
Am
harmonic by adding the right·
hand thumb edgeorindex finger tip to the normal pick attack. AH /SmJ ±
A.H
SINGLE-NOTE
RHYTHM
SLASHES: The circled number
above the note name Indicates A H. IJIIC'tt: E TREMOLO BAR: Drop the note
bythe numberofsteps indicated, then return to original pitch.
�
which string to play. When sue·
cessive notes are played on the same string, only the lret num bers are grven. (D.\ft
J. C
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<>pr.'1'1 @11r
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JIJIE !J]jJB )JfJ{lE TheflilJ1JEfJH sour�� fir Gantry laCk BillS l liaks I
Featu ring :
Major, M inor & Pentatonic Country Licks Pedal Steel Effects
Chicken Pickin'
•
•
Slide Lic ks
Fou r Complete Solos
The Great lllFfs Series captures, transcribes and presents the hottest riffs in your favorite s�e of m usic. In Country Rock Riffs For Guitar you get everythir you need to play classic country bends and vamps, rockabilly riffs, hot slide licks� flasby speed riffs, fingerstyle chicken pickin' and more in one riff-packed, easy-to-follow book. $17.95 Jft u.s. .-..., Book & CD
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Printed In the U.S.
Cherry Lane Music Compan1 Quality In Printed Music
P.O. Box 430, Port Chester,
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NY
10573
0 7777 W. BI..IJIMOUNI;I
AO. P.0,80)C
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