Natchez Trace SONG TITLE:
NATCHEZ TRACE
GENRE:
COUNTRY
TEMPO:
105 BPM
KEY:
A MAJOR
TECH FEATURES:
HYBRID PICKING OPEN-STRING LICKS COUNTRY BENDS
COMPOSER: PERSONNEL:
q = 105
# œœ œ œ
T A B
GLEN PARTRIDGE KIT MORGAN (GTR)
Country
# ## 4 ‰ œœ œœ # œœ & 4 F A
A
0
0
0
0
6
7
8
8 9 8
HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS)
OVERVIEW ‘Natchez Trace’ is a country guitar piece inspired by Albert Lee, Brad Paisley and Brent Mason. It features pedal steel style country bends, hybrid picking, string skipping and open-string licks among its techniques. STYLE FOCUS Country guitar can be challenging and players within this style use a number of tricks that may be new to you. A key element is hybrid picking. This involves plucking one string with your pick while playing another with the middle finger of your picking hand. This can take place on two adjacent strings or, more commonly, on non-adjacent strings (e.g. you might strike the low E string with your pick while playing the G string with your middle finger). A clean playing technique is essential because country players often use open strings that ring out against the other notes to emulate the sound of a banjo. THE BIGGER PICTURE Elvis and Gram Parsons sideman James Burton and singer Jerry Reed were two high profile guitarists who employed hybrid picking, pedal steel type bends
& T A B
# ##
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E7
nœ #œ œ nœ #œ œ œ œ
and open string licks in their playing throughout the 1960s and 1970s. Both men were an influence on the English guitarist Albert Lee. Lee worked as a professional musician in the 1960s, but his big break came in 1976 when he was asked to replace his hero Burton in Emmylou Harris’ band when the latter left 9 8 signature 0 Lee’s 12 Elvis. 13 with to play once tune0 14 more 8 10 ‘Country Boy’ was a hit for Ricky Skaggs in 1984.
7
After being discovered by country legend Chet Atkins in the early 1980s, Brent Mason became a [4] sought-after session player famous for his hybrid picking and jazzy western swing influences. Mason has performed with country giants Alan Jackson, Brookes & Dunn and Shania Twain, and his first solo album Hot Wired was nominated for a Grammy.
# ## . . œ nœ œ œ œ œ œ œ nœ #œ & RECOMMENDED LISTENING B
T A B
A
Brad Paisley is a contemporary country star and a superb guitarist with a deft hybrid picking technique.
. .
To hear Lee’s playing style, listen to Emmylou Harris’ 1977 album Luxury Liner. Mason’s first solo album, Hot Wired combines 0 the guitarist’s 0 2 (1997), 0 4 Paisley’s 22008 0Play country and jazz influences. 4 features ‘Cluster Pluck’ and includes performances by Burton, Lee, Vince Gill and John Jorgensen.
3
[6] Rockschool Guitar Grade 7
© Copyright 2012 Rock School Ltd.
4
Natchez Trace Glen Partridge q = 105
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Country
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let ring wherever possible throughout
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[8]
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[10]
Rockschool Guitar Grade 7
© Copyright 2012 Rock School Ltd.
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Let ring
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~~~~~~~~~~
To Coda
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[20]
Rockschool Guitar Grade 7
© Copyright 2012 Rock School Ltd.
3
q q = q q Western Swing
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[28]
### . A .’ &
Guitar Solo (16 bars)
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T A B [34]
Rockschool Guitar Grade 7
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© Copyright 2012 Rock School Ltd.
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[46]
Rockschool Guitar Grade 7
© Copyright 2012 Rock School Ltd.
Walkthrough Amp Settings
D Section (Bars 22–27)
Work with a clean, bright tone and generous reverb. Use your guitar’s bridge pickup to help get the brightest tone and give your phrases some snap, but boost the treble and middle if you still feel your tone is missing a little edge. Clean Channel 4
5
Equalisation
6
3
4 7
2
8
1
9 0
10
GAIN
5
6
3
4 7
2
8
1
9 0
10
5
4 7
2
8
1
9 0
BASS
10
MIDDLE
Bars 22–27 | Fast chord changes Although it may appear complex, each bar is made up of a single chord shape shifted up and down a semitone. Lock your hand in position and move your whole hand rather than individual fingers.
Reverb
6
3
Here the piece moves to a swing feel. Extended chord shapes are used to give the section its western swing feel.
5
6
3
4 7
2
8
1
9 0
10
TREBLE
5
6
3
7
2
8
1
9 0
10
DRY – WET
A Section (Bars 1–5)
The A section is a single-note line that is full of chromatic notes. Slides, hammer-ons and pull-offs are used to give notes a smooth, slippery feel. Allow open strings to ring on to further enhance the flowing feel. Bars 1–3 | Hybrid picking Hold the pick between your thumb and index finger. Pick the G string and pluck the E string with your ring finger at the same time. It should strike the string at a slight diagonal, moving up towards the heel of the thumb. Use your pick or hybrid picking for the remainder of the phrase. (Fig. 1).
B Section (Bars 6–13)
This classic country melody uses open strings, double-stops and re-picked bends. The 6th interval is used extensively. Bars 6–13 | Consistent hammer-ons and pull-offs Avoid rushing hammer-ons and pull-offs, otherwise the first note won’t sound for the correct amount of time.
E & F Sections (Bars 28–47)
The E section is the guitar solo, while the F section is a reprise of the C and B sections. The final four bars consist of a chromatic run that is followed by two diminished arpeggios then an open string lick that leads to the last chord of the piece. Bars 30–37 | Guitar solo It is a common mistake for soloists to look for something new to play in every bar. Usually, the most well-constructed, memorable solos will have at least one element that is repeated even if it is just a rhythm or melodic hook. Bear this in mind here. A # # # # œœ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ & 0
T A B
8
downstroke ≥A == annular
≥ A
M = middle
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8
9
≥
10
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0 9
≥
A
10
M
8
9
≥
8
≥
9
10
M
0 9
≥
A
10
M
Fig. 1: Hybrid picking
C Section (Bars 14–21)
This is based primarily on different types of string bends. Bar 15 | Double-stop bends This double-stop bend should be played with your third finger on both frets supported by your first and second fingers (Fig. 2). As you push or pull the string, make sure you maintain pressure into the fretboard to keep the note ringing for the duration of the bend. Bar 21 | Oblique bends An oblique bend is a string bend played simultaneously with at least one un-bent note. Play the bend in beat one with your third finger supported by the first and second fingers while playing the E at the 12th fret with your fourth finger. Use the same fingering for the lick in beat two. Rockschool Guitar Grade 7
&
C#m
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1
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Fig. 2: Double-stop bends
© Copyright 2012 Rock School Ltd.
