drF-
Book
I
= Pkg $12.95 cD $a.oo 94.e5, Partsnotsoldseparately sBN !-t3q-!el,l[-]
ililil||lr||ililr]||||ilttl r173999"955771.r +
ill/
UH by Inouato Steue andJenome Annold
I S B N 0 - b 3 q - 0 e 13 0 - 3
ZJHnlol-EoNARD. L-acoRpoRA-t-roN 7777
W. BLUEMOUND RD. P,O. BOX I38I9
MILWAUKEE. WI 532I3
C o p y r i g h0t 1 9 8 3 ,2 0 0 0b y H A L L E O N A R DC O R P O R A T T O N International CopyrightSecured All RightsReserved No part of this publicationmay be reproducedin any form or by any meanswithoutthe priorwrittenpermissionof the publisher.
Intruduutioll s a n a r t f o r m ,c o u n t r ym u s i ch a sb e e na c o n s t a n t lgyr o w i n ga n de v e r - c h a n g ifnogr c ei n A m e r i c a n music, w h i l es t i l lr e t a i n i nagn dn u r t u r i n tgh e r o o t st h a t g a v ei t l i f e .S i m i l a r l cy o, u n t r yg u i t a r i s tasr ea u n i q u ev,e r s a t i l eb r e e dt h e m s e l v edsr,a w i n gf r o ma w i d er a n g eo f m u s i c ai ln f l u e n c et hs a t w o u l da s t o u n d n o t o n t vt h e c a s u al li s t e n ebr ,u t a l s oo t h e rm u s i c i a nAs s. a n e x a m p l ey ,e a r sb e f o r e l e c t r o n g i c a d g e t s b e c a m e s t a p l eos f r o c < 'n' r o l l ,e f f e c t ss u c ha s t a l k b o x e se, c h ou n i t s ,r e v e r bv,i b r a t ob a r s w , a h - w a ho, c t a v ed i v i d e r sa, n df u z z t o n e s w e r eu s e do n c o u n t r yr e c o r d s . T h es t a g ew a ss e t o n A u g u s t1 , 1 9 2 7i n B r i s t o lT, e n n e s s eweh, e nJ i m m yR o d g e rrse c o r d ehdi s f i r s ts i d e sf o r t h e V i c t o rC o m p a n R y 'o d g e ros r, i g i n a l lfyr o mM i s s i s s i p w p ia, sh e a v i l iyn f l u e n c ebdy t h e b l a c kb l u e sm u s i c i a nhse h a dm e t i n h i st r a v e l a s s a r a i l r o a bd r a k e m a T nh . em o s tn o t a b l e o f t h e s ew a sB l i n dB l a k e",T h eF a t h eor f R a g t i mB e l u e s ,w" h o s er e c o r d i nogf " H e ' si n t h e J a i l h o u sNeo w "p r e d a t et sh e v e r s i o fnr o m R o d q e r s bvnearlv two vears. I n 1 9 3 5B , o bD u n nw , i t h M i l t o nB r o w n ' M s u s i c aBl r o w n i e b s ,e c a m teh e f i r s te l e c t r i sc t e e g l u i t a r i st to r e c o r d . D u n nw a sn o t e df o r h i sa b i l i t yt o p h r a s e l i k ea b i g b a n dh o r ns e c t i o nn,o t o n l yo n t h e i a z zs t a n d a r dosf t h e d a ' , b u t o n w e s t e rann d" h i l l b i l l yt u" n e sa s w e l l . J i m m yW y b l ep l a y e d w i t h B o bW i l l s ' T e x aPsl a y b o yasn dS p a d eC o o l e iyn t h e l a t ef o r t i e sa n de a r l yf i f t i e sW . ith b o t hg r o u p sh, e d e m o n s t r a t a e d r i v i n gs w i n gs t y l e( i n f l u e n c ebdy C h a r l i C e hristian t h) a t l a t e rl e dt o h i so o s i t i o n sw i t hi a z zg r e a t sB e n n yG o o d m a an n d R e dN o r v oT. o d a yW , y b l ei s s t i l lv e r ya c t i v ea n d i s g a r n e r i nagc c l a i r f o r h i s" c l a s s i cl aa lz z "s t y l eo f c o n t r a p u n tiamr p r o v i s a t i o n . D u r i n gt h e f i f t i e sG , r a d yM a r t i na n dH a n kG a r l a ncdo u l dn o t o n l yb e h e a r do n c o u n t r yr e c o r d sb,u t t h e ya l s o played o n r o c k a b i l lryh,y t h m' n ' b l u e sa, n dr o c ks e s s i o nass w e l l .G a r l a n dw,h o w a so n eo f t h e m o s t highly r e g a r d egdu i t a r i s ti sn N a s h v i l lsee, tt h e e n t i r ej a z zc o m m u n i toyn i t s e a ri n 1 9 6 1w i t h h i sb e b o pa l b u mJ o z z Windsfrom o NewDirection. C h e tA t k i n sb, y 1 9 6 0 h, a de s t a b l i s h eh di m s e laf s c o u n t r ym u s i c 'lse a d i n g u i t a rv i r t u o s o . H ea l s oa p p e a r eadt t h e N e w p o r)ta z zF e s t i v a ln dw i t h s y m p h o noyr c h e s t r a sr o u n dt h e c o u n t r yA. s o n eo f t h e m o s ti n f l u e n t i a l g u i t a r i s tosf t h e t w e n t i e t h c e n t u r yC, h e ti n f l u e n c et d h e r o c k a b i l sl yt y l e so f J a m e sB u r t o nS, c o t t yM o o r eC , arl P e r k i n sa ,n de v e na y 0 u n gr o c kp l a y e frr o m L i v e r p o onla m e dG e o r g eH a r r i s o nL.a t e r , C h e tw a sr e s p o n s i bfloer r e c o r d i nagn dp r o d u c i nhgi st w o m o s ta c c o m p l i s hdeids c i p l eJse: r r yR e e df ,i n g e rs t y l i s t d e l u x ea; n dL e n n y B r e a uo, n eo f t h e w o r l d ' sl e a d i njga z zg u i t a r i s t s . 0 n t h e w e s tc o a s ta, t t h e s a m et i m e ,J i m m yB r y a nw t a sm e l t i n gs t r i n g sw i t h h i s h i g h - v e l o c i tcyo u n t r y )azz, w h i l eb l u e g r a sf lsa t p i c k eerx t r a o r d i n a ci rlea r e n cw e h i t e c r e a t e da n e wv o c a b u l a rf yo r t h e T e l ef,i r s tw i t h t n e p r o t o t y p i ccaol u n t r y - r o cbka n dN a s h v i l lwee s ta n dl a t e rw i t h T h eB y r d s . T h ec o u n t r yg u i t a r i s tm s e n t i o n eadb o v e( a n dt h e m a n ym o r ew h o w e r en o t )h a v ea c c 6 u n t e d f o r s o m eo f t h e m o s te x c i t i n g a n di n n o v a t i vpel a y i n gi n A m e r i c am n u s i ct o d a t e .I n w r i t i n gt h i sb o o kw , e h a v et r i e dt o c a p t u r e t h e e s s e n coef m o d e r nc o u n t r yg u i t a ra n di t s m y r i a di n f l u e n c eW s .e h o p et h a t t h i sv o l u m ew i l l e x p a n d y o ur c u r r e nrte p e r t o i roef m u s i c ai ld e a sa n dh e l py o ud e v e l oap p e r s o n as lt y l eo f c o u n t r yg u i t a r .
Iaile ufhntcnts Open-String Licks
Editor'sNote:Dueto the personal natureof the right-hand pickingdirections technique, areleft to the preferenceof eachplayer. plays Jerome witha thumbpick andfingers, whileSteveusually plays witha combination of flatpick andfingers. Asa ruleof thumb(nopunintended), we offerthissuggestion: playslowly, Experiment, and always usetheeasiest possible choice picking. for right-hand A l s o t, h e a c c o m p a n y iC n gDw i l l a s s i syt o u i n d e c i p h e r i nt hge f i n g e r i n gs ,o u n da, n dt i m i n go f e a c hl i c k . 0 nt h e a u d i oC D ,e a c he x a m p l ies p e r f o r m et dw i c e - o n c eu p t o s p e e da n do n c es l o w l y .
lirlrs $iltulu-$triru OProLick#1 H e r e 'asv e r yt y p i c al li c ko r t a gi n C .l t l a y sw e l lo n t h ef i n g e r b o aar nd de m p l o yasu n i s o bn e n di n b a r2 .
OProLick#2 T h i sd o m i n a nlti c kw o r k sg r e a ti n c o u n t r yt u n e sa s a V 7 m o v i n gt o t h e t o n i c .l t a l s ow o r k sw e l li n s w i n gt u n e s .
gProLick#3 Thislickworkswellovera C (l)or Am (vi).lf youmoveit up a minorthird,it willworkoverCmor Eb.Remember, anytonicmajorlickmovedupthreefretswillgiveyoua tonicminorlick. CorAm
OProLick#4 Thisis a familiar lickutilizing sixthintervals. Tryplaying all thenoteson thethirdstringwithyourpick,andallthe noteson thefirststringwithyourmiddle finqer. C7
gProLick#5 T h i sl i c ka l s ow o r k sw e l lo v e rA m .
OProLick#6 ( u s i n go p e ns t r i n g s b T h i sb l u e g r a sf lsa t p i c k i nlgi c ki s w r i t t e ni n o p e np o s i t i o n ) ,u t i t s h o u l da l s ob e w o r k e do u t i n c l o s e dp o s i t i o n( n o o p en s t r i n g ss) o t h a t i t m a yb e t r a n s p o s etdo o t h e rk e y s .
+ + -a
-
OProLick#7 Herewe havea verybluesy lickw h i c hu s e su n i s o nb e n d si n b a r s1 a n d2 . I s u g g e ssth i f t i n gf r o mf i f t h t o s e c o n d position at beat3 of 6ar2. A1 r'
/-t--
OProLick#8 T h ef o u r t hn o t ei n t h i sl o n gt w o - o c t a v sei n g l el i n ei n G i s a n o p e nEstring. Asthelickis transposed to otherkeys, t h e o p e nE c a nr e m a i na s p a r to f t h e l i c kb e c a u siet i s o a s s eodv e rsorapidly.
---------
gProLick#9 T h i si sa m o v a b l ei c kw i t ha b l u e s yf l a v o r A . p o s i t i o ns h i f tf r o m f o u r t ht o n i n t hi s r e q u i r eadt b a r2 . N o t et h e u p w a r d s w e e ap t t h ee n do f b a r3 .T h i si s d o n eb y s w e e p i ntgh e p i c ka c r o s s t r i n g s3 , 4 , a n d5 u s i n oa n u o s t r o k e .
OProLick#10 T h i si sa l i c ki n t h es t y l eo f A l b e rLt e eA. l t h o u giht m a yl o o kd i f f i c u l ti,t ' sa c t u a l l y o n eo f t h e e a s i eor n e sA. ntv problem wsi t hp h r a s i nwgi l lb ec r e a r eudpb yi r ' ea u d i bB. a r1 i s m e r e l ya b l u e sl i c kw i t h a n o p e nB s t r i n g in t e r s p e r st e hrdo u q hout.
#11 OProLick T h eo n l yt r i c kh e r ei s t o l e a r nt h e l i c ks l o w l ya n d r e m e m b et h r a t s p e e di s t h e b y - p r o d u cotf a c c u r a c y .
Pedal-$teel lirlrs #12 OProLick T h i si sa c l i c h ep e d a l - s t el ieclk N . o t i c teh a ts e v e r a t i lm e st h eB n o t ei s b e n tu pt o C f t h r o u g h o tuht ef i r s t two bars.
gProLick#13 T h i si sa l e n g t hpye d asl t e e l - t y pl iec ko v e ra f a i r l yc o m m ocno u n t rpy r o g r e s s iIonnb.a r1 ,t h eE i sb e n t o F # a n dh e l dt o p i t c ht h r o u g h o tuht eb a rT . h i sh a p p e nasg a i ni n b a r5 . B a r7 h a ss o m ed i f f c u ldt o u b l e - s t r ibnegn d s , s ob es u r ea n dl i s t e n t o t h ea u d i ot o h e a rh o wt h e y ' rseu p p o st oe s o u n d .
I
D
A1
-',}-."\
,/^'-:--\
tutld bend
OProLick{14 Hereis a typicalcountry lick.Becareful withthetwo stringbends; theyaredifficultto playin tunebutabsolutely guitarflavor. necessary for that Hawaiian
t> e;i
c-t-fi
/-{al
gProLick#15 Here's a pedal-steel tagwhichgetsitssoundby bending Ff to G{ on beat1 andholding thebendthrough bar1 unti isfinallyreleased at theendof bar1.
10
gProLick#16 ' i e r ei s a l i c ko v e rC 7 u s i n gt r i c k yd o u b l e - s t obpe n d sW . h e nb e n d i n g t w o n o t e ss i m u l t a n e o u si ltys,e e m st o b e e a s i eirf y o u i m a g i n teh a t t h e t w o f i n g e r sy o u a r eb e n d i n g w i t h a r ew e l d e dt o g e t h ear n du n a b l et o m o v e . o e p e n d e n tol yf o n ea n o t h e rY. o ut h i n b e n dt h e n o t e sc, b n c e n t r a t i nogn b e n d i n g y o u rw e a k e sf ti n g e ri n t u n e . v o u rs t r o n gf i n e rw i l l f o l l o wy o u rw e a kf i n g e ra n db e n dt h e o t h e rn o t ea u t o m a t i c a lilny t u n e .T r yi t , y o u ' l ls e e !
gProLick#17 Thisis a variation on thepreceding lick-thistimemoving to eithera I chordor a lVchord, depending on howyoulookat it. C1
OProLick#18 T h i sl i c kh a sa s w i n gf e e la n dw o r k sw e l l i n a w e s t e r ns w i n gs i t u a t i o nT.h ed o u b l e - s t r i nhga l f - n o t eb e n d sw i l l p r o b a b lnye e ds o m ep r a c t i c e . D7
,/'\
11
litlts lpglt-$trinu gProLick#19 o lp e ns t r i n gw s h i c hf a l li n t ot h eC s c a l eT. h el i c ki s b e s tp l a y e du s i n ga n a l t e r n a t i n g T h i sl i c ko r t a gi n C u t i l i z i esse v e r a m o t i o nb e t w e etnh ep i c ka n dm i d d l fei n g e rR. e m e m b tenra, l lo p e ns t r i n gl i c k st,r y t o k e e pt h e l e f t - h a n df i n g e r sa r c h e d l at rh ef i n g e r b o asroda l ls u r r o u n d isntgr i n gasr ea l l o w e dt o r i n gt h r o u g h o ut th e e n t i r el i c k . a n dp e r p e n d i c ut o G1
C
le t ri tt g t lt rutt F,lrrtttl
#2n O ProLick a cycleof fourths a banjostylelickthrough Thislickusesa.descending half-step fingering withan openstringto create cnor00ro0ressr0n.
let ring lhroughoul
12
#21 O ProLick r " s b l u e so r s w i n gl i c kc a na l s om a k ea g r e a te n d i n g( G zt o C ) .P a yc l o s ea t t e n t i o nt o t h e o p e ns t r i n g s . G7 alt.
#22 O ProLick T n ; so n em a yb e a b i t t r i c k ya s i t i s m e a n t o b e p l a y e df a s t .l t ' sa b l u e s yl i c k ,a n dm a yb e u s e di n a v a r i e t yo f c o J n t r ya n db l u e g r a sssi t u a t i o n s , C1 C
g ProLick #23 I
Nere's a funkybluesy lickutilizing openstrings. There areno special tricks-other thanremembering to allowtheopen s:rings to ringthroughout theentirelick. A]
t\
13
litlts [ltoril #24 EProLick o f p l a y i n gs i x t h so v e ra t y p i c acl h o r dc h a n g e . T h i sl i c kd e m o n s t r attheesp o p u l acro u n t rsyo u n d C]
C
FDl e
I
#25 O ProLick T h ev o i c i n g isn t h e f i r s tm e a s u rm e a yt a k es o m es t r e t c h i n g A.l s o t, h e u s eo f a v o l u m ep e d acl a nb e h e l p f uiln a c h i e v i ntgh e s t e e g l u i t a rs o u n d . C
14
nb
Gt
Gl
#26 O ProLick T " i si s a w e s t e r ns w i n g - s t y lceh o r dm e l o d yp h r a s e t h a t m a k e sa g o o di n t r o d u c t i o n . A1
'-JI',-il
v v r v f - ,
-
E
1 C ? O
1
e
E
1
a
E
at
v e a E r a v v v
a
EA
t
E
A E
t
f v v t v v
#27 O ProLick , 7 )r e s o l v i ntgo t h e t o n i c( F ,l ) . I r i s c h o r dl i c kc a nb e p l a y e do v e ra n yd o m i n a nst e v e n t ch h o r d( C 7 V C]
15
litlts [nukalilly l y u s i cT. h ep h r a s ei sn t h i ss e c t i o n w i l la i d M o s tc o u n t r yg i g sr e q u i r teh e p l a y i n g o f f i f t i e sp o pa n dr o c k a b i l m b o t hc o u n t r ya n dr o c k a b i l ql yu i t a r i s twsh o n e e da u t h e n t irco c k a b i l l iyc k si n t h e i rr e p e r t o i r e . l n t h e w o r d so f C a r lP e r k i n "sM , i x F a t sD o m i n oC, h u c kB e r r ya, n da l i t t l eB i l lM o n r o ea n dy o u ' v eg o t r o c k a b i l l y " u s i c )C, h i c a g o - s t y l e m u s i c .T" o b e m o r es p e c i f i cr o, c k a b i l w l ya sa f u s i o no f c o u n t r y( t h e nc a l l e d" h i l l b i l l ym b l u e sa, n dt h e t h e n - p r e v a l esnwt i n gs o u n d . F o ra g o l d m i noef l i c k sa n dp h r a s etsh a t c a nb e a p p l i e tdo r o c k a b i l llyi s, t e nn o t o n l yt o e a r l yr o c k a b i l gl yu i , a r lP e r k i nas n , dJ a m e sB u r t o nb, u t a l s og o b a c ka n dc h e c ko u t t h e r e c o r d i n gosf t a r i s t s u c ha s S c o t t yM o o r eC I n. t h e e a r l yf o r t i e sC, h r i s t i a nb' sl u e s - f l a v o reeidg h t h - n o tsew i n gl i n e sw e r ea d i r e c ft o r e r u n C h a r l iC e hristian n e rn o t o n l yt o r o c k a b i l lbyu, t t o b e b o pj a z za s w e l l .
#28 O ProLick T h i sl i c kw o r k sg r e a to v e rG ,G 7 ,o r E ma s a l e a dl i c ko r e n d i n g .
#29 O ProLick T h i sw e l l - k n o wrno c k a b i l l iyc ko u g h t o r i n ga b e l l !
16
ProL ick #30 h e rv e r yp o p u l abrl u e so r r o c k a b i l l vi c k . AorAT
OProLick#3l N o t et h e u s eo f t h e b 3 r d( G )i n t h ef i r s ta n dt h i r dm e a s u r teosg e tt h e" b l u e ss"o u n d . -a-
Su ing Feel ( e e
aa/
E]
17
g ProLick #32 Thislickworksbestovera | [A7)or lV [D7)chord.Noticethatthelickis repeated in thelasttwo bars,phrased in triplets.
eProLick#33 (whoprobably Thisisanexpanded version of Iick#28.lt'sbeenused byeveryone fromChetAtkins invented it) to theStrayCats. G. G7 or Em :-F--
---,,--\
1B
;-_--
------
#34 ProLick g a n yo f t h e c l a s s i lci c k so f t h e s t y l es, u c ha s :s l i d i n gi n t ot h e i s a r o c k a b i l lbyl u e sc h o r u si n C c o n t a i n i nm r s t o p sf r o m a h a l f - s t e pb e l o w ,r e p e t i t i o u sh y t h m i cp h r a s e sa ,n da d r i v i n gr h y t h md e r i v e df r o m p l a y i n g o n t h e d o w nb e a t s .
zT-
,-^--
F]
19
rQProLick#35 T h i sb o o g i et u n er e f l e c t as b l u e g r a si ns f l u e n cae l a D o cw a t s o n .
DorDT
20
#36 ProLick t p i c a l b o o g i el i c kc a nb e p l a y e da s a r h y t h mp a r to r a r e a l l yh o t s o l oa t f a s t e rt e m p o s .
.J P\I
E]
,
J
I
g ProLick #37 'lris
it up twelvefrets(oneoctave) and lickcanbeplayed Trymoving usingonlyonefinger,butthetimingis tricky. o ayit overthesamechord.
a
L o L 6 L
V L g E V a l . l n a t a l V i a n a n W
L
a L V L V
n
..| L
nn ! v . ! n
L 9 L V
21
lunky [uuntry tinks gProLick#38 H e r e 'a s f u n k yc o u n t r yl i c kt h a t c o u l da l s ob e p l a y e da s a b l u e sl i c k . E
,
A
ltold bt'ntl
,
ltold ltend
,_!":"'_'':"'! _
A
Itold bend
,
ltold bertd
gProLick#39 0 u r l i c kf o r t h i st y p i c acl h o r dp r o g r e s s i od ne p e n dosn t h e b e n d sa n df u n k ys o u n df o r i t s e f f e c t .
OProLick#40 T h i sc o u n t r yb l u e sl i c kc a nb e p l a y e do v e rA 7 o r D 7 .
22
#41 ProLick g h o s to r m u f f l e d i s o n eo f o u r f a v o r i t easn di s a c t u a l l ya l o t e a s i etrh a ni t l o o k so n p a p e rT. h eX ' si n d i c a t e j u s t t o u c h i n gi t w i t h t h e l e f t w h i c ha r ea c h i e v ebdy n o t p r e s s i ntgh e s t r i n ga l l t h e w a y d o w nt o t h e f r e t ,b u t i t w i t h t h e r i g h th a n ds o i t s o u n d lsi k ea t h u m p . a n dp i c k i n g C'
,
holtl bentl
#42 Lick Pro from. on whereyou'recoming to a I or lVchorddepending lickwhichagainresolves of thepreceding Htre'sa variation c7
23
OProLick#43 dn s dr e l e a sbee n d isn b e a t2 o f b a r2 a n d b e a t1 o f b a r3 . T h ef i r s t b e n di s a c c o m p l i s h e d Notice i n t h i sl i c kt h ep r e - b e n a ! V b e n O i nbgo t hn o t e su pa h a l fs t e pu s i n gt h ef i r s tf i n g e rT. h es e c o n di s d o n eb y b e n d i n gt h e C t o D w i t h t h e t h i r d f i n g ew r h i l ef r e t t i n g F w i t ht h ef o u r t hf i n g e r .
OProLick#44 Thisis a greatfour-bar funky.lick whichemploys effective useof boththe pentatonic andbluesscales witha shift fromfifth to secondpositionin bar3.
24
#45 ProLick : s a t h r e e - b afru n k yl i c k ,a n yb a ro f w h i c hm a yb e u s e da s a l i c ki n i t s e l f . C7 *
J V
#46 Pro Lick n ft e a r l y J e r rR y eed. t h i su p - t e m p ob l u e sc h o r u si n A , b a r si 3 - 1 6 c o n t a i na f u n k yl i c kr e m i n i s c e o
25
26
ProLick #41 b e n d si n t h i sl i c kc r e a t ea n e a r t h yp e d a l - s t eseol u n dB . es u r et o b e n di n t u n ea n dw a t c ht h e t i m i n q .
Itold bend al
G
27
OProLick#48 T h i si s a p i a n o - s t y l e i c kt h a t i s g r e a tf o r l e a do r b a c k u pe, s p e c i a lilny t h e b l u e s yc o u n t r yv e i n .
OProLick#49 H e r ei sa n o t h epri a n o - s t ybl o e o g i lei c kw h i c hc o u l db e u s e da s a r h y t h mp a r to r a l e a dl i c k . Swing Feel ( ,l
, ,\ )
OProLick#50 Theuseof double stops, bends, andbluenotesgivesthislickitsfunkysound. Becareful of thepre-bends in barl, beat3. andin bar2. beat1.
28
#51 ProLick g a k e si t c o u n t r ya l l t h e w a y . V - l V - V - l l i c ks h o w sa d e f i n i t eB r i t i s hr o c ki n f l u e n c eb,u t t h e p h r a s i n m
#52 e ProLick A l t h o u g ht h i sl i c kl o o k sd i f f i c u l ot n p a p e rp, r a c t i c iet s l o w l ya n dt h e s p e e dw i l l c o m el a t e r .
30
Lick #53 Pro f o r t h e p u l l - o f f sh, a m m e r - o nasn, ds l i d e si n t h i sb l u e s yc o u n t r yl i c k .
ProLick #54 p l a y i n gt h i sf u n k yl i c k ,i t i s n e c e s s atroy u s er i g h t - h a nfdi n g e r sa s w e l la s a p i c kb e c a u soef w i d ei n t e r v asl k i p s . p l a y i n gt h e o p e nA s t r i n gw i t h y o u rp i c ka n dt h e d o u b l es t o p sw t t hy o u rf i n g e r sT. h i sm e t h o di s n o t o n l ym o r e : i s eb, u t i t w i l l g i v et h e l i c km o r es n a p . A1
e hold bertd
Pro Lick #55 l i c k st o p l a yo n c ei t i s m a s t e r eldt i.s e x t r e m efluyn k ya l a J e r r yR e e do r A l b e r tL e e . s i s o n eo f t h e m o s tsatisfying i nsb a r1 .A l s ob, es u r et o b e n dt h e n o t e st o e x a c to i t c h h y c l o s ea t t e n t i o nt o f i n g e rasn db ec a r e f uolf p r e b e n d Itfore playing.
Guitar Notation Legend GuitarMusiccan be notatedthreedifferentways:on a musicatstaff, in tabtature, and in rhythm s/ashes. D A
D
EG
@@ RHYTHM SLASHES arewrittenabovethe s t a f fS . t r u mc h o r d isn t h er h y t h mi n d i c a t e d U s et h ec h o r dd i a g r a mf o s u n da t t h et o p0 f t h ef i r s tp a g eo f t h et r a n s c r i p t if0onrt h e a p p r o p r i actheo r dv o i c r n gR s .o u n d n o t e h e a idnsd i c a tsei n g l en o t e s T H EM U S I C ASLT A FsFh o w sp i t c h easn d r h y t h masn di s d i v i d ebdy b a rl i n e si n t o measures. Pitches arenamedafterthef irst sevenlettersof thealphabet. graphically TABLATURE represents the g u i t afri n g e r b o a rEda. c hh 0 r i z o n tl ai nl e r e p r e s e nats t r i n ga, n de a c hn u m b e r represents a fret,
w.l
Notes:
n
open -jfr
.F tn UO nn rE
Strings: E I D A E
4 t hs t r i n g2. n df r e l
l s t & 2 n ds t r i n g o s p e n , o p e nD c h o r d p l a y etdo g e t h e r
HALF-STB EE P N DS: t r i k e t h en o t ea n db e n d u p 1 / 2s t e p .
W H O L E - S TBEEPN OS: t r i k teh en o t ea n d D e n du 0o n es t e o .
BEND A N DR E L E A SSEt:r i k e t h en o t ea n d b e n du pa si n d i c a t etdh.e nr e l e a sbea c kt o t h e o r i g i n anlo t e0. n l yt h ef i r s tn o t ei s s t r u c k .
PRE-BEND: Bendthenoteasindicated. then strikeit.
V I B R A TT 0h : es t r i n gi s v i b r a t ebdy r a p i d t y b e n d i nagn dr e l e a s i nt hgen o t ew i t ht h e f r e t t i nhoa n d .
H A M M E B - OSNt r: i k e t h ef i r s t( l o w e rn) o t ew i t h , e ns o u n dt h eh i g h enr o t e( 0 nt h e o n ef i n g e rt h s a m es t r i n gw ) i t ha n o t h ef irn g e b r yf r e t t i n igt w i t h o uot i c k i n o .
P U L L - O FPFl:a c e b o t hf i n g e ros nt h en o t e s t o b es o u n d e d Strike t h ef r r s n t o t ea n d w i t h o upt i c k i n gp,u l lt h ef i n g e o r f ft o s o u n d t h es e c o n (dl o w e rn) o t e .
LEGAT0 SLIDE: Strikethefirstnoteand t h e ns l i d et h es a m ef r e t - h a nf idn g e u r po r d o w nt o t h es e c o n n d o t eT. h es e c o n n do t e i s n o ts t r u c k .
G R A CN E0 T EB E N DS: t r i kteh en o t ea n db e n du pa s S L I G H(TM I C R 0 T 0 NBEE) N DS: t r i k e the indicated. Thefirstnotedoesnottakeupanvtime. n o t ea n db e n du p 1 / 4s t e p .
-:T-
r
TlA-+--1
--X
J
ffi
W I D EV I B R A T T Oh: ep i t c hi s v a r i e tdo a g r e a t e r d e g r ebeyv i b r a t i nwgi t ht h ef r e t t i nhga n d .
SHIFT S L I D ES: a m ea s l e g a t sot i d ee. x c e p l t h es e c o n n d o t ei s s t r u c k .
L- --
ffi TRILL:Veryrapidly alternate between the TAPPINH G a: m m e(r" t a p) t h ef r e ti n d i c a t e d n o t e si n d i c a t ebdyc o n t i n u o u shlaym m e r i n g w i t ht h ep i c k - h a ni ndd e xo r m i d d l fei n g e ar n d gf f . o n a n dp u l l i n o pulloffto thenotefrettedbythefrethand. tr%
N A T U R AHLA R M 0 N IS Ct:r i k e t h en o t ew h i t e PINCH HARM0NIC: Thenoteis fretted t h ef r e t - h a nl idg h t ltyo u c h etsh es t r i n g n o r m a la l yn da h a r m o n i sc p r o d u c ebdya d d r n , : d i r e c t loyv e rt h ef r e ti n d i c a t e d t h ee d g eo f t h et h u m bo r t h et i p0 f t h ei n d e x f i n g eor {t h ep i c kh a n dt o t h en o r m apl i c ka t t a , .
P I C KS C R A PT Eh: ee d g eo f t h ep i c ki s r u b b e d o w n( o ru p )t h es t r i n gp, r o d u c i n g a s c r a t c hsyo u n d .
MUFFLED STRINGS: A percussive soundis produced bylaying thefrethandacross the string(s) without depressing. andstriking them withtheoickhand.
PALMMUTING: Thenoteis partially muted b yt h ep i c kh a n dl i g h t ltyo u c h i ntgh e s t r i n g ( sj u) s tb e f o rteh eb r i d g e .
R A K ED: r a gt h ep i c ka c r o stsh es t r i n g s i n d i c a t ewdi t ha s i n o l em o t i o n .
T R E M O LPOI C K I N T Gh: en o t ei s p i c k e ad s r a p i d layn dc o n t i n u o u salsyp o s s i b l e
VIBRAT0 BARDIVEANDBETURN: The pitchof thenoteor chordis dropped a specified number 0f steps(inrhythm) then pitch returned to theoriginal
V I B R A TB0A RS C 0 0 PD: e p r e st h s eb a r1 u s l b e f o r set r i k i ntgh en o t et,h e nq u i c k l v release thebar.
VIBRAT0 BARDIP:Strikethenoteandthen immediately dropa specified number of s t e p st ,h e nr e l e a sbea c kt o t h eo r r g i n p a rl t c h
32
