country guitar book.pdf

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Pick

le Numbers 1-11) . ..

4

c

-Solo

...

7

Misty

u u n t a i

-

~ i u

Country L ~ a d G u i t a r

No

s 12-22) .. 13

Pull v o u r Spcks Up -

Solo ...

l

Finger P i c k i n g 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

•

VANCED LEAD lTAR

Bluegrass

StyleJ

f alrcU Ptckin

Numbers 40-50) ... 33

l ~ ~ g r a s s _ ~ ~ r

Solo

... 38

Combined

Flat

Picking

~ i l i . f l ;

,..e_

e h n i q ~ e s

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 icatio ns

14-15

Berners Street,

London

W1T

3LJ, UK.

Exclusive Distributors :

Mu s ic Sa

le

s Limited

Distribution Centre,

Newmarket Road,

Bury St Edmunds, Suffolk

IP33

3YB, UK .

Mu s ic Sales

Corpor

a t ion

257 Park Avenue South, New York, NY

10010,

US A.

Mu

s ic Sales Pty Limited

20 Resolution

Drive

Caringbah, NSW

2229, Australia.

Order No. AM 993795

ISBN

978-1-84772-573-8

This book©

Copy

right 1993 2008 W

ise

Publications a division of Music Sales Limited .

Unauthorise

d

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 New Y

ork

Paris Sydney Copenhagen Berlin Madrid Tokyo



•

'

/ j

.J

'

HAMMER ON ·

1 '1

1

1 '1

H

3

3

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.

PULL OFF · .

1 '1

3

1 '1

7

p

1

"

The pull-off is achieved by pulling

your

L.H.

finger

down ff the

string

to create the next

note.

means

pull-off.

UPWARD

STRING

BEND

·

.

I • •

·

• .

1 '1

3

3

To

perform

an Upward String

Bend first strike the note,

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

I

t,

2nd or 3rd Strings.

The

arrow

indicates

upward string bend.

- DOWNWARD STRING BE

ND . .

1 '1

..-k

•

1

1 '1

'

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.

I



eJ

'

•

SLIDE GOING

UP

'

..

SL

3

SL

..

SL

..

3

SL

3

.

3

f

Strike

the

first

note

and slide up

to

t

he

next.

SLIDE CoMING

owN

..

SL

3

SL

..

'

l

:

3

S

TRILL

3

.

3

3

Strike

the

first

note

and

slide

down

to the next

A trill

effect

is produced

by

performing

hammer ons

pull offs

in

rapid succession.

RELEASE

STRING

END

R

R

Returning

bent note

back

to

its

normal

position .



PICK R PLECTRUM TECHNIQUE

•

·

· C·

• •

1 i > i l : i i N c i

i ,H

e c l , ; _ , _ , : u ; - l . ~ ~ ~ _ . : : ; ? . - k e J : .• ~ < - - · : . - . · " : c · ~ ' i

1

J.lo

•

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.

,., =

Strike down

with pick

V =

trike up with

pick

.

v

0 0

.

0

v

. v

0

0 0

.

0

Try

this

single note

melody line with

the pick.

. .

.

~

•

•

. . . .

n

,

u

,

,

.n

v

J

v

0

.

'

.

~

.

.

,

::

u

,

T

The

double

lines

with

dots

tell you

to repeat

from

the

beginning.

I

.

•

.

,

u

-

*

.

.

~

.

,

.

.



... .II

•

;

...

.II

•

'

PICK N STRU

STYLE

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_

econd

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.

G

Am Am D

0 0 0

G

•

•

""'

I

•

I

•

1 2 3

4

etc

""'

""'

""'

""'

X

X

... .

X

{

T

X

l<

l<

-.-

u u

v

T

.

Am

""'

AmiD

""'

""'

:i

•

•

""'

""'

:{

1

:; i:

"'

u

u

v

I

""'

.-

--.-

""'

X

{

X

v

u

""'

:4t

•

""'

1

u

v



I

>

'

I

The

hammer-on technique is

useful

for

creating

a more country

type

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.

•

·

,..,

;...

H

Now

try the hammer-on technique in

this

pick and strum exercise.

Hold the G chord

down.

I Pick the

6th

string

2 Strum

3 Hammer-on

4

Strum

and so on

.

G

..

~

.

G

G6

•

·

G

..

G

•

f

i

.. .. .. .. .. ..

X

- 01

x

T

X

X

n

'1<

X

T

H

I

·

•

.

•

..

..

X

X

X

•

•



'

ese are e G s

-a; --

e :l c '

strum

gu

i

tar solo.

G

G6 m

0 0 0

Am D

C D

,

Try

out the hammer-on

technique

in

this

pick 'n' strum guitar solo.

Work towards a clean sound especially on the last two bars

when

changing from C to D to G. This is

very

much

in

the style of

Tell Me Why

by

Neil

Young from his 'After the Gold rush' album.

6 OUNTRY

PI KER

II

.;

I

.

lf

.

•

I

I

I

T

,.

T

i

I

lG

i

..

~

'

'

..

,,

<V

BY

ALAN WARNER

G

G6 G

..

=

..

~

..

~

•

..

,

.. _

..

..

X X

X

X

X

X

v

u

u_

"

G6

G

..

~

•

.. ..

•

V

•

..

.. _

..

..

){ ){

X X

X

...

"

X

...

v

v H

v

Am

.. ..

=

..

=

..

..

•

•

•

•.J;I....

..

..

..

..

..

..

::

X

X

);

;

u

v v

.

v

c

D

..

..

~

..

..

•

.. ..

..

- T

..

•

•

•

..

..

..

..

..

..

..

){ ){

'f

X X X

X

...

):;

v

v

v

v

I

AmiD

..

.. ..

~

•

•

-

-

- -

..

..

..

~

);

v v

G

..

.. ..

.

.

•

~

..

..

.. _

-

-

.

u

-

.

..

-

-



'

- .

j Jot

.J

•

THE PULL-OFF

The

pull-off is

also

a useful technique and

like

the

hammer-on

will

help

to countrify

your sound. This

exercise

shows

the

2nd finger

of the left hand pulling off from the

2nd

fret

of

the 4th string onto

the open 4th string.

Make

sure

you

pull

downwards

in

a

definite

way

to

sound

the second note

open

4th

string).

,.,

.J

~ ·

..

;...

p

v

PICK

N

STRUM

EXERCISES

(USING

PULL•OFFS)

·

These

are the chord

shapes for

the

following

two exercises.

G

G

.. ..

....

..

\ ...

-

..

-

.

..

.

,.,

..

.

='

- ?

,.

{

l

.... ::::

::::

,.

v v v

'

....

...

v

c

t

..

..

,.,

..

...

•

..

.

.

..

..

..

1

'

{

,.

....

::::

v

::::

::::

,.

c.

.....

v

.

'

.. ..

.

·

i

..

..

•

p

v

-"

•

--

..

..

.

-

•

.

..

p

v

•

-

v

•



-

:

:

a

0

:

:

~

:

:

c

c

M

<

p

:

J

•

:

:

:

(

:

I

J

.

_

:

p

:

:

:

\

>

:

-

(

:

:

p

c

:

,

u

J

,

·

:

p

:

:

J

=

-

:

t

.

uu

l

t

'

I

I

I

W

l

I

a

C

l

:

t

E

W

=

E

=

:

n

:

t

±

:

:

:

:

t

J

1

H

:

I

.

0

:

:

:

~

:

:

:

,

I



G G

*

G

-

•

•

*

First time around play the

music

in l

When you repeat, play the music

in

I

to finish the piece.

CHARLIE PRIDE LEFT) ND

JOHNNY

CASH PICTOR

I

L

I



- -

11 MISTY :

MOUNTAIN

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.

)

F

c

C (G bass)

F c

1 1

._,

. . .-

. :

1 1 1 1

,.,

1 1

1 1

t

-

-

--.-

.....

1 1

,

1 1 1 1 1 1 1 1 1 1 1 1

.

1 1 1 1

•

.;

"

.

;.,

;.

;.,

;.,

n

c.

...,-H -z;-

--.:;-

,

-

H

n

'

"

..

'

'

c F

.I

'

1 1 1 1

,.,

1 1 1 1

,.,

1 1

,.,

t

...

·

.....

...

•

1 1

1 1 1 1

r::

1 1

1 1 1 1

.

1 1 1 1 1 1 1 1

n

-

n

n

n

':

:::

;.

:

:

n

v

n

n

v

v

n

v H· c

v H

,

v

.

_ .

F

c

II

1 1 . . .

1 1

.

1 1

,., ,.,

t

-

-

•

...

1 1

,

1 1_.. 1 1

.

1 1 1 1 1 1 1 1

1 1

,.,

·

;..

;..

::: ;.,

n ;.,

;.,

:

n

'

v

H

c.

c.

H

'

v

v

C (G bass

1 1 1 1

-

I

1 1

.

':{

t

.

v

v

1 1

1 1 ~

...

;.,

;.,

:, ..__..--:,

------

C (G bass)

1 1 1 1

.

~

,.,

1 1

,.,

:{

:{

I

I

v

.

I

n

v



t

t

"

t

tJ

I

t

.

---

.

ft

....

,.,

n

r

v

·

,.,

,.,

-

n

;..

"

-

•

---

._ ...,

.

.

.

n n

n

"

H

Lead

guitar comes in on

the

recording).

.

.

..

,.,

---

r

F

F

,.,

.

ft

,.,

,.,

,.,

v

c

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v

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.

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.

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.

.

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v

F

.

.

.

,.,

v

.

,.,

A

u

-

.

.

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;

.

.

C G bass

,., ,.,

it

. .

ft

....

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; ;

C G bass

.

,.,

it

. .

v

.

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/

'

.

i;

::

.

-



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

. : · : · :

J ~ A J R

c o u N t R

¥

S e A L ~

.

'

.

' ' - '

;

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.

G

,..,

,.., ,..,

~

J

J

3

0 2

M..

,.., ,..,

v

3 0 2

,..,

•

0

,..,

v

0

2

5

Fingerchart

,..,

7

,..,

-

I .

2 0

2

0

,.., ,..,

,..,

,..,

v

. '

2 0

2

0

The left hand fingering is indicated

by

the

numbers under

each

note.

I

7

8

9

,..,

~

3

0 3

,..,

,..,

,..,

v

3 0



'

e

II

e

PICKli

NG EXERCISES

BASED

:

. .

G Cou

:

NTRY

_

c LE

·. · · · _ · ·· -

. . . - . ' .

f4

T

.

T

'

.

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 stri

ngs

to attain a ri

ngy

sound.

G

1 '1

3

..

...

3

G

1 '1

•

0

y

2

..

y

1 '1

: i

0

1 '1

0

1 '1

0

1 '1

y

1 '1

y

....

•

2

0

2

y

1 '1

y

v

c

2

0

2

y

1 '1

-

0

y

..

-

'1

y

..

y

1 '1

-

0

2

0

3 0

.. y

y

1 '1

..

v v

0

0 0

y

y y

1 '1

..

-

0 3 0

}

y

..

y

1 '1

y

1 '1

v v

v

...

v

I

v c

c.

_ .

I

0

2

0

2

0

2

0 0 3 0

1·

5.

G

1 '1

y

..

y

.

1 '1

y

..

y

..

y

1 '1

..

•

0 3 0

2

0

2

0

2

0

2

0

..

y y

y

1 '1

y

1 '1

y

..

1 '1

-

-

1 '1

.

...

v

v

.

,;

v

.

....

c .:::

. ...__

0 3 0 2 0

2

0

2

0

I

1 '1

3

1 1_,..-._

.;T

...

3

.·

3

1 '1-

-

3

1 '1

d

3

-



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

t

s 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 aga

in. Now try the next part

of this

exercise where

you sli

de

down

from

the 4th fret to the 2nd fret on the

3rd

string.

;

a

Going up

..

2

SL

..

SL

2

SL

2

2

Coming down

..

-

2

SL

2

..

SL

2

SL 2

MERLE A S



Try

the

fo llowing

two guitar

li

cks

combining

hammer-ons ,

pull-offs

and slides.

17.

G

COUNTRY LICK

NOTES

fROM G

COUNTRY SCALE)

G

.

;

I

.llo

.

.

.

.

.

-

•

: : i ~

· ~

0

2

SL 2

1

0

2

-

.

n

1

3

0 2

.

. ~

-

. .

.

.

r I

.

'

h

.....

..;

v

.

n

H

....

H

v

3

0

2 2

0

1

a

G

couNTRY

LicK

I .llo

NOTES fROM

G COUNTRY

SCALE)

G

..

v

.....-.

-

-

v

;.. St:

.,-

c;.

2 SL 2

•

~

1

3

lliil j SL

2

-

0

--.--. :: .,.../--

2 -

.

T

'"

1

0 2

.. ..--......

v

,..,_

..

I"'

:

SL

/

n

SL

. .

. .

v

,.,

;..

n

;..

n

.: H 7

·'

ililiiii

.........

.....

2 SL

2

1

3 2

SL

2 0

0

2 0 . 2

With these next three country guitar licks we can start moving up

along the fretboard.

1 9 COUNTRY LICK

IN

G

Notice the triplet starting with a slide in the third bar of

each

lick.

G

,.;

p

-

0

/

1 1 .llo

. .- .

•

-

-

e

i ~

2

~

1

2

. . . . .

3

1 1

3 1

SL

-

....

-

.-

0

3

1

.

2 SL 2

0 2

0

3 0 1

-

v

..

v

r-:.

..

v

.

y

.

y

v

v

. y

..

..

..

..

..

..

-

I" '

-J

l 'f

.

v ... ....

.., v

.....

v c.

..

• c. · u

,.

v c. v

c;.

v

.....

L

-

'

-

3 0 2 0 2 0 0 2 3 1 3 1

3 1 2 SL 2 0 2 0

0

..

v

0

......

n

v v v



/

~ ~ ~

r

t l

I

'

'

'

•

'

,.

'1:

'

'1:

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

v

v

v v

v

~ ~ ~

I

~

v

~

~ ~

~

-

-

::i J · ~

l.ooooli

1

2

3 1 3 1 1 3 3 3

1

3

1 1 3 1 3 SL3 1

-

. .

v

~ ~

v

v

,., y

v

-

--;:y

' ' ' '

' '

SL

«.

0

-uc

z:

<..

-

t: v

........J

,.,

v

3 1

~

4

1 3 1

3 1 3 1

3 1 3 SL3 1 3 1

This lick moves along a further three frets to the key of C.

, C

v ,., v

,.,

v

v

,.,

v

.

.

v

.

.

y . . ~ .

f

.

v

.

,.,

•

SL

-

;•

• ft•

I

3

-.._r:-

i

4

1 2 3 1 3

1 1

3 3 3

1 3 1 1

1

3 SL3 1 3

1

,.

;

. .

v

.

v

,.,

.

v

,.,

v

.

v

.

.

v

,.,

v

,.,_

v

r

u

0

V 0

V 0

.<: I

0

<

--::T

'

'

v ..;;jjjji

' 0

-1..,_,

4

2 3 1 3 1

3 3 3 1 3 3 1 3 SL3

•

.

1

I

.

I

- -

'

-

.

1

.

' '

' '

' '



,-

'

'

PULL YO

UR

SOCKS

UP

·.

- _·-

. . -

Y

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 position i

ng

will

make

things

easier for

you.

Verse

(Play verse three

times)

A

u

r ''

r ''

v

r ''

v--.

v

r ''

r ''

·,

r ''

r ''

r '' r ''

·,

' )-. . .

r ''

v

r ''

v

-

r ''

-

tJ

-

2 SL 2 1

2

3 1

1

3 SL 3

1

3

1

r ''

r ''

v

r ''

v v

r ''

r ''

r '' r ''

SL

SL n

:11:

v

v

"

"

. ::11:

-

2

SL

2

2 3

3

SL

3 3

1.

*

'' r ''

v

r ''

V--.

v

r ''

r ''

r ''

·,·

-

-

tJ

~

-

-......

2 SL 2 1

2 3

1 1 3 SL 3 1

3

1

r '' r ''

v

r ''

v v

r ''

r '' r '' r ''

SL

n SL n n

':' ':'

v

" "

•

.....

-

-

SL 2

2 3

3 SL 3

3

A

r ''

u

l :

r '' r ''

v

r ''

y.--.

v

r ''

·,

r ''

r ''

-

-

t

.....

-

......

-

2 § : 2

1

2

3

1

1

3 § : 3 1

3 1

r ''

r ''

v

r ''

v v

r ''

r ''

r '' r ''

,

r

·

' '

' '

SL

':'

':' ':'

"

c.

-

-

SL

2 3

3 SL 3 3

A

F

r ''

r ''

r ''

v

I ,U

jj:

1t

.

v...-

v

r ''

v...-

v

.....

-

-

t.

SL

2

1 3

1

1

-

3 1

1

3 § : 3

1

3

r ''

r ''

v v

r ''

v v

,.,_

r ''

v

v

'

'

'

SL

"

-

-

L 2

3

3

3

r ''

:J:

4

r ''

r

'

4

8

---

3

4 1 1

3

1 1...V

r ''

r '' r ''

-

H

"

----

4

8

r ''

~ .

I

1 3 1

~

r ''

,:,

H

:::

n

c.

3

r ''

r ''

-

SL

3 S l3 3

r ''

.....

-.:r

3

r ''

v

---

r ''

~ J

~

-....:.,..

1 ...:. :....- 2 .

;.;. ....

3 1

3 1

r ''

......J.

r ''

..

c.

.,-z:;-

H H

- -

3

3

E7

l,V

r ''

v r ''

v

+ifiF :;t =it

1

3 1

3 SL 3

0 3

ll...Y

r ''

v

r '' v

-

-

;..

-- :;;

- L

_,

3 1 3 SL 3 o 3

1 1

v

r ''

,:,

;..

- :;;

E7

r ''

1

r ''

n

--c-

D

r ''

( J

4

r ''

r

'

4

A

r ''

r ''

:;t

~

r '' r ''

n

v

0

0

....

.... ....

.":

r ''

r ''

--.

-

·-·

~

r ''

r ''

.....

,..,SL

' '

-

2 SL

End of

r ''

v

erse

.

-:;t

0

r ''

,

•

r

,..

•

0



utro

~

3

.

SL

SL 2

2 SL 2

2 3 3 SL 3

.

3 3

SL

3

3 3

3 SL 3

.

.

3 3

3

SL 3

CHET ATKINS LFI)



Finger picking can provide

all

sorts of possibilities

both

for

accompaniment

and

solo playing especially

so

for the Vamp style.

This

s

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 H ND

THUMB

EXERCISE

OPEN STRINGS)

eJ

I

T

v v

WAYLON JENNINGS (LFI)

0

0

•

•



and ngers:

I

Strike th

e 5 the

R.H.

thumb

p

as before.

2) Then

pluck th e f

st

stri

ng 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

. ablature.

USING

C M JOR

CHORD)

c

•

•



•

.

T

.

T

{VAMP STYLE

These are the chords

used

for e fo l

owing

two exercises.

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 prev ious

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.

c

G

HH H

~

i

etc

n

n

m m

...

---

p

...

p

=i

•

=i

h

r r

r

p

m

i

m

etc

i

1 '1

i1

v v v

v

'

v

v v

v

;..

v

v

;.

p p p

•

•

~

1 '1

v

;..

n

n

•

-

~

t

v

v

n

v

..

v

•

•

.

•

•



You will ofte . to modify chord sh pes to

conform

to

the cture

o

a

v mp so

lo

or

accompaniment.

The following exercise

gives

you

n

example

o

this.

c

G

treble

note)

X 0

c

C G treble note

r

i

p

_ I



We'll start preparing now for yo

ur st

ger pic

kin

g vamp solo.

Study and

practise the exercises laid out

be

l

ow.

Chord diagrams

for

the

following

preparation exercises

for

Clearwater

Vamp

c c cadd

D

G7 G G

G6

(G

treble note) {D treble note)

tll·l l t81Ri i9S

.......

-

m

:

c

m

c

(G treble note)

caddO

m

.

.

.

.J

-ill •

I

.. :

t

p

p

-=ij•

p

p

-

p

p

p

::

i

m

m

.

m

m

I.

v

v

,.

.

n

v

T

v

v

v

,.

.

.

T

v

•

v

-;;y

p

p

p

p

p

p

p

c c

c

-

-

(G treble note)

m

r

'

:;

;;

.

.

.

•

_

I

-

---

p

t

p

p

p

p

m

p

:

i

I

I.

m m

I.

":l

v

v

,.

.

T

v v

v

,.

. .

.....

v

--;y

v

-;;y

'

p

-

p p

p

p

p p

p

G7

G

G

0 treble note)

-

': ....

i

,;

,

.

:

:

.

•

r·

..

::: _

•

-

':'

p

p li •

-

p

p

' ...

'

i

p

i

l

I •

m m

-;y

v

v

,.

v

.....

,.

v v

v

......

. --.olf

.

'

v

':'

v

p

p p p p p

p

I



G6

c

a

- -.

m

m

CARL PERKINS PICTORIAL)

I



BY ALAN

WARNER

c c

c

c

c

- ; {G treble note)

(G treble note)

-

m

-=

-

;

,

,

,.

.

• •

"'

•

•

. .

.

. .

&-

_._.

;...:

p

... .

....

....

•

•

.... .

etc.'

i

:;

m

n

r;

r ;

..

v

v

,.

.

n•

v v

v v

.

,.

T

..,

v

..

v

v v

' ·

....

....

P etc.

p

G7 G

G c c

c addO

(D treble note)

(G treble

not

e)

'

f

r ;

• •

n

;

•

•

--=

. .

.

.

&-

::;.

w

•

•

::; .

•

.....

I.,..:

...

•

ill

•

i

r

r;

n

:

v

'-

u

..,

.

v

.

v v

v

•

v v v v

.

.

.

.

.

..,

.. ..

'

v

.....

v v

..

....

c c

c addO

c c c

G treble note)

(G treble note)

/

-;

• •

-; -;

•

•

r

.

. .

.

. .

a

-ill

I...:

...

...

.....

ill •

I-:

•

I

•

ill

•

r.;

r.;

r.;

;

v

..,

.

.

.

1>

v v

v v

.

.,

v

v

'

....

....

G7

G

G

G6 G

G

c

(D treble note)

D treble note)

'

,.,

C1

• •

n

n

-;

m

.

.

a

::;.

•

-

•

::;.

.

::;.

•

e

I

-..

p

:"1

r;

r;

r;

1 i

m-.-...--.....

L o

v

v v

v

v

..,

v

n •

n n n

.

. .

.

v

'

v

l..oii

v

..,



s oR

MP

A but ree of e o g c ord shapes are

quite

straight

forwa

r

d

The chor

ds

F, F(

S) and

Om

are di

fficult

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

addO

X 0 0

F b5)

X 0 X

t

•

,

G

Om

0 0 0

•



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 =

this plucks

the Ist

string.

C caddO F C F F ~ 5 ) G

m

*

m

m

a

:

i

r- '1

-

I

•

1,

~

p

-

p

....

P etc.

=

=

=i

p

=

-4

p

Capo on 5th fret.

r-i

i1

a

i

i

......

,.

..

.:.

-

.

:.

--co

.:.

. : ;

v

,.

..

<.

..,

-.

...I

'

p

p p p

p

p p p

P etc.

c

caddO

F

c

F Om

c

' I

I

...

-

eJ

--

--

:::;

....

:;

=

=

--

4

=- =-

.

r-1

-

;..

y

:.

v

.,.

n

n

v

..1

..

v

c

caddO

F c

F

G

,;'

j

-

I r- '1

-

eJ

-41 -41

=

....

=

=

=i

=

r-1

......

v

,.

-.:.

I

:.

n

:.

,.

' '

-.

...I

..

caddO

F

c

F

Om

c

m

J

r--,

I r- '1

-

I

•

--

I.

-4

-

....

1

-

=

i

r--,

p

,...,

m

"

.

.,

.:.

' '

:

v

...

. : ;

v

v

'

p

• •

..

y

Turnaround

:;/

J

.

..,

• •

n n

y

m

I

-

r

p

p

m

..,

p

p



-

ARPEGGIOS

e

se

of arpeggios e in country

music

An

arpeggio

is

a

success

io

of o ~ s

from a chord

played

one after

the other Try the r wo arpeggio exercises below

36

ARPEGGIO

·ExERcisE -

-

USING

THE HORD

'-.,.

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

..

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

..

•

Keep

going

over this until you

can

play it

fluently

D

v

..

v

\

I

..

v

..

..

.. v ..

•

•

•

•



38

A

RPEGGIO

EXER ISE

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.

D m

X X 0

1 1

-

-T

I

J ..

-

1 1

/

,..,ot

V 1 1

etc

l I l

l I I

D

v

1 1

v

Am

N.C. C

.J

•

~

•

=-

~ ~ _ i f

1 1

v

1""1

-

T I

..

ri

1 1

etc

..... ....

I

-T

I

_

n v

n n n

:-

.

..., ,

T

....

H

'

.•

-

m

N.C.

C

G

-

1 1

1 1 1 1

T

I

J,..,

v 1 1

I

.; '

.lot

1

I

v

v v

•

•

....J

•

=

....J : : i ~ ¥

~

::;

1 1

v

1""1. .

-

1 1

v

1 1

v

1 1

v

rT I

I

1 1

v

1 1

r

I I

I

v

v

o.o..j

v

H

v

'

-

v

•

G

0 0 0

N.C. G

_j

-

•

-

•

·

11

-

T

I

I

ri

v

v "

v

v v

v

D

1 1

v 1 1

v

1 1 v

I I

1 1 1

.

•

1 1

v

1 1

v

1 1

v

1 1

n

v v

.

.

-



39

ARPEGGIO

: IN

D

,.

..

f

. ; .

'

f

'%

'

s:

. .

BY

ALAN

W

ARN ER

D

c

G

0 0 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.

Section

I

v 1 1 v

c

G

0

-

1 I

J

,.,

y

,.,

,.,

v

,.,

v

,.,

~

,.,

v

•

I.....J

•

q

~

u

1 1

v

,.,

y

y

v

...

,., ,.,

r

I

,.,

y

,., ,.,

,.,

,.,

y

)

X

X

)

v

\

X

...

v

.

c A

c

,.,

y

,.,

y

,.,

I I

~

y

~

1 1

y

~

•

•

q

0

1 1

v

,.,

v

1 1

y

1 1

v

-

1 1

y

., ,.,

r

I I

y

,.,

X

':

:.

_.,

v

y

-.

)}

,.,

v

-J

,

0

A

v

- 1

H

,.P'

y

I

2

4

y

,.,

--

y

I '

p

·

v

y

•

•

-

•

-

4

2

G

,.,

y

,.,

=

•

~

~

0

1 1

y

,.,

_I

,.,

X

I

v

I

I

0

v



c

\

_,. .

: .

y

-.

\

:-

1 '1

,..,

I I

.......;

--

=---

-#-

•

_

0

1 '1

v

,..,

v

,.., ,..,

..

,.., ,..,

--

1>1 1>1

1>1 1>1

u

,.,

.

n

-

Section 2

D

,.., v

c

G

v

-

fl

u

l I J

,..,

v

,..,

..

y

,..,

y

,..,

~

.

>

•

1......1

•

tf -

~

3

y

,..,

y

,..,

-

..

y

,..,

y

r

l I

I

,..,

y

,..,

,..,

..

n

x

':'

•

n

-

n

v y

•

' '

n

0 3

c

-

,; u

..

y

,..,

y

,..,

T

I

J.. ..

y

,..,

t

•

~

•

..

y

..

y

.. y

..

Y

I

,..,

~

r

1 I

. . . .

y

,..,

l';

....

'

n

;..

u

........

0

*Don t forget

double lines

and dots

to repeat

section

v

=-

,..,

v

-

;..

1>1

D

,..,

y

CJ

..

y

c

c

,..,

y

tf -

--

,..,

y

v

l

=-

-

..

l

v

,..,

2

4

y

,..,

p

:

-

2

G

,..,

v .

..

..

,..,

y

,..,

n

0

1 '1

,..,

l

y

y

.

~

,..,

~

•

,..,

X

;;

>.<

.

•

•

•

•



DV NCED

LE D

GUIT R

BLUEGR SS STYLE

FL T PICKING

40

G

CouN

TRv

Sc LE

· -

·.

· -

.

' - ~

. . ·.-: · -

. .

G

' .If

..

•

..

v

2

v

..

v

..

v

. I

v

..

v

i

J

•

I

4

1

4 1 4 1

3

1

3

v

1 '1

v

1 '1

v

..

v v

v

J

..

r

.

<:.

v

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

16

17

..

·v· SL

...

1 f

1

3

SL . 3

..

v

SL

v v

SL 3

18



owtry this scale

in

th key

of

C

8



42

,If

•

,.

1

,.

1:

'

G

This

first

exercise

uses

notes

from

the G

ma

jor

scale.

The notes are G A B C D EF G

v

v

,..,

v v

etc

~ ~ . ~ ~ . ~

¥

_._ • J

_._ • ' '

7

2 4 1 2 4 1 2 4 1 2

4 1 2 4 1 2

v

v v v etc

-

-

- -

-

-

'

I' '

v

;.., ;..,

v v

4 4 2

4 4 1

Th is exercise uses notes from the A major scale.

The

notes are

ABC#

DE F G A

A

n

'

fl:

v

,..,

v

,..,

v v

etc

•

~ - J - - - - ~ - J - - - - · - J -

_._.

_._.

•

2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2

v v v v

etc

-

-

- -

.

I' '

T

,.

-, -,

T

-, -,

-

v v

--.

•

4 1 3

4 1

3

4 1

- -

1 ' 1

;.

;.

;.

c

--- -=

4 34 3 4 1

-

4

1

3

4 1

3

4 1

\

- -

'

-,

' -,

--u

2 2 2 4

2 4 24 2 4 34 34

Th is

exe

rci

se

uses notes from the C major,scale.

The

notes are C D E F G A B C

c

~ ~ ~ ~

4 4 4

•

4 4 2

etc

4 4

4

4 2

3 3 4

3 4

-

3

4

-

-

-

,....

-

v

3 4 1 3 c

-

r ''

3

4 1

3

4

-

r ''

-

v

3 4 1 3 4

4 2

4 2



_/

'

'

'

II

.J

I .loio

•

is exercise uses notes from the D

major scale.

The

notes are DE

F#G ABC

D

D

,.,

v ,., v

,.,

v

,.,

v

etc

-

-

fl -t

. .

~

..... .....

2

4 1

2 4 1

2 4

1

2

4

1

2

4 1

2

4 1 1 3 4

1

.

v

.

v

.

v

et

:;;.. ..

fl -t

...

r-'1

....

' '

"'

I

'

"

7

7

"

7

'

,.

c.

r

.....

-

-

f'

2 4 1 2 4 2 4 2 4

24 2 4 34

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

r - ty , . ,y , . ,y , . ,y

4. '

etc

~

4

- .....

1....1

.,

• · - .T•-:; t

2

4

1

2

4 1

2

3 4

1

3

4

1 3 4 1

3

4

1

2

4 1

2

4

, r-tV

,.,

y

.

y

.

y

etc

..

'"'- 1'-1

~

..... _

v

.

"

-

-

'

·

'

"

"'

-.

,.

-

,.

'

"

"

-

"

,

"

..

,

-.

-

-

...

-

-

.....

24 24 23

4 34 34

3 4 1 2 4

4

x

jf

:.

·

A

r-tVr-tVr-tVr-tV

etc

~

'

.J

-

.....

1...,1

.,

4-• - J -

2

4 1

2 4

1

2 3

4

1

3 4

1 3 4

1 3 4 1 2 4 1

2

4

":

y

.,.,

y

,.,

y

,.,

y

etc

r-1

_1'l l_

--

..,

<'

..,

,.

.. ....

-

'

"

':'

"

-r

7

' 7

"'

'

-

-_. 2_

J:._

- -

J:._

-r

-

- """'"-

7

-

..... 1...,1

2 4 1 2 4 . 1 2 3

4 34 34 34 24

2 4

--

-

4

2 3

4

,.

-

..;

-

-

4 2 3 4

7 : J ~ ~ = d =

1

2 4 1

2

-

......

"

"

<'

,:,

2 4

· ~ : J : i

1 2 4 1 2

,;.

.., ,. ,.

..__.

2 4 2



'

.

T

.

T

'

'

c

.. v

v

- ( ' - ~ ~ .?- ~

v

,..,

I

4

3

1 4 1 4 2 1

,..,

V..

v

v

,..,

~

~

v

v

- .

-

-

1

4

4

4

0

~ ~

f - f - t : + 1 L . ~

4

1

3 4

1

2 4

1

~

v

~

v

~

v

~

v

•,v

v

'

0

..

.

':

-

.

......

T

-

....

4 3 4

2 4

.. ,

'

' 'I 1/

~ " " ' -

-. v

l 'l.

v

-

- -

~

•

2 1 SL 1 3

1

3

2 1

3

1 4 2

4

2 1

v

~

v v

, . . , ~

~

'l.Y

..

SL.-..

-

v

':

v

':

p

-

1 SL 1 3 2

3

4 4

etc

•

~ " - " "

-

-

.....

3

1 1

3

1 2 4 4 1

3

1 2 4

etc

-

-

..,

'

'7

'

v

':

'7

-

-.....

1....1

2 3

2 4

2 4

3 2 4

ELVI S PRESLEY, ON STAGE IN

1955

W ITH SCOTTY

MOORE

(PICTORIAL)

v v

~

• · =T

2

-

r

I

-

-

..,

- -

p -

-

-

A

:- .

2

c..._

•

u

1 2 4 2

-

..

7

-

-

2 2



- -

50 BLUEGR SS

GUIT R SOLO

jj.

*

t.J

BY L N

W RNER

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 Fin

i

sh off

playing

section

I

once.

J

Section I

A

. .

-

v

.

.

v

v

.

v

.

v .

I

.

v

.

v

.

v

.

v

.

I

-

-

-

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

-

SL 2

1 2 3

1

3 2 1 1 3 1

1

3 1 3 2 1 0 1

0 1

'·

. .

v

.

v

.

v

r:...v

.

v

.

row

.

v

.

v

.

v

.

SL

........

2:

v

y

v v

2:

......

.....

v v

v

-

SL 2

2 3 1 3 2

3 1

3 1

3 2

0 1 . 0

A

E

jj. .flo SL ,.,

.

v

.

v

.

v

-

. I

.

v

.

v

.

v

.

v

.

u

, jj.

*

u

-

-

SL 2

1

2

3

1

3

-

-

.

.

v

.

v

.

-

-

SL

v

;

v

...

SL 2 2 3 1 3

Sectio

n2

0

.

-

-

3 SL 3

SL

.

. I

1

•

.

-

_.

2 1

1

3

1

1

v

l l,V

.

v

.

v

....

-

3 1

.

v

.

v

.

v

~

3 2

1

0

1

0

r l.

v

.

v

.

v

-

~

3

1

_ _

1

i -,;- i

3 2 ,X

o

1

o

3

.

v

.

v

.

v

.

v

.

i

........

....

v

3 1

3 2

0 0 3

c

A

.

v

.

v

.

v

.

v

.

~ _ _

_._

• - ;-

)=

2

1 2

4

1

4

2

1

4

.

v

.

v

.

v

.

v

.

-

....

.... ....

v v v v v

E

.

-

-u-

0

.

n .n

....__..

v

....__..

__ v

0

A

.

.

0

.

•

•

_.-,

0

. .

~

4

____.,

4

SL

. .

1 1

SL

-

____.

-

3

SL

3

2 1 0 1 0

2

2 4 1 4 2 4

4 SL



/

'::

:

SL ·

SL

-

SL

SL

4

~

u

"'

.

SL

-

SL

-

.

SL

3

SL 3

r

-

.

•

=·

2

.

y

7

v

.

2

.

v

'

u .

L ~

u

3

2

1

.

v

'7

p

v

3

-

:•

:

3

'

.

.

n

3

1

.

.

1

.

v

•

-

-

ilf

-

3

,., v

2

3

.

y

-

3

y

I

2

v

2

-

-

•

ilf

=·

-

-

-

\

'7 n

'

:

-

.

v

.

y

-

1

3

.

v

.

'7

n

.

,...

-

1

3

1

. _

H

p

v v v

-

1 3 1

1

y

'7

v

I

2

v

-

=·

3

I '

.

1

.

'7

-

-

_ _

- -

-

3

v

.

v

ov

o v

I

-

1· 3

c

.

y

2

1

.

y

'7

v

.

1

.

v v

c

-

=·

3 2

.

\

n

.

y

2

4

.

y

'7

v

4

c

.

I

3

3

\

.

":

-

3

3

-

\

-

'

l

a·

..

\

""

\

'7

-

-

.

y

.

v

-

2

4

2

1

.

y

.

y

v

7

v

-

4

~

3

3

.

-

3

3

- -

ll

e

'

:

- -

2

A

y_ .

\

4

2

. _v

E

.

0

3

3

.

;'(

3

3

•

4

2

.

_Y

v

4 2

v

-

.-

\

-

- -

T

- -

1

.:

-

-

I"

\'

-

-

-

.

r.

n

•

•



'

COMBINED FL T PICKING

FINGERSTYLE T E C H N ~ Q U E S

Sound the two notes together with the pick and fingers

on

these double note scales.

5 • C

MAJOR COUNTRY SCALE

DOUBLE NOTE)

In

this

scale the

low

note is

picked down with

the

plectrum ..

and the high note

is

plucked upward

with

the ring finger

1

15 16

17

18

a

-

J

J

J

j

'

I I I

-

•

r

I

I

I

I

..

'

1n

.. ..

·-

...

'

n

1n

n

-

·-

52

G

MAJOR COUNTRY SCALE

DOUBLE

NOTE)

4

In

this

scale the low note

is

picked down

with

the plectrum 1' '1

11

and the high note

is

plucked

upward

with the

ring

finger

:- _

__

j

J -

J

I

T

a

12

13

16

17

1 1 - - - -

u:

I

18



'

'

,

'

. of

e.J

0

c

1 '1 G C

SL

- .

Sl

~ •

•

•

-

-

-

-

y

~

....

1

4

4

-

....

1

2 2 3 3

2

1

1 1

4Sl4

4

4 4

2 2 2

3 f l 3

3

3§ :3

a _ 2 ~ L _

___________

1 '1

"

SL

' ''

.

y

'L

S l n

,.

T

1 1 4 4

~

lo j

~

3

n

1

' ' l

=

--.:r --.:r

nSl n

c T ~

~

n n

~

1

2

u

n

1

2

This

lick

uses notes from the

G

major Double-note) country scale

starts

n D position).

'

.

J

-.

0

a

1 '1 SL

~ ;

If_

---

4 ~

4

3 SL 3

a

1 '1

,.., Sl

,..,

Sl

._

SL

4 - 4

3 SL 3

a

1 '1

~

4

3

a

'

....

4

3

a

1 '1

~

-

1

2

a

1 '1

"

1

2

- -

~

If_

•

1

4

4

2 3 3

-----------

n

v

"

1

2

..

c

4

3

G

•

1

2

n

"

1

2

~

3

1 4 1

\

n _

\ n · ~ p;..

"

'

"

3

4

--.:r

1

v

I

2

v

2

5

......

.t S_ ..:.

-

3

5:_

3

cS _,.,

cSL.,

....

~

2

3SL3

1 '1

.

3

1 '1

c

·

-

55

COUNTRY

L I K ING

c G

a

G

a

..

a

[,;_

1 '1

~ ~ ' { L

~ ~

~

'

. of

l

1 '1 1 ' 1 ~

1 '1

~ . . . . . - . . ,

'

~ 2

-

1 3 3 1

1

3

4

3

4

3

4

2

4

4 2

a a a

a

r=

-

-

..

-

-

-

-

-

-

l

c -

-c:

:-

-

1 '1

a

1 '1

a

1 '1

a

1 '1

~ - - - - - -

..

~ :'

.. _.

I'.....--..--

"

·

"

.

H

.__

y

y

'

'I

-

lo

~

"

'

1 1

I

I



Em

,..,; ,

r '1

m

.J

ff•......__.... -

1 2 0

2

r '1

m

r '1

.

'2:

.

H

....

-

0

-

m

0 0

i.....

m

I l

n

0 0

2

r '1

.

.

.

.

By using the

pick fingers

technique, a 'banjo'

effect is achieved

in this exercise when

played fairly fast.

57

'BANJO' TYPE EXERCISE

J ,

.J

J ,

•

/f

:

I

I

Em

r '1

: f t • ~

1 2

1

H

2

m

r-- - i i

0

2 0 0

~ r ' l

~

0 2 0

r 'l

-

2

f f 7 ~

0 2 0 0 2

r 'l

_ _ _ _

-

v

-

0 0 0 2

2 3

0 3 0 0 3

.

-

r-- - 1

;,

H

v v v

-

3 0 0 0

3

G

, J ,

1 '1 1 '1

m

1 '1

•

~

: i ~ g

~ ·

3 0 1 2 0 2 0

1 '1

..

1' '1

T

~ v ,.,

T

p

y

v

H H

'

v

-

0 2 0

2 3

0

\

-

v

H

.v

-

3 0

a m

m

,.....

1 '1

m

• .5

3

1

0 0

0

2

0

m

~ ~

m

n

v p v

v ,., v

-

H

-

1 2

I

3

v

,......_

0

n

0

0 3

v

v

3

You'll need to

practise this lick

really slowly to

begin with, then

build up speed

gradually.

.

•

•



59.

C OUNTRY LICKING

G

,/

)II

--

. .

aJ

·

2 1

3 0 0

2

0

a

V_..-..,_

m

l'"'l

l'"'l

I""

p

,. G.

u

-

v

p

.

T

2 3 0 0 2 0

D7(omit 5th)

l ' 'aml ' '

F#m7

(omit

5th)

Eb 7 (add D) 07

c

c;•v•

1

0

2

a

m

I""

X

1

0

2

07 (addE)

a

m

I""

....

1

0

2

a

m

l'"'l

)';

1

0

2

I

G

-

.

c

0

2

a

m

I""

0

0

2

-

Bm7 (omit F#)

a

-

' '

J

I I

a

ml""'

,----....

~ m l ' ~ : : , l '

l' 'lq

~ m

l'"'l _._,._

--........ _._ _._

.--1

-# - -

-# -

eJ

•

3g 3

j'_

3 g 3

1 2

3

1 2

1

2

3

1 2

3

2

0 2

1

3

I""'

a

rn , . . ,

I I I

ml"""'

a

ml"""' a

ml' 'l

1 1

a m l""'' a m l""'

c: c:

-

u

7

u

7 1

u c:

....

::=-...;

n n n n

nS

<

T

...

u

T

-

0 1 2 3 1 2

3g.3

2 3 1 2 3

0 2 . 1 3 2 1 3 g.3

The use

of

operi strings

gives the following two

licks

a

'chime' effect

6 1

'CHIME'

LICK

6 2

'CHIME'

LICK

'

'

t

'

@.

,.

I

,.

I

I..

I

,.

I

G

1 '1

.; SL

a

4 SL 4 0

1 '1

a

SL

u

-

SL

4 0

C7

~ a . _

'-f -p •

a

2

1

3 0

a -. ....

1 '1

a

p

-

--

0

I

1 '1

I

3

.1

1 '1 1 1

3

1 '1

a

2

0

1 '1

a

l

.,

0

m

10

m

0

G

.

1 '1

·

3 SL 3

-

r: _

SL

u

.,

3

1 '1

7

3

m

0

m

n

u

3 SL 3

o

2

3

a

"'

r '

2

m

0

m

-

n

u

0

1 '1

2

1 '1

..

a

a

-

I

a

-.....

'

. -

-

-

,.,

u

m

•

0

m

0



63

'BANJO'

TYPE LICK

Open strings are again

used

here, for a '

ringy'

'

banjo

' effect.

G

;

~

~

a I . ~

l 'l a l 'l a

l 'l

-

t )

SL

2 0

1

2

0

3 0 0

-

l 'l a m l 'l

l 'l

a

l 'l

SL

v

,..,

-

.

...

n

u

.

...

-

.:.;.... o

'

l......,j

SL

2

0 2 0 3 0

0

64

ROCKABILL

Y

LICK

IN

E

G

,..,

,

-

l 'l,--..,_

,

,.

"

,-

'

........

_.

--

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

' ft

l 'l

a

m

I

a

l 'l m

.......,

l 'l

a

~

r--:,

t )

~

-

~ /

t i l

0 0

0 3 0

1 3

l 'l

a

~

l 'l

,.

..

....

,.

....

- -v

0 3

2

65

ROCKABILLY

LICK IN

A

I

4

1

a

m

4

1

-

-

ti l

0 3 3

2

~ ~

•

::. ::.

;..

0 3 3

2

Damp the

5th

string for this lick,

also

use an echo effect

if

possible.

A

m

.

....... : ....-

0

1

';:......

H

•

•

a

l 'l a

l 'l a

1"'l

a SL

~

+

a ;,_

t ~ m

~

r-,

H

SL

r-'

r 1--1 1

+ m

"'l-l

1. m

l 'l

l 'l

-

.

t )

I

=

SL

=

=

SL

= =

SL

.§b 2 1 1 2

3 •

1 2

3

1 2

3 0

3

SL

3

0 3

SL

3 0 3

~

0 3 0 3

SL

3

2 2

2 2

2 2

3

2 2

l 'l

ml ' l

l 'l

l 'l

l 'l_...J

~

a

SL

l ' l ~

- l ' l ~

a SL

a a

m

a m

moiiiiiiiiio

:

u

"'

S l n

;..

SL ;..

SL

;

SL ;..

7

c SL -

'11:

v u

•

' 'I 'I

.

•

SL

;..

SL

;..

SL SL

'11:

v

u

v

v

.§b 2 1 1 2 3 1 2

2 3

0 3 SL 3 0 3

SL

3 0 3 SL 3 0 3 0 3

SL

3

2 2 2 2 2 2 3

2 2

I

.

•

•



I

BASIC

STRIN B E t ~ D I N G T E C H r ~ Q L ~ E S

Ano e teen iq e

for

cou ntry gu

· ·

g bendi g or ote

bend

ing. This is wh ere you 'ben d' e p· c up to a

high

er ote

instead of fretting that note. For exampl e if I wanted to bend

fr

om

D to E

on

the second string Iwould sound th e note (3rd

fr

ed2nd

string), strike the string then push the str

in

g hard upwards until th e

pitch

becomes the same as the 5th fret This wo uld be

known as

a

two-fret string bend because the notes are two

fr

ets apart.

Here s

an

illustration of this:

Use

your Istand

2nd

fingers

to

re

i

nforce

the

3rd finger.

Try add

ing a release

bend

to

this.

All

you

do

here

is

simply

release your finger

back down

to the D note.

/

aJ

f . '

aJ

'

r

3

. ..

v

3

. ..

v

-

68 ONE-FRET STRING BEND

DOWNWARDS)

Now

try th is one fret

string

bend. This

time use

your Ist

finger

to pu ll the string

downwards . •

/ '

•

[__.-

1

r ''

1

I

1

1'

V ,

1 ,..

.- .

-......

1

R

1' '1

I

+

I >

Bend

string

upwards

as

before.

Now release bac

k to

i

ts

original pi

tch

.



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.

An exciting

technique

which s being

used

more

and

more

by

today s country players s 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

n

place

to

allow

the

1

rest of the chord to

ring on.

69

PED L STEEL EXERCISE

.t

•

o J

.

:I

a

Asus2

m

r ''

/ .

1

4

3

a

m

r ''

"'

_

1

4

3

.

.

A

+

+

,;

R

R

I

70 PED L

STEEL LICK

IN

E

a

Esus2 E

m

.J

R

r ' ' - - ~

0

a

Asus2 A

.; v .-

R

.

" ;'

Bsus2

B

d

a R m

•

1

4

3

1

.

4

I

I

l

·

l

a

m

r ''

1

4

3

3

a

m

r ''

4

3

+

3

R

-

a

m

4

3

1 4

a R m

-

;..,

3

4

3

-



'

G

07

G

07

, . : ; ~

· ·

,.:;J.- ----.· '

.--::.._

..

.li

-

-

;

-

. . . .

eJ

I

I

I

i

I

1 1

3 3

2

3

m

'

m

'

'

'

m

,..,

R

,..,

R

,..,

R

,..,

/ ........ / ........

_.;.,..--.....,

--:?

~

'

• J

f

\)\

;...

>I

\ ,I

i

;r

I P

;r

7

,.

-y

.....__

-

...___...,

'

1 1

1

3

72

PEDAL STEEL LICK IN

A

l

t

~

,.,

R

t

~

m

t.J

----

.........

-

4 4 3

3

4 4

i

I

,.,

t

,.,

r I

t

m

R

u

-

_,.....

-

<.J

1

p

H

1

-::1:

\UJ

\U,

&;.

\U,

l

IT

-

-

::1:

-

-

-

4 4

3

4

73 PEDAL STEEL LICK IN

D

I

l

t

I

0

u

T.

...

l

l

j

l

j

J

J

Watch out for the last

bar

of this lick: while the 3rd s t r i n ~

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

F#m

A '

'

'r-1

m

,.,

,.,

-

•

1

I

1

3

3 4

2

2

2

4

4

4

4

::

'

?-;

?-;

,.,

m

,.,

,..

l \ R

,..

;..

,:.,.,

,:

R

-

;

R

,.

.,_

........

1 3 4 1

1 2

4

3

2

2

4

4 4

I

...._

1

3

l ""t2

-

I

3

\

R

\UJ

-

G

m

'

.,

1

3

4

m

'

.,

:

. ?.

1

3

4

=

I

I

I

'

=

-

-

-

....... ./

•

. .......__

1 1

,.,

"7

_....

PB

·-



'

t

'

2:

'

2:

F

l l

3

l l

..

-

t

'n'

)VJ

m

:..-:-....

1

m

'

R

-

-

..

v

'

-

75. PEDAL STEEL

LICK

IN

F

-

R

I

3

l l

R

---

.........

r.

..,

3

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

..

l l

m-+

a

;..--,.....--_,

,,

t

3 1

1

l l

t

'

t

a

. ~ ,

'2:

7

m

R

-

'

'2:

-

76. PEDAL STEEL LICK

INC

Although starting on an F major chord, this lick is in the

key of

C.

F C

a

m

Em

a

m

~

Om

a

m

~

a

m

l l

G

' I

-.-

J_

I=

i=

J

f

l l m

.

t

4

3 3 4

-...2/

3

3 3 3

2

3 3

2

4

3 2

3

2

4

a

a a

a

m

t

m

m m

t

l l l

l l

l l

a

m

l l

l l

m

)(

...........

0

-

--- =

n

)(

R

-·

:...

u

.1 '1

I /

I '

H

ov

'2:

'

'

-

-

.....]../

c

%..--+

.

1

a

'

4

3

2

3

3

3

3

3

3

4

3

2

4 3 2

3 2 4 1

s

aa

(165600)

.

-

-

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