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Copyr ight O 1986, 2000 by HAL LEONARD CORPOBATIONInternat ional Copyr ight Secured Al l Rights Beserved

No part of th is publ icat ion may be reproduced in any form or by any meanswithout the or ior wr i t ten permission of the Publ isher.

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Tahle ul Ctntenlsl n t roduc t ion . . . . . .4

How to Use This Book . . .4

Be fo reYouBeg in . . . . . .5

Get lnTune . . . . . .5

"Hot Banjo Rol ls"(ln the style of Albert lee, Chel Atkins, Jerry Reed, ond James Burton) . . . .6

"Funky Double Stops"(ln the style of Albert Lee , Je rry Reed, Sfe ve Morse, and Ray Flacke) . . . .14

"Pedal-Steel Mania"(ln the style of Roy Buchonon ond Roy Ntchols) . . . .25

"0pen-Str ing Licks"(ln the style of Chet Atkins, Jerry Reed, Albert Lee , Mork )'Connor, ond Errc Johnson) . . . . .36

"Working Man's L icks"(ln the style of Scotty Moore, James Burton, Roy Nichols, Errc Johnson, and Honk Gorlond) . .46

"Flashy Country"(ln the style of Sfeve Morse, Eric Johnson, Albert Lee, Jimmy Bryant, ond Honk Garland) . . . .64

Gu i ta rNota t ion legend . . . . .77

Inlroducliolt

I n lay ing out so los in each of these s ix country s ty les, i t turns out that there are a lo t o f shor t phrases that you

I can learn, l i f t out , and use in your own sty le of p lay ing. In other words, you don' t have to learn each solo exact ly

I the way i t was p layed on the CD. You can l i s ten th rough the en t i re CD, hear every th ing tha t I 'm go ing to p layfor you, then go back and p ick out the phrases that you l ike best . Then you can learn those phrases and incorpo-rate them into your own sty le of p lay ing. l t 's good pract ice to take a l l o f these ideas and mix them in wi th whatyou a l ready know how to p lay.

e l lo , and welcome to ProLicks Counf ry Solosfor Gui tor . In the pages of th is book, I 'm going to walk youth rough c lass ic coun t ry rhy thm and lead pa t te rns as p layed in the examp les on the accompany ing CD. InChap te r 1 , "Ho t Ban jo Ro l l s , " l ' l l show you one o f the essen t ia l f i ngerp ick ing techn iques in coun t ry mus ic . l t ' s

a great p lace to begin your explorat ion of country and country rock gui tar p lay ing. Later in the book, we' l l explorevary ing s ty les tha t w i l l g i ve you a so l id founda t ion in coun t ry lead and rhy thm gu i ta r p lay ing . l ' l l exp la in the keytechniques and solo phrases in country s ty les based on Chet Atk ins and Jerry Reed-sty le f ingerp ick ing, Alber t Leeand Steve Morse-sty le ch icken p ick in ' , hot double s tops, open-st r ing l icks, and great s teel -gui tar l icks you can p layon your s i x -s t r i ng . You ' l l be ab le to l i s ten to me so lo in a l l t hose s ty les on the accompany ing CD, then l ' l l d i ssec teach and every note so that you can master these stv les as wel l .

]|ow lo Use This Buok

0 f course , the re a re th ings to be lea rned by p lay ing an en t i re so lo : how the so lo bu i lds , how to make a t rans i t i onf rom one chorus to the nex t , how to beg in and end the who le th ing , Those a re e lements o f s ty le tha t make thephrases f i t t oge ther so tha t they ac tua l l y sound good . Bu t the ind iv idua l ph rases themse lves can be p icked ou t andused in pract ica l ly any country so lo. Wi th a l i t t le tweaking, these phrases can a lso be used in songs wi th d i f ferenttempos and in d i f ferent keys.

In add i t i on to per fo rm ing the s i x comp le te so los on the CD, I 'm go ing to exp la in each phrase ind iv idua l l y us ing"Prac t i ce Po in ts " and de ta i led d i rec t ions tha t w i l l he lp you dup l i ca te my so lo phrases . Through these Prac t i cePo in ts , l ' l l t e l l you a l l abou t the le f t hand , the r igh t hand , d i f fe ren t l i t t l e t r i cks , techn iques , and where to p race yourhand on the neck. Read the musical notat ion and tablature for each phrase as you l is ten to the CD, refer to thePract ice Points that expla in the deta i ls of each phrase, then pract ice a long wi th my examples on the CD.

When we ge t th rough , you ' l l know a l l t he phrases , and you can p lay them a long w i th the fu l l band , rhy thm-on lyt racks we 've inc luded on the CD immed ia te ly a f te r each so lo . P lay ing a long w i th the rhy thm-on ly t racks w i l l g i veyou an oppor tuni ty to get a fee l for how your phras ing sounds against a rhythm sect ion and whether or not you ' replay ing correct ly . Some of the phrases are easier than others. Some are s tower; some are faster . Take your t ime.Pract ice each phrase as many t imes as you need to get i t r ight , And most of a l l , have fun!

Remember, take these l icks one at a t ime. Some of them only work over one of the chords in the progress ion, or ina cer ta in s i tuat ion. Some of them can be la id over any of the chords. You have to exper iment a l i t t le b i t to seewhat you can do w i th them once you ge t them down. Bu t these a re a l l rea l so l id , t rad i t i ona l , c lass ic l i cks , and Ith ink once you in teg ra te them in to your s ty le , you ' l l have a lo t o f fun deve lop ing them.

Belore You BeUiltSince we ' re do ing a lo t o f s t r i ng bend ing , i t wou ld be ve ry he lp fu l i f you wou ld use l i gh te r -gauge s t r ings on yourgu i ta r , name ly a se t tha t ' s gauged w i th a n ine ( .009) o r a ten ( .0 t0 ) on top . Those w i l l work p re t t y we l l . l f you usean e leven ( .O t t )o r twe lve ( .012) o r any th ing above , you m igh t f i nd tha t the re ' s too much res is tance to bend thenotes up to p i tch. There 's a couple of real ly b ig s t r ing bends in some of the chapters, and i t takes me a l l o f my ef -for t to get the notes up to p i tch. So you' l l want to use a re lat ive ly l ight gauge.

0el In TultgF i rs t th ings f i r s t : P lay T rack 13 and tune your gu i ta r to m ine . Tha t way , you can p lay a long w i th the CD and soundg reat.

Recol'ding Cl'edilsJohn Shank , eng ineerSteve Trovato, lead guitarKeith Wyatt, rhythm guitar

Tim Emmons, bassJack Dukes, drums

l|ol Bnltlo Rollshe ban jo l i cks you ' l l hear in the so lo "Ho t Ban jo Ro l l s " i nvo lve a techn ique tha t ' s h igh ly sough t a f te r . peop leare a lways ask ing me about them. They ' re p layed by severa l top country p ickers: A lber t Lee, Jerry Reed, RaVFlacke, James Bur ton, and chet Atk ins, just to ment ion a few.

I t can be hard t ry ing to f igure out these k inds of l icks of f a record because they ' re usual ly going by so fast , andthey ' re p layed so fast , that they ' re over before you f igure out more than a couple of notes. So we' re going to s lowthem down and ana lyz ie them. We ' re go ing to take each one and b reak i t down to i t s nu ts and bo l t s . Then we , regoing to put them together , p lay a s tandard country progress ion, and create a so lo us ing just these banjo ro l ls . Thetechnique requi res a lo t o f pract ice and pat ience before i t can be worked up to a tempo at which i t sounds good.

The Pl'npgr ToltgWhen I recorded th is so lo wi th the band, I used my'61 Strat , through a pedal board in to a peavey Specia l 130. Forthe sound I got , I had on the t reble p ickup. l t 's a s tock Strat p ickup. For the main por t ion of the tune, the melody, Ip layed th rough a compressor and a Boss d ig i ta l de ray peda l .

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RiUhl lland TechniqueAs in b luegrass ban jo , mos t o f the work i s done w i th the r igh t hand . The way I do i t on the CD, I don ' t use athumbp ick . I ' ve deve loped a s ty le us ing a regu la r s tandard p ick and the m idd le and r ing f i ngers o f my r igh thand to create the three-p ick sound you hear in b luegrass banjo. Wi th b luegrass banjo, most of the guys use athumbp ick and two meta l f i ngerp icks . I ' ve found tha t I can ' t do tha t on gu i ta r because I cou ldn ' t p lay the fas tnote l ines that I needed to p lay wi thout swi tch ing p ick ing sty les. So I 've developed th is s ty le .

When you hear guys such as Che t A tk ins and Je r ry Reed do th i s , they ' re us ing a thumbp ick and the index andmidd le f i ngers o f the i r r i gh t hand . When you hear guys such as Ray F lacke , A lber t Lee , and myse l f use th i s k indo f techn ique , we ' re us ing a p ick , m idd le , and r ing f i ngers o f the r igh t hand .

A basic problem when us ing a p ick and two f ingers is that i f you have no f ingernai ls on the middle and r ing f in-gers of your r ight hand, they don' t have that cr isp at tack on the st r ings that the p ick has. So when you p laythree consecut ive notes us ing your p ick, middle, and r ing f ingers, the p ick is going to have a sharp at tack on yourst r ings, and then your two f ingers are just going to sound l ike two thumbs. The idea is to grow your f ingernai lsjust s l ight ly- l would say a s ix teenth of an inch, just s l ight ly longer than you would normal ly keep them i f you

d idn ' t need them to p lay gu i ta r . I keep mine abou t a s i x teen th o f an inch long , and I pu t some c lea r na i l ha rdeneron them. I learned that f rom Alber t Lee. That keeps them f rom wear ing down; meta l s t r ings wi l l wear down yourf ingernai ls in no t ime, because the st r ing is just p la in harder than the f ingernai l . This c lear pol ish seems to work.

Look ing a t my r igh t hand , i f I p lace my f ingers on the s t r ings o f my gu i ta r , l 'm go ing to p lay a t a s l i gh t ang le .Norma l l y I wou ld keep my wr i s t s t ra igh t , bu t when I p lay th i s ban jo - ro l l s t y le I 'm go ing to t i l t my wr i s t s l i gh t l ydown. I p lace the p ick f la t on the st r ing, le t 's say the s ix th s t r ing, then I s tar t to turn i t down at an angle, l ikeI 'm tu rn ing a key in a lock , un t i l i t f a l l s o f f the s t r ing . Tha t ' s the ang le I wan t i t t o be a t : t i l t ed . When I have myp ick t i l t ed l i ke tha t , my midd le and r ing f i ngers w i l l be in a pos i t i on to pu l l s t ra igh t up aga ins t the s t r ings ,ra ther than pu l l i ng back on them as i f I had the p ick f l a t aga ins t the s t r ings . So th i s fo rces me to ang le mywr is t down a l i t t le b i t . That 's the correct hand oosi t ion for these banio ro l ls .

A $imple Exel'ciseBefore we can achieve any k ind of technique or speed, we' l l have to t ra in our hands to p lay basic forward andbackward banjo ro l ls ' F igure i is a s imple exerc ise that l 've designed to help you devetop your r ight -hand ro l ls . l ,vetaken a s tandard s ix-s t r ing E chord in the f i rs t pos i t ion-a , .gr I r o ld E chord-and I pray consecut ive sets of threestr ings star t ing on the s ix th s t r ing.

I don ' t use any k ind o f an anchor when I p lay these ro l l s . My r igh t hand i s no t res t ing anywhere on the gu i ta r a ta l l for th is par t icu lar technique' The way l 'm moving my hand down across the st r ings is to move my e lbow. l t ,s not

; , i l51ff[H:-. ' t ' t an elbow movement' Mv wrist is staying at the same angte. t 'm just towering my etbow a

Figul'e l:The torward Roll

P P 1 - - ) P P . 2

Prac t i ce Po in t 1 : l 'm no t p lay ing a l l t he s t r ings w i th my p ick . I p lay the lowes t o f the th ree s t r ings in each se tw i th my p ick ' the m idd le s t r i ng w i th my midd le f i nger , and the h ighes t s t r i ng in each se t o f th ree s t r ings w i th myr ing f inger ' so i t 's a forward ro l l . l th ink of i t as "p ick, two, thr . . . ' Iyo, want to concentrate on get t ing a snap outo f a l l t h ree s t r ings ' I p lay s t r i ngs 6 , 5 , a nd 4 ; then move my r igh t hand down and p lay 5 , 4 , 3 .P r a c t i c e P o i n t 2 : T h e n I m o v e m y h a n d d o w n a g a i n a n d p l a y 4 , 3 , 2 ; t h e n I m o v e i t d o w n a g a i n a n d p l a y 3 , 2 , 1 .Prac t i ce Po in t 3 : You need to deve lop th i s techn ique bo th descend ing and ascend ing ac rossdown th ree s t r ings a t a t ime , then s ta r t the same th ing and come back up the s t r ings . p lay 3 ,Pract ice Point 4 : Then p lay 5, 4 ,3; and f ina l ly 6, 5 , 4 . Just go back and for th l ike thar .Thrs style needs to.be played very evenly. lt's going to take some tralnrng and some patience. Don,t try to do it fast;keep it slow speed is a by-product of accuraiy. You don't iearn how to play fast by practicing fast, you Iearn howto play fast by practicing accurately, slowly_and not making mistakes.Eventually you'll work this up to a,faster tempo. lf you were sitting here with me, I would demand that you use ametronome l don't believe in practicing anything on guitar withorit a metronome. so if you do have a metronome,

lJrTifil?ffXJi,,ri..illffi:* you want to set even spacins between each one of these triplets. The best way

After you 've worked these ro l ls out s lowly, you ' l l s tar t to increase the tempo. we have to get theserather br isk tempo, but most of the work is done wi th the r ight hand. you want to get these banjoabou t 160 bea ts per m inu te .

(t

the s t r ings. So go2 , 1 ; t h e n 4 , 3 , 2 .

go ing a t aro l l s go ing a t

lxgrcisE2: The Reuel'se RuffReverse ro l ls are a lo texerc ise tha t w i l l he lp

tougher ' l 'm not going to focus on reverse ro l ls in th is book, but le t me suggest a pract iceyou incorporate reverse ro l ls in to your p lay ing.

TAB

Fiuul'e 2: The Reuel'se Rull

p D 1 l p D "

Prac t i ce Po in t 1 :Take the same E chord , bu t s ta r t w i th the r ing f i nger o f your r i gh t hand , ra ther than the p ick ,and p lay backwards : r i ng f i nger , m idd le f i nger , p i ck . The r ing f i nger and midd le f i nger a re ups t rokes , and the p ick i sa downs t roke . P lay i t w i th the same rhy thm, bu t p lay i t backwards . S ta r t w i th the fou r th s t r i ng , and p lay 4 ,5 , 6 .

P r a c t i c e P o i n t 2 : T h e n p l a y 3 , 4 , 5 ; t h e n 2 , 3 , 4 ; t h e n 1 , 2 , 3 .

P r a c t i c e P o i n t 3 : T o d e s c e n d p l a y 1 , 2 , 3 ; 2 , 3 , 4 ; 3 , 4 , 5 ; 4 , 5 , 6 .

A 0illereltl |(ind d RnllThe nex t s tep i s to take these a rpegg io ro l l s a s tep fu r the r , Th is t ime , I p lay A t r i ads a l l t he way up the f i ngerboard .Th is i s a f l ashy l i ck tha t l f i nd myse l f us ing f rom t ime to t ime .

Fi$l'e 3: Triad Rolls

P . P . 2 t P . P . : I P . P . + I P . P . s I P . P . 6

Pract ice Point 1 : I s tar t th is pract ice exerc ise in 2nd posi t ion, wi th my four th f inger on A at the 5th f ret on thesix th s t r ing. Then I p lay Cf wi th my th i rd f inger at the 4th f ret on the f i f th s t r ing. Then I barre across the 2nd f reton s t r ings 4 , 3 , and 2 w i th my index f i nger .

Then I p lay my ban jo ro l l , j us t l i ke in F igu re 1 . You have to be ab le to sw i t ch the pos i t i on o f your le f t hand wh i lem a i n t a i n i n g t h e r o l l w i t h y o u r r i g h t h a n d . S o l s t a r t b y p l a y i n g 6 , 5 , 4 ; t h e n 5 , 4 , 3 ; t h e n 4 , 3 , 2 .

Prac t i ce Po in t 2 :A t tha t po in t l sw i t ch pos i t i ons . I move my le f t hand up to 5 th pos i t i on and p lay an A t r i ad inthe f i f th posi t ion. I put my th i rd f inger on A at the 7th f ret on the four th s t r ing, p lay Cf , a t the 6th f ret on theth i rd s t r ing wi th my second f inger , and then E at the 5th f ret on the second st r ing wi th my f i rs t f inger . So I p ick 4,3 , 2 .

Pract ice Point 3 : Then I move down a set of s t r ings and p lay Cf , E, and then A at the 5th f ret on the f i rs t s t r ingwi th my f i rs t f inger , which I barre across the 5th f ret on the f i rs t and second st r ings. l t 's just an A chord on the topfour s t r i ngs . I p i ck th ree , two , one . So I s ta r ted w i th an A t r i ad on the s i x th s t r i ng and wound up a l l t he way on thefr rs t s t r ing.

Pract ice Point 4 : Then I move up to 9th posi t ion and p lay another A t r iad. I p lay E at the 9th f ret on the th i rdst r ing wi th my f i rs t f inger , then A at the 1Oth f ret on the second wi th my th i rd f inger , and then Cf at the 9th f reton the f i rs t s t r ing wi th my second f inger . I forward ro l l across st r ings 3,2, and 1.

Prac t i ce Po in t 5 : Now I p lay the same ro l l , bu t th i s t ime I 'm go ing to add the fou r th f i nger o f my le f t hand on Ea t the 12 th f re t on the f i r s t s t r i ng . I p i ck 3 ,2 , 1 aga in , bu t th i s t ime the no tes a re E , A , E .

TAB

z u J

JJ t +

iI

Comlining These fiercisesNow we'll combine the first few exercises and turn them into licks in the key of G. This is something called a tog. A tag issomething you play at the end of a tune, to k ind of put your s ignature on i t . you've heard chet Atkins ano a lot of peoplepiay this lick lt's a standard country tag over the chords c, c, ana o. lt's very banjo-esque, using the lorwara roll.

Firure 4: A $tandard Countl'y Ta$G

P . P . j r p . p . z ) p . p . : r p . p . + PPs- p .p .6 , p .p .7 | p .p8_-= - -

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Practice Point 1: I barre across the top two strings at the 3rd fret with my first finger and play cf at the 6th fret on thethird string with my fourth finqer. I do a forward rol across strings 3, 2, ,no r. r pt.y c*, o,Iro a. ;; yo, get that minorsecond interval (the cf against the D at the 3rd fret on the secorid itring), wnich sounds dissonant. when you get rt upt0 tempo' i t wi l l sound l ike what i t 's supposed to sound l ike. Also, in ordir to get that s leazy countf 'sound, I ,m bendingthe first note of each sequence up just a rittre bit. so I bend the c# up with my fourth finoer.

Prac t i ce Po in t G : Then l s l i de my le f t hand up tof i r s t f i nger . I p lay A on the th i rd s t r i ng , C# on theon the f i r s t s t r i ng . I p i ck 3 , 2 , 1 aga in .

Pract ice Point 2 :0n the second ro l l , I p lay A# at the 3rd f ret on theond and f i r s t s t r i ngs open . l t ' s a fo rward ro l l aga in . I p lay A# , B , and

Pract ice Point 4 : Then I p lay C# at thep lay C f , , D , and G. lbend the C# a l i t t l e .

14th posi t ion and barre across the second and th i rd s t r ings wi th mysecond st r ing, and then wi th my four th f inger I p lay A at the 17th f ret

th i rd s t r ing wi th my th i rd f inger , then p lay the sec_E. I bend the A# a l i t t l e .

Pract ice Point 3 : Then | 9o down to the four th s t r ing and put my second f inger on F# wi th my secondthe th i rd s t r ing open and the second st r ing open. I ro l l across st r ings 4, 3 , and 2, p lay ing F#, ; , ; ; . "1t l e ,

f inger , then p laybend the Fr a l i t -

4 th f re t on the f i f th s t r ing wi th my second f inger , then st r ings 4 and 3 open. IThen I p lay G at the 3rd f ret on the s ix th s t r inq.

Practice Point 5: The rest of the tag takes place on strings 3 and 2, and it'sjust the notes of a G triad. t approach eachnote from a half step below, and from another string. I slide my fourth finger from c at the 5th fret on the third string toc; at the 6th fret' I hit that strinq with my pick. Thin, with the middle finger of my right hand and the first finger on myleft hand, I play D at the 3rd fret on the second string. I play those notes twice: c*', o, c*, o. ir, .n .it.rn.ting ,notionwith the pick and middle finger. Don't try to do it all with the pick because you won t get it as fast. I use this same alter-nat ing pick-middle f inger mot ion throughout the rest of th is taq.

Pract ice Point 6 : I move up to Bth posi t ion. My four th f inger is on F# at the 11th f ret onf inger i s on G a t the B th f re t on the second s t r ing . I p lay F# , G , F# , G .

the th i rd s t r ing, and my f i rs t

Pract ice Point 7 : Then I move up to 12th posi t ion. My four th f inger is on A# at the 15th f ret onf i r s t f i nger i s on B a t the 12 th f re t on the second s t r ing . I p lay A# , g , A# , B .the th i rd s t r i ng , and my

Practice Point 8: Then I barre with my fourth finger at the l5th fret on the first and second strings, and play D on thesecond string and G on the first strinq.

l 0

Phrase 1

The $oloNow we ' l l t ake our ban jo ro l l t echn ique and app ly i t t o th i s chap te r ' s so lo .

Phl'ase I

Phrase 2 is ident ica l to the f i rs t ha l f o f Phrase 1.

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Pract ice Point 1 : In my le f t hand, I barre the top two st r ings at the 5th f ret wi th my f i rs t f inger . Then wi th mysecond f inger , I p lay Cf , a t the 6th f ret on the th i rd s t r ing. I p luck those three notes a l l together , wi th my p ick onthe th i rd s t r i ng , m idd le f i nger on the second s t r ing , and r ing f i nger on the f i r s t s t r i ng .

Prac t i ce Po in t 2 : Then I p luck the same th ree s t r ings , bu t on the th i rd s t r i ng I ra i se the no te a ha l f s tep ; i ns tead o fC f , I p lay D a t the 7 th f re t w i th my th i rd f i nger . Then I ra i se the no te ano ther ha l f s tep and p luck the th ree s t r ingsagain. This t ime I p lay Df i a t the Bth f ret wi th my four th f inger . l t 's real d issonant at th is point .

Pract ice Point 3 : Now, whi le s t i l l ho ld ing the barre at the 5th f ret on the f i rs t two st r ings, I rep lace my four th f in-ger w i th my th i rd f i nger on D f on the th i rd s t r i ng . I h i t t he th i rd s t r i ng tw ice w i th my p ick , and bo th t imes I ham-mer on f rom Df , wi th my th i rd f inger to E at the 9th f ret wi th my four th f inger . Then I p lay A at the 5th f ret on thef i rs t s t r ing wi th my f i rs t f inger . I p luck that note wi th my r ing f inger .

Pract ice Point 4 : I do a forward banjo ro l l . I p lay E at the 9th f ret on the th i rd s t r ing wi th my p ick, then E at the5th f ret on the second st r ing wi th my middle f inger , then A at the 5th f ret on the f i rs t s t r ing wi th my r ing f inger .

Pract ice Point 5 : I repeat Pract ice Points 3 and 4 one more t ime.

Pract ice Point 6 : I repeat Pract ice Point 3 one more t ime, then end the l ick d i f ferent ly . Instead of p lay ing the E-E-A l ick at the end, I p lay C# at the 6th f ret on the th i rd s t r ing wi th my second f inger , then E at the 5th f ret on thesecond st r ing, and then A at the 5th f ret on the f i rs t s t r ing wi th my f i rs t - f inger barre. I end the phrase wi th A atthe 7th f ret on the four th s t r ing wi th my th i rd f inger . I p lay that note wi th the p ick.

Phl'ase 2

1 1

Phrase 3Now the chord changes to E .Over th i s chord , I p lay an open-s t r ing E l i ck . Th is i s a g rea t l i ck . I l i ke th i s one .

Phrase 3

P.P.1 P.P.2 | p .p . : I p .p .4

-f f i 0-

Pract ice Point 1 : I move up to 9th posi t ion. I pu l l o f f f rom E at the 12th f ret on the f i rs t s t r ing wi th my four thf inger to C# at the gth f ret wi th my f i rs t f inger . I use the middle f inger on my r ight hand to p luck th is s t r ing once.Then I p lay B at the 12th f ret on the second st r ing wi th my four th f inger and p ick. Then I p lay the open f i rs t s t r ingw i th my midd le f i nger .

Pract ice Point 2 : Then I p lay Gi at the 12th f ret on the th i rd s t r ing wi th my four th f inger , G# at the 9th f ret onthe second st r ing wi th my f i rs t f inger , and open E. I p lay the th i rd s t r ing wi th my p ick, the second st r ing wi th mymidd le f i nger , and the open f i r s t s t r i ng w i th my r ing f i nger : a fo rward ban jo ro l l . So I p lay G i , G# , and E .

Pract ice Point 3 : Then I p lay C# at the 11th f ret on the four th s t r ing wi th my th i rd f inger . This t ime I do a forwardban jo ro l l ac ross s t r ings 4 ,2 , and 1 . I sk ip the th i rd s t r i ng . The second and f i r s t s t r i ngs a re bo th open . So I p lay C# ,B , and E .

Pract ice Point 4 : Then I s l ide my second f inger f rom Gl at the ' lOth f ret on the f i f th s t r inq to G# at the 11th f ret . Ip i ck the G l , s l i de up , then p lay the open f i r s t s t r i ng w i th my r ing f i nger .

Phl'asn 4Th is i s k ind o f a un ique l i ck . l t sounds d issonan t a t a s low tempo, bu t i t works a t a fas te r tempo. Th is wor rs overthe A chord.

Phrase 4 A

P . P 2 _ P P 3

2 2 _ '5

Practice Point 1 :the second st r ingward banjo ro l l . I

Practice Point 2:wh ich I p lay w i th

Practice Point 3:

I p lay C at the 5th f ret on the th i rd s t r ing wi th my th i rd f inger . Then I p lay Cf at the 2nd f ret onwi th my f i rs t f inger . Then I p lay A at the 5th f ret on the f i rs t s t r ing. I p lay these notes wi th a for -p lay s t r i ng s 3 , 2 , 1 .

Then I p lay the C and C#, but I lower the top note f rom A to G at the 3rd f ret on the f i rs t s t r ing,my second f i nger . Aga in , i t ' s a fo rward ban jo ro l l : s t r i ngs 3 ,2 , 1 .

Repeat Pract ice Points 1 and 2.

1 2

Phrase 5For the D7-to-Df , " l ick , I

Phrase 5

use the same

D

le f t hand f i nger ing , bu t I s l i deup to the 7th posi t ion.

D f '

Pract ice Point 1 : From C at the 5th f ret , I s l ide up to F at the 10th f ret onat the 7th f ret on the second st r ing wi th my f i rs t f inger , and D at the 1Othf inger . I p lay these no tes w i th a fo rward ban jo ro l l . I p lay s t r i ngs 3 ,2 , 1 .

Pract ice Point 2 : Then I p lay the F and Ff , , but I lower the top note f rom Dwh ich I p lay w i th my second f i nger . Aga in , i t ' s a fo rward ban jo ro l l : s t r i ngs

Pract ice Point 3 : Repeat Pract ice Points 1 and 2 wi thout the in i t ia l s l ide.

the th i rd s t r ing wi th my th i rd f inger , Ff ,f re t on the f i rs t s t r ing wi th my four th

to C at the 8th f ret on the f i rs t s t r ing,3 , 2 , 1 .

Phrase $I wrap the solo

6 A

up w i th a s imp le fo rward ro l l f o l l owed by a descend ing r i f f down the sca le .

< Y t ' r t - - l o t t t--- l

P.P.3 ' P .P .4

Pract ice Point 1 : S l id ing up f rom F at the 1Oth f ret to C at the 17th f ret wi th my four th f inger on the th i rd s t r ing,I barre the top two st r ings at the 14th f ret wi th my f i rs t f inger , Ci l and F#. I p lay a forward banjo ro l l across st r ings3 , 2 , a n d 1 . I p l a y t h i s r o l l f o u r t i m e s .

Pract ice Point 2 : Then I pu l l o f f on the th i rd s t r ing f rom C at the 17th f ret , to B at the 16th f ret wi th my th i rdf inger , to A at the 14th f ret wi th my f i rs t f inger . I h i t th is s t r ing once wi th the p ick for the C note. The other twonotes are pul l -o f fs . Then I p lay Ff , a t the 16th f ret on the four th s t r ing wi th my th i rd f inger , E at the 14th f ret wi thmy f i rs t f inger , and go back to A at the 14th f ret on the th i rd s t r ing.

Pract ice Point 3 : I p lay F# at the 16th f ret on the four th s t r ing wi th my th i rd f inger , and E at the 14th f ret wi thmy f i rs t f inger . Then I s l ide my th i rd f inger f rom Cf at the 16th f ret on the f i f th s t r ing to B at the 14th f ret .

Pract ice Point 4 : Then I p lay A at the 12th f ret on the f i f th s t r ing wi th my f i rs t f inger , Ff , a t the 14th f ret on thesix th s t r ing wi th my th i rd f inger , E at the 12th f ret wi th my f i rs t f inger , and I end on A at the 12th f ret on the f i f thst r ing wi th my f i rs t f inger .

Palience, PalieltceThere you have i t . These banjo ro l ls take pat ience to develop, so s tar t s low and work up your tempo gradual ly . Bepat ient , and you' l l master these ro l ls in no t ime. Work wi th the rhythm-only t rack to pract ice th is so lo, and havef u n !

set a

It

Ph

: (

1 3

Fultlry Duuhle $lup$I

n th is chapter , l ' l l expla in something I ca l l funky country double s tops. This is one of my favor i te s ty les, and I de-

I vote a lo t o f my pract ice t ime to i t . l t 's become such a popular s ty le among country gui tar p layers that i t can be

I heard p layed by a lmost anybody, but in par t icu lar by guys such as Alber t Lee, Jerry Reed, Steve Morse, and RayFlacke. The sty le goes way back, but i t 's been developed to the point o f an ar t form.

om i n u sg u i t a r

vJ,l!

l ' ve put together a ser ies of l icks that sound l ike one, in tact so lo. But i t 's best to take these l ick by l ick . P lay eachone s low ly , work ing on the r igh t - and le f t -hand aspec ts o f each one , then pu t i t a l l t oge ther a t the end .

$nappilt0 Cottlttry lone0n th is record ing, I used my'61 Stratocaster , set on the br idge p ickup. I p layed through my Peavey Specia l 130amp, and on my pedal board I used my compressor wi th a l i t t le reverb. l t 's a s imple sound, easy to dupl icate.

A lso , I usua l l y use a s t ra igh t se t o f s t r i ngs w i th a .010 on top . However , when l 'm p lay ing a lo t o f these l i cks wherel 'm cons tan t l y bend ing , as I do in th i s lesson , I f i nd i t bes t , fo r the hea l th o f my f i ngers , to exchange the B and Gs t r ings fo r a l i gh te r gauge . So I use a .010 fo r the h igh E , .012 on B , .015 on G, .026 fo r D , .036 fo r A , and .046 fo rthe low E . A se t tha t goes f rom .010 t0 .046 wou ld norma l l y have a .013 fo r the B s t r ing and a .017 fo r the Gs t r ing . Chang ing the B and G fo r l i gh te r s t r i ngs makes i t a l i t t l e eas ie r to bend .

Par t o f the way through th is lesson, your f ingers are probably going to s tar t to hur t . I 've seen that many t imes be-fo re . l f t hey a re , j us t take a b rea ther . l t ' s go ing to take awh i le fo r you to bu i ld up the necessary ca l luses ands t reng th to p roduce these bends w i thou t bend ing ou t o f tune . Tha t i s o f the u tmos t impor tance when p lay ingthese l i cks , because i t sounds te r r ib le i f you don ' t bend in tune . And somet imes i t ' s a l i t t l e tougher to bend in tunea t tempo than i t i s a t a s lower speed . So even though you may th ink you have i t a t s low tempo, when you ge t i tup to speed you may f i nd tha t you don ' t qu i te have i t down ye t . So remember , have pa t ience .

NwNNN ffiwmNNw NRffiNwModerately Fast Country , = 168

Phrase 1

f

1 4

Phrase 3

t l t l t t ,2itlV I* -'J.-- -

_

Phrase 6

ful l hold bend

Phrase 9 -

1 5

Phrase B

Phrase 1 0

- 3

Phrase ' l 2t /1

t- 5 _ - 2 - - - - _ - 5 -

P h r a s e 1 3

F{--+l t- +*e-I t_ 2 2_-

I 2 -

I

Phrase 1 4

T[e RiUhl l|andI typ ica l ly use my p ick, middle f inger , and r ing f inger to p lay th is s ty le of music . However, in order to get thesnap tha t you hear on a lo t o f the l i cks , I somet imes tuck the p ick in the pa lm o f my hand and use my thumb,index , and midd le f i ngers ' l j us t pu l l t he s t r ings . A lo t o f the t ime , I g rab the s t r ings and jus t pu l l o r p inch thembetween my thumb and f i ngers , pu l l i ng them s t ra igh t up o f f the f i ngerboard and le t t i ng them snap back down.A t t imes I don ' t use the p ick a t a l l . Tha t ' s how I ge t tha t snap in the re .

Since we' re going to be a l ternat ing between p ick-and- f ingers, and just the f ingers, I suggest that you f ind acomfor table p lace for your p ick somewhere in your r ight hand. I tuck the p ick in between the second knuckleand where my midd le f i nger meets my pa lm. So I can use jus t my f i ngers , o r g rab my p ick and use i t ano myf ingers ' So f ind a p lace in your r ight hand where you can tuck your p ick away at a moment 's not ice, and grabi t a t a moment 's not ice when you need i t .

----fis}-

1 6

The $oloPhrase IPhrase 1 is thea n d i n d e x a n d

Phrase 1 crr. I

per fec t examp le o f no t us ing the p ick a t a l l . Fo r th i s pa r t i cu la r l i ck , I use no th ing bu t my thumbmidd le f i ngers on my r igh t hand .

a t

ffu l ls

- I_- 8---

P. P .5

l->i 3 €-2

s2

Prac t i ce Po in t 1 : I t uck my p ick away and , w i th my index and midd le f i ngers , g rab the two no tes on the top twostr ings: G at the Bth f ret on the second st r ing and Cf , a t the 9th f ret on the f i rs t s t r ing. l just grab the two notesand snap them-pu l l them s t ra igh t up o f f the f i ngerboard and le t them snap back l i ke a rubber band . Wi th my le f thand , I ' ve go t my fou r th f i nger on C f , on the f i r s t s t r i ng , and w i th my th i rd f i nger I bend G up to A . l suppor t thebend w i th my f i r s t and second f i ngers , p lac ing them on the s t r ing beh ind the th i rd f i nger and us ing them to he lpbend. For the remainder of the measure I p luck those notes in e ighth notes, real s taccato, wi th the second st r ingbent to A and the C# on too.

Pract ice Point 2 : Then I re lease the bend. I h i t the A and Cf together on beat one of the second measure, then,wh i le s t i l l ho ld ing the C# , re lease the A to G on the "and" o f bea t 1 . l f you t r y to do th i s l i ck w i th a p ick , i t doesn ' tcome across near ly as s taccato, or funky, so you want to use just the two f ingers. To make i t rea l s taccato, s topeach no te f rom r ing ing a f te r i t has been p layed . l s t i ck the f i ngers o f my p ick ing hand on the s t r ing and muf f le i tthat way. This is probably one of the hardest l icks in the ent i re so lo, because you have to get your r ight hand goingvery fast.

Pract ice Point 3 :Then I use my index f inger to s l ide f rom E at the gth f ret on the th i rd s t r ing to D at the 7th f ret ,and fo l low i t wi th C at the 5th f ret , then A at the 7th f ret on the four th s t r ing wi th my th i rd f inger . As far as myr igh t hand f i nger ing goes , I p lay the no tes on the th i rd s t r i ng w i th my index f i nger , and the A w i th my thumb. Ip luck rea l l y ha rd so I ge t tha t snap .

Pract ice Point 4 : Then I f la t ten my th i rd f inger out to p lay a double s top wi th D at the 7th f ret on the th i rd s t r ingand F# at the 7th f ret on the second st r ing.

Pract ice Point 5 :The rest of the l ick is a l l s ing le notes. I s tar t wi th C at the 5th f ret on the th i rd s t r ing, and bendi t a l i t t le . I use my index f inger to p ick th is note. I p lay A at the 7th f ret on the four th s t r ing, G at the 5th f ret .Then I p lay E at the 7th f ret on the f i f th s t r ing wi th my th i rd f inger , s l ide i t down to D at the 5th f ret , then p lay Cat the 3rd f ret wi th my f i rs t f inger . Every t ime I h i t the C-the minor th i rd in th is key- l pu l l i t a l i t t le toward Cf , .

Pract ice Point 6 : Then I p lay open A, F# at the 2nd f ret on the 6th s t r ing, A, F# again, then C on the f i f th s t r ing,end ing w i th the open A .

1 7

+

Phl'ase 2For Phrase 2, I haven' t even grabbed my p ick yet . I p lay th is one wi th justmy r igh t hand . A b ig par t o f th i s l i ck i s the in te rp lay be tween the open Ag ives i t a jagged , angu la r fee l ing tha t makes i t s tand ou t .

the thumb, m idd le , and index f i ngers o fbass note and the double s tops. l t k ind of

./N^r\

D D t o n -T . T . l _

tirl If r_----.-:

-g-(ffi--_-7 _

Practice Point 1: The lick starts in the 5th position. I place my third finger on D at the 7th fret on the third string,and my fourth finger on Ff at the 7th fret on the second string, I bend both of those notes before I actualy pluckthem with my r ight hand. I bend them a whole step, so the D iounds t ike E and L. r* r"rnoi r i t . Gi . t p luc* themtogether af ter l 've bent them up, then release them on the , ,and" of beat 1.

Here's a tr ick I 've learned about bending double stops in tune: when you have to bend two notes, as in this l ick,put your two finqers on the notes, then pretend that your two fingers are welded together, so you can not moveone finger independently of the other. They can only move togethir, Then hit the two strings, a'nd concenrrare onbending your weakest finger in tune. lVly weakest finger is my fourth finger. I can bend from here to seattle-l,m inLos Angeles, by the way-with my third finger, bui my fourth finger is weak. So I concentrate on bending with myweakest finqer. When I concentrate on bending Ft up to Gf and i keep the two strings parallel, somehow, as if bywizardry the D wi l l go up to E. The str ings remain paral le l . so always concentrate on bending your weakest f ingerIn tune, and the other f inger wi l l fo l low.

Practice Point 2: Then I barre the 5th fret on the second and third strings, the c and E, with my first finger. Then Iplay A at the 7th fret on the fourth string with my third finger. Then I barre my third finger at tire 7th fret on thesecond and third str ings, the D and F#, and then go back to A on the fourth str ing. Then I play a double stop withc at the 5th fret on the third string with my second finger and Ebat the 4th fret -on

the r..ona ,tring with my firstfinger' 0n the "and" of the fourth beat, I slide that shapi up one fret to play C* at the 6th fret on thi third stringand E at the 5th fret on the second string. In order to reinforce the time vaiue of both double stops, I pick bothdouble stops, using my index and middle f inger to snap the str ings.

Practice Point 3: Then I get to a part where I alternate the double stops with an open A bass line that I play withmy thumb First I play A at the 7th fret on_the fourth string and D at the 7th fret on the third strinl witn a tniro-finger barre, then the open A. Then I play Ff at the 4th frei on the fourth string with my first fingei and c at the5th fret on the third string with my second finger, then open A again. Then I re-verse myfingers ana fray e at tne5th fret on the fourth string with my second finger and g at the ath fret on the third sirinf,with ,y'|,ot ring.,then hi t another open A.

Practice Point 4: Then I bane the 4th fret on the fourth and third strings with my third finger to play F* and B,then barre with my first finger at the 2nd fret to play E and A.

Practice Point 5: Then I slide with a third-finger barre from the 5th fret on the fourth and third strings to the 4thfret l then play a first-finger barre at the 2nd fret on the fourth and third strings. Then I play the 4thlfret baneagain, then back to the 2nd-fret barre.

P. P .3

1 8

Phrase 2

j - 2

f u l l+

A

I

Pract ice Point 6 : Then I p lay C at the 3rd f ret on the f i f th s t r ing, bending i t just a l i t t le , then open A. Then wi thnry f i rs t f inger , I barre the 2nd f ret on the th i rd and second st r ings to p lay A and Cf , , then p lay an open A, then endtne l i ck by p lay ing B a t the 4 th f re t on the th i rd s t r i ng and D a t the 3 rd f re t on the second s t r ing , then the A and a

L ' , a 0 a t n .

Phl'rse 3The chord changes to D at th is point , so I have to p lay a D l ick. I use my p ick on th is one. Every note is p layed wi tha p ick .

Phrase 3

( a

P.P. r I P.P.z P.P.3 ---- j P.P.4

t i r l lf-.----

Pract ice Point 1 : I p lace my th i rd f inger on G at the Bth f ret on the second st r ing, p ick the note, and bend i t to A.I ho ld th i s ben t no te th roughou t the f i r s t ha l f o f th i s l i ck .

Pract ice Point 2 : Then wi th my four th f inger , I p lay C at the Bth f ret on the f i rs t s t r ing and p ick three t imes, reals taccato. Af ter the th i rd C note, I re lease the bent A back to G. Then I p lav F at the 6th f ret on the second st r inqwi th my f i rs t f inger .

Prac t i ce Po in t 3 : Now l sh i f t pos i t i ons . Here 's where i t ge ts tough . l go to 5 th pos i t i on and pu t my fou r th f i ngeron F# at the 7th f ret on the second st r ing. I h i t that note and actual ly hold i t for three beats.

Pract ice Point 4 : Meanwhi le , I p lace my f i rs t f inger on C at the 5th f ret on the th i rd s t r ing and bend i t up to D. Ibend be fo re I p i ck the no te so tha t when I p i ck i t , i t sounds l i ke D . Then , wh i le s t i l l ho ld ing the F f , on the secondstr ing, I re lease the bent th i rd s t r ing to p lay C. Then, I p lay A at the 7th f ret on the four th s t r ing. Then I p lay the Cand bend i t back to D . F ina l l y , on the fou r th bea t , I p lay the F# , wh ich I ' ve been ho ld ing a l l t h i s t ime anyway .

This is a f i rs t - f inger bend, but i t 's not a s tandard f i rs t - f inger bend in that you ' re not pul l ing the st r ing toward thef loor . You' re pushing the note up toward the cei l ing because the Ff , must r ing underneath i t .

Phl'ase 4We go back to A fo r th i s l i ck . I t uck my p ick away aga in fo r th i s one . I use a l l f i ngers on th i s l i ck , espec ia l l y myindex and midd le f i noers .

Phrase 4

Pract ice Point 1 : I s tar t wi th my four th f inger on G at the 3rd f ret on the f i rs t s t r ing. At the same t ime, I use myth i rd f inger to p lay D at the 3rd f ret on the second st r ing, bent up to E. I bend i t before I actual ly p lay i t , so thatwhen I p lay i t , i t sounds l i ke I 'm p lay ing E and G toge ther . Then I re lease the bend so tha t the no te d rops to D on"and" of beat 1. Then I p lay C at the 1st f re t on the second st r ing wi th my f i rs t f inger .

Pract ice Point 2 : Now I p lay A at the 2nd f ret on the th i rd s t r ing wi th my second f inger and Cf at the 2nd f ret onthe second s t r ing w i th my th i rd f i nger . I p luck bo th o f them toge ther w i th the index and midd le f i ngers o f my r igh thand , and then pu l l o f f my second f i nger f rom A and le t the open G s t r ing r ing w i th the C f , .

1 9

Pract ice Point 3 : Then I go down to s t r ings 3 and 4 and p lay the same rhythm, p lac ing my second f inger on E atthe 2nd f re t on the fou r th s t r i ng and my th i rd f i nger on A a t the 2nd f re t on the th i rd s t r i ng . l p luck bo th no tes to -gether , then pul l o f f wi th my second f inger to the open D. Then, wi th my four th f inger , I p lay C at the 3rd f ret onthe f i f th s t r ing, bend i t a l i t t le , then p lay the open A st r ing. I p lay those last two notes wi th my r ight -hand thumb.

Phl,ase 5Phrase 5 i s p layed over an E chord . I p lay th i s one w i th my p ick , m idd le , and r ing f i ngers . Th is takes p lace in 9 thpos i t i on , and I p lay p r imar i l y on the second , th i rd , and fou r th s t r i nqs .

Pract ice Point 1 : I barre the 9th f ret on the second, th i rd, and four th s t r ings wi th my f i rs t f inger . I p lay a l l theno tes on the fou r th s t r i ng w i th n ry p ick , a l l t he no tes on the th i rd s t r i ng w i th the m idd le f i nger o f my r igh t hand ,and a l l t he no tes on the second s t r ing w i th my r ing f i nger . l p lay E on the th i rd s t r i nq and C[ on the second s t r inowi th my f ingers, then p lay B on the four th s t r ing wi th my p ick.

Pract ice Point 2 : Then I p lay F# at the 11th f ret on the th i rd s t r ing wi th my th i rd f inger , and A at the 1gth f ret onthe second s t r ing w i th my second f i nger . I use the m idd le and r ing f i ngers on my r igh t hand to p luck those s t r ings .I s l i de tha t shape up one f re t , then up ano ther f re t . So th i s l i ck i s pa ra l le l th i rds . Then l f l a t ten my second f i ngerou t a t the 12 th f re t on the f i r s t and second s t r ings to p lay B and E . Aga in , I p luck those no tes w i th mv midd le andr ing f ingers.

Pract ice Point 3 : Then I go back down to the shape I p layed in Pract ice Point 2 . I p lay G at the 12th f ret on theth i rd s t r i ng w i th my th i rd f i nger and Bba t the ' l 1 th f re t on the second s t r ing w i th my second f i nger . I qu ick ly s l i dethat shape down one f ret to p luck F# and A, then h i t B at the 9th f ret on the four th s t r ing wi th my f i rs t f inger andpick. I repeat th is move.

Pract ice Point 4 : I end the phrase wi th F# and A again. Then, wi th my f i rs t f inger , I barre at the 9th f ret on thesecond and th i rd s t r i ngs and p lay E and Gf .

Phl'ase IPhrase 6 takes p lace in 1Oth posi t ion on the f i rs t and second st r ings. l t 's k ind of s imi lar to phrase 3. I o lav th isphrase wi th my p ick, and not my f ingers.

Phrase 6 A

Pract ice Point 1 : I s tar t by bending B at the 12ththa t on the f i r s t s t r i ng , wh i le le t t i ng the C# r ing , If re t wi th my four th f inger . Then I re lease the bendfirst f inger.

Pract ice Point 2 : Then I sh i f t down to 7th posi t ion. I bend G at the Bth f ret on the second st r ing to A wi th mysecond f inger . I ho ld that note and p lay C# at the 9th f ret on the f i rs t s t r ing wi th my four th f inger . Then I re leasethe bend back to G ' Then I p lay E a t the g th f re t on the th i rd s t r i ng w i th my th i rd f i nger , and then G aga in .

f ret on the second st r ing to Cf wi th my th i rd f inger . Underneathplay D at the 1Oth f ret wi th my f i rs t f inger , then E at the 12thto B, then p lay A at the lo th f re t on the second st r ing wi th my

20

holcl bend

f - -.--..--a

I

Phrase 7Now we go back to the D chord . Th is0ends , bu t change the rhy thm a l i t t l e

on Phrase 3. We're going to do the same ser ies ofwi th my p ick, too.

i s k ind o f a va r ia t ionb i t . I p lay th i s ph rase

Phrase I D/\ ,'\

D D 1 -

ful l

D D 1 P. P .3

Pract ice Point 1 : I s tar t wi th C at the Bth f ret on the f i rs t s t r ing wi th my four th f inger . Then whi le hold ing thatnote, I bend G at the 8th f ret on the second st r ing up to A wi th my th i rd f inger . I bend the note to A before I p layi t , so i t sounds l ike A when I p lay i t . Then I re lease that note back to G, then p lay F at the 6th f ret wi th my f i rs tf inger .

Pract ice Point 2 : Then I move to 5th posi t ion and p lay Ff at the 7th f ret on the second st r ing wi th my four th f in-ger . Then , wh i le ho ld ing the F# , I bend C a t the 5 th f re t on the th i rd s t r i ng up to D , then re lease back to C . I pushthe s t r ing up toward the ce i l i ng w i th my f i r s t f i nger . Then I p lay A a t the 7 th f re t on the fou r th s t r i ng w i th myth i rd f inger .

Prac t i ce Po in t 3 : Then I s l i de my th i rd f i nger down to G a t the S th f re t , pu l l o f f to F a t the 3 rd f re t , then p lay D a tthe 5 th f re t on the f i f t h s t r i ng w i th my th i rd f i nger . Then I f l a t ten my th i rd f i nger in to a bar re and p lay G on thefour th s t r i ng aga in . Then I p lay F on the fou r th s t r i ng w i th my f i r s t f i nger and bend i t ve ry de l ibe ra te ly up to F t . Iwan t i t t o take the t ime va lue o f two e igh th no tes . Then I p lay D on the f i f t h s t r i ng aga in .

Phl'ase IThis phrase, in A, is a s tandard rock l ick . l t 's fa i r ly easy to p lay.

Phrase I A

Pract ice Point 1 : I barre at the 5th f ret on the f i rs t and second st r ings. I p lay those notes, E and A, then pul l o f ff rom Eb to D to C on the th i rd s t r ing. I p lay Eb at the Bth f ret wi th my th i rd f inger , pu l l o f f to D at the 7th f ret ,then pul l o f f to C at the 5th f ret . I do th is a l l wi th my p ick. Then I p lay D, C, and A at the 7th f ret on the four thst r ing wi th my th i rd f inger .

Pract ice Point 2 :Then I sh i f t my th i rd f inger over to the f i f th s t r ing. I p lay E at the 7th f ret , then s l ide down to Dat the 5th f ret , p lay C at the 3rd f ret wi th my f i rs t f inger , then p lay A at the 5th f ret on the s ix th s t r ing wi th myth i rd f i nger . Then I p lay C aga in and then the open A s t r ing . So the f i r s t A i s on the s i x th s t r i ng , the second A i s theopen f i f th s t r ing.

21

Phrase $Th is i s ano ther s tandardt ion .

Phrase 9

rock l i ck , s im i la r to Phrase B . Th is one i s over the

E

E chord, and i t 's p layed in the open posi -

P . P . 1

I

Pract ice Point 1 : I s tar t wi th the top two st r ings open. Then I pu l l o f f f rom Bbat the 3rd f ret on the th i rd s t r ingwi th my th i rd f inger , to A at the 2nd f ret wi th my second f inger , to the open G st r ing. Then I p lay E at the 2nd f reton the four th s t r ing wi th my second f inger and pul l o f f to the open D st r ing.

Pract ice Point 2 : Then I go down to the f i f th s t r ing and pul l o f f f rom B at the 2nd f ret wi th my second f inger , toBb at the 1st f re t wi th my f i rs t f inger , to open A. Then I p lay Bl , open A, G at the 3rd f ret on the s ix th s t r inq wi thmy th i rd f inger , then open E.

Phrase l0This phrase is over an A chord. l t 's s ing le notes, wi th the p ick.

Phrase 1 0

Pract ice Point 1 : I p lay C at the 5th f ret on the th i rd s t r ing wi th my four th f inger . Then I h i t i t again and pul l o f fto A at the 2nd f ret wi th my f i rs t f inger . Then I p lay G at the 5th f ret on the four th s t r ing wi th my four th f inger ,then E at the 2nd f ret wi th my f i rs t f inger .

Pract ice Point 2 : Then I go back to A, then back down to G, E, and then D at the 5th f ret on the f i f th s t r ino wi thmy fourth f inger.

Pract ice Point 3 :Then I p lay C at the 3rd f ret on the f i f th s t r ing wi th my second f inger , then open A. Then l jumpback up an oc tave and p lay C to A on the th i rd s t r i ng aga in .

Phrase 1 1This phrase is very s imi lar to Phrase 10. l t 's a repeat ing sequence. I p lay th is phrase over the D chord.

Phrase 1 1 D

2 2

Practice Point 1 : I start with the C at the 5th fret on

to open G. Then I p lay E at the 2nd f ret on the four th

hi t B at the 4th f ret on the th i rd s t r ing wi th my th i rd

Phl'ase 12Th is phrase i s near l y i den t i ca l to Phrase 11 andis very important . They ' re both quick l icks, and

the th i rd s t r ing again, then h i t A at the 2nd f ret , then pul l o f f

s t r ing wi th my f i rs t f inger . I repeat th is l ick four t imes, then

f inger . I bend that B up a l i t t le b i t , about a quar ter s tep or so.

i s p layed over the A chord . The t im ing o f th i s ph rase and Phrase

they have to f i t r ight in to the t iming of the groove.11

Phrase 12 A

#- 2-- l

Pract ice Point 1 : ldent ica l to Phrase 11, Pract ice Point 1 , except that I end wi th my f i rs t f inger on A at the 2nd

fret on the th i rd s t r ing, instead of the B that ended Phrase 11. I don ' t bend the A note.

Phrase 13Th is phrase i s p layed over the E chord . l t uck my p ick away and use my f ingers on th i s ph rase . You can hear i t snap .

Phrase 13

P . P . 1fu l l hold bend

Pract ice Point 1 : I s tar t in 3rd posi t ion. I bend D at the 3rd f ret on the second st r ing up to E wi th my f i rs t f inger . I

bend the note as soon as I p ick i t , then hold i t whi le I p lay G# at the 4th f ret on the f i rs t s t r ing wi th my th i rd f in-

ger . I p lay the Gf four t imes. Then I re lease the bend to D.

Pract ice Point 2 : Then I p lay B at the 4th f ret on the second st r ing wi th my second f inger . I s l ide down to A at the

2nd f re t , then pu l l o f f to the open G s t r ing . Then I p lay E a t the 2nd f re t on the fou r th s t r i ng , the open G aga in ,

and end the phrase on E on the four th s t r ing.

Phrase 14Th is phrase wraps up the tune w i th some rea l l y coo l doub le s tops . l use my p ick and f i ngers on th i s ph rase .

2 3

Pract ice Point 1 : I s tar t wi th a s l ide. I use my f i rs t f inger to barre the second and th i rd s t r ings at the 1st f re t andimmed ia te ly s l i de i t up to the 2nd f re t to p lay A and C# . Then I h i t an open A s t r ing w i th the p ick .

Pract ice Point 2 : Then I p lay B at the 4th f ret on the th i rd s t r ing wi th my th i rd f inger and D at the 3rd f ret on thesecond st r ing wi th my second f inger together . I h i t the open A, then s l ide the double s top up one f ret to p lay C andEb, h i t the open A again, then s l ide the double s top up one more f ret to p lay Cf and E, fo l lowed again by the open A.

Pract ice Point 3 :Then I barre the 5th f ret on the top two st r ings wi th my f i rs t f inger , p lay those notes, then p lacemy th i rd f inger on D at the 7th f ret on the th i rd s t r ing and my four th f inger on F# at the 7th f ret on the secongs t r ing . I bend those no tes up , re lease , bend up aga in , re lease aga in . I do th i s severa l t imes , l i ke a w ide , doub le -s topv ib ra to a t the tempo o f the tune .

Cnn$l'atulalinnsNow we 've f i n i shed s tudy ing and tak ing a l l t hese phrases . Work on them s low ly , and g radua l l y work up t l - r tempo.Don' t forget to g ive your hands a rest i f necessary, and remember to be pat ient . The sk i l ls necessarV to bend thesedouble s tops in tune takes t ime to develop.

2 4

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Also , I use l i gh te r B and G s t r ings on my gu i ta r to make i tS t r a t I r e c o r d e d t h i s l e s s o n w i t h a r e . 0 1 0 , . 0 1 2 , . 0 1 5 , . 0 2 6 ,G st r ings, and there 's no sense in hur t ing yoursel f . So put

ffiWNWN-NNWWN NNW N-

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^4.f .e lvJ,l!

easier to bend on those st r ings..036, .046. Most of the bendingo n a l i g h t e r B a n d G s t r i n g a n d

-^-i o - - 3 .

The gauges I useron thetakes p lace on the B andmake i t eas ier .

tr\' tt\-' ' -r l

f '

P h r a s e 2

Ph rase 3

*--figf

ful l

f

2 5

____ 15

2 6

Phrase 1 2

Ihe SolnPhl'aseTh is so lo

1star ts w i th a s imple p ickup beg inn ing on

Phrase 1 D

bea t 2 , then i t goes to a coup le o f g rea t sound ing chord shapes .

P.P.z I P .P.3 | P .P 4

Pract ice Point 1 : This l ick takes p lace in 5th posi t ion. I s tar t on A at the 7th f ret on the four th s t r ing, p lay thatnote twice wi th my th i rd f inger , then reach for Cf , a t the 6th f ret on the th i rd s t r ing wi th my second f inger . I h i tthe C#, then bend i t up to D. Then I p lay E at the Sth f ret on the second st r ing wi th rny f i rs t f inger . I p ick a l l thesenotes.

Pract ice Point 2 : Now lsh i f t up to p lay E at the 9th f ret on the th i rd s t r ing wi th my th i rd f inger . I h i t that E noteand bend i t up to Ff , , then lay my four th f inger down as a barre across the top two st r ings at the 1Oth f ret , p lay ingA and D toge ther . I ho ld the ben t F f , wh i le I p lay the A and D.

Pract ice Point 3 :Then I p lay a D major seventh t r iad in 9th posi t ion. I f re t F# at the 11th f ret on the th i rd s t r ingwi th my th i rd f inger , A at the 1Oth f ret on the second st r ing wi th my second f inger , and Cf at the 9th f ret on thef i rs t s t r ing wi th my f i rs t f inger . I p lay the F# and C# together , us ing my p ick on the Ff and the r ing f inger on myr igh t hand on the C f , . Then my midd le f i nger p lays the A .

Pract ice Point 4 : Then I sh i f t down to 7th posi t ion and get a real pedal -s teel chord voic ing. I p lay E at the 9th f reton the th i rd s t r ing wi th my th i rd f inger , F# at the 7th f ret on the second st r ing wi th my f i rs t f inger , and Ci at theBth f ret on the f i rs t s t r ing wi th my second f inger . I p luck a l l three notes together , wi th the p ick on E, my middlef inger on F# , and my r ing f i nger on C . l t ' s a n i ce vo ic ing . I p luck the chord tw ice .

2 7

Phl'ase 2This phrase inc ludes a cool three-st r ing bend that actual ly isn ' t too d i f f icu l t , and some great octave/s ix th phras ingst h a t o u t l i n e a G s c a t e .

Phrase 2

P.P.2 ) P .P.3 P.P.q I

Aor^

Phrase 3

Pract ice Point 1 : I p lay the f ina l chord f rom Phrase 1 one t ime, then bend in to a G6 chord. The G6 chord consis tsof E at the 9th f ret on the th i rd s t r ing, which I p lay wi th my th i rd f inger ; G at the Bth f ret on the second st r ing,which I p lay wi th my second f inger ; and B at the 7th f ret on the f i rs t s t r ing, which I p lay wi th my f i rs t f inger . I ac-tua l l y s ta r t w i th th i s same chord shape one f re t l ower and bend a l l t h ree s t r ings up a ha l f s tep , o r one f re t , to p layG6. Then I re lease the bend , then ac tua l l y s l i de up a f re t and p luck the G6 chord . Aga in , I use the p ick and my mid -d le and r ing f i ngers to p luck th i s chord .

Pract ice Point 2 : Then I go up to 1Oth posi t ion. I p lay D at the 12th f ret on the four th s t r ing wi th my th i rd f inger ,B at the 12th f ret on the second st r ing wi th my four th f inger , and D at the 1Oth f ret on the f i rs t s t r ing wi th myf i r s t f i nger ; i t ' s j us t an oc tave w i th a s i x th in the m idd le . I p luck these th ree no tes w i th my p ick , m idd le , and r ingf ingers. Then I s l ide that same shape down two f rets .

Pract ice Point 3 : Af ter p lay ing the C octave/s ix th shape, ls l ide the octaves down one f ret to p lay B at the 9th f reton the four th s t r ing and at the 7th f ret on the f i rs t s t r ing, and wi th my second f inger I p lay G at the Bth f ret onthe second s t r ing ' So th i s no te i s one f re t l ower than i t was on the D and C oc taves . Aga in , I p luck a l l t h ree no testog eth e r.

Pract ice Point 4 : Then I go back to the shape I used on D and C in Pract ice Point 2 , to p lay A at the 7th f ret onthe four th s t r ing, and G at the 5th f ret on the four th s t r inq.

Phl.ase 3Th is i s the toughes t l i ck in the who le so lo . l t t ook me a long t ime to ge t i t r i gh t , because I had to do some f i r s t -f i nger bends . Bu t work i t ou t one s tep a t a t ime , and you ' l l ge t i t .

/\

D D 1 - r . ? . 2t ir l l hold bencl

D E7

P.P 3

v - - j

Pract ice Point 1:This phrase starts in 7th posi t ion. I p lay E at the 9th fret onand bend i t a whole step to F#. Then I play B at the 7th fret on the f i rst str inqF# whi le I p lay B.

Prac t i ce Po in t 2 : Then , wh i le s t i l l ho ld ing the F# , and s t i l l l e t t i ng the B r ing as we l l , I p lay A a t the 1Oth f re t onthe second st r ing wi th my four th f inger . Then I p ick the Ff , again and re lease the bend to E. I resolve that to D atthe 7th f ret on the th i rd s t r ing wi th my f i rs t f inger .

Pract ice Point 3 : Now I p lay double s tops. I f re t E at the 9th f ret on the th i rd s t r ing wi th my th i rd f inger and G atthe Bth f ret on the second st r ing wi th my second f inger . I bend both notes up a hal f s tep before I p ick them, so Iactual ly p lay F and Ab. Then I re lease the bend. Then I p lay a f i rs t - f inger barre at the 7th f ret on the second andth i rd s t r i ngs , so I p lay D and F# . Then I p lay the E and G and aga in , and then the D and F f aqa in .

ho ld bend1 = - -

the th i rd s t r ing wi th my th i rd f ingerwith my f i rst f inger. I hold the bent

2 8

The bend i s rea l l y impor tan t because we have to sound l i ke we ' re p lay ing w i th a bar , the bar the peda l s tee l p layersuse. They s l ide that bar a long the st r ings to get that sound. We can' t get that sound, so we have to imi tate i t bybend ing doub le s tops .

Pract ice Point 4 : I p lay A at the 7th f ret on the four th s t r ing wi th my f i rs t f inger , then D at the 7th f ret on theth i rd s t r ing wi th my f i rs t f inger , then Eb at the Bth f ret wi th my second f inger , then E at the 9th f ret wi th my th i rdf inger .

Pract ice Point 5 : Now comes the tough par t : the f i rs t - f inger bend. I p lay ̂n i , chord wi th G# at the 11th f ret onthe f i f th s t r ing wi th my th i rd f inger , D at the 12th f ret on the four th s t r ing wi th my four th f inger , and E at the 9thf re t on the th i rd s t r i ng w i th my f i r s t f i nger . I p luck a l l t h ree no tes toge ther , then , wh i le ho ld ing the chord , bend theth i rd s t r i ng w i th my f i r s t f i nger up to F f , . I ac tua l l y bend the s t r ing toward the f l oo r . Then I p luck the chord aga inand re lease the bend to E. Then I p lay D on the four th s t r ing by i tse l f , whi le le t t ing the chord r ing.

Then l s l i de my th i rd and fou r th f i nger down one f re t , so tha t my th i rd f i nger i s on G l a t the lO th f re t on the f i f t hst r ing and my four th f inger is on Cf , a t the 11th f ret on the four th s t r ing. At the same t ime, I p lay E at the 9th f reton the th i rd s t r ing wi th my f i rs t f inger , and I p luck a l l three notes together . So th is chord sounds l ike a s t rong re-solve f rom the chord before. This is a c lass ic pedal -s teel move.

Be $upe Tu Bend ln TuneOccas iona l l y you ' l l no t i ce tha t you ' re no t bend ing inpeda l s tee l gu i ta r on a regu la r s i x -s t r i ng gu i ta r . Youto the exact note that you want to bend to. You canwi th tha t p lay ing rock and b lues , bu t when you p laythese bends are qoing to requi re some pract ice.

Phrase 4 A7 D(+ r a . +

rl \,2*

fu l l+

ftilf-.--:

lLrlI^ tu l I+--..--...-

Pract ice Point 1 : I p lay A at the 17th f ret on the f i rs t s t r ing wi th my four th f inger and B at the 16th f ret on theth i rd s t r ing wi th my th i rd f inger . I p luck both s t r ings together , bending B up a whole s tep to C# as soon as I h i t theno tes . Then I move tha t same shape down one f re t , do ing the same bend on th i rd s t r i ng , bu t re leas ing the bendtoo. So on that move, I p lay Ab at the 16th f ret on the f i rs t s t r ing wi th my four th f inger and Bb at the 15th f ret onthe th i rd s t r ing wi th my th i rd f inger . I p luck the two notes, bend Bb to C, then re lease i t to Bb again, le t t ing i t r ingthe who le t ime . Then I move down one more f re t and do tha t move aga in , i nc lud ing the bend and re lease on theth i rd s t r i ng .

Pract ice Point 2 : I p lay A at the 14th f ret on the th i rd s t r ing wi th my th i rd f inger , together wi th F# at the 14thf ret on the f i rs t s t r ing wi th my four th f inger . Then I drop down to 1Oth posi t ion and p lay Ff , a t the 11th f ret on theth i rd s t r ing wi th my second f inger and D at the 1Oth f ret wi th my f i rs t f inger .

Pract ice Point 3 : Then I go back up to the ' l4 th f re t and p lay a D t r iad arpeggio. I barre the 14th f ret across thetop three st r ings wi th my f i rs t f inger and p lay A at the 14th f ret on the th i rd s t r ing wi th my f i rs t f inger , D at the15th f ret on the second st r ing wi th my second f inger , and F# at the 14th f ret on the f i rs t s t r ing wi th my f i rs t f inger .

Pract ice Point 4 : Then I p lav A at the 17th f ret on the f i rs t s t r ing wi th my four th f inger , bend i t immediate ly up awhole s tep to B, then re lease i t back to A. Then I pre-bend E at the 17th f ret on the second st r ing up a whole s tep

Phrase 4This phrase consis ts of some s imple chromat ic moves over the A7 rhythm, then out l ines the D chord.

tune . Tha t ' s one o f the hardes t th ings abou t s imu la t ing ahave to be rea l l y p rec ise in your bends . You have to bend' t bend to somewhere in the v i c in i t y . You can ge t awaycoun t ry , your bend ing techn ique has to be ve ry p rec ise . So

2 9

to Ff , wi th my four th f inger . A pre-benda l ready ben t no te . Usua l l y you p re -bendresolve the bent Ff to E, then p lay D at

i + l

D D l D D 1 P P.3

iL r l l

Prac t i ce Po in t 1 : I p lay A a t the 14 th f re t on the th i rd s t r i ng w i th my th i rd f i nger and bend i t up a who le s tep toB . Then wh i le ho ld ing the bend , I p lay G a t the 15 th f re t on the f i r s t s t r i ng w i th my fou r th f i nger . Then I p lay theb e n t B a g a i n .

Pract ice Point 2 :Then I p lay E at the 12th f ret on the f i rs t s t r ing wi th my f i rs t f inger . Then I p ick the bent Bagain, re lease i t to A, then p lay G at the 12th f ret on the th i rd s t r ing wi th my f i rs t f inger .

Prac t i ce Po in t 3 :Th is i s a nea t l i ck . l f re t A a t the 14 th f re t on the th i rd s t r i ng w i th my f i r s t f i nger . Then l f re t Gat the 17th f ret on the four th s t r ing wi th my four th f inger . Wi th my second f inger , I f re t D at the 1Sth f ret on thesecond s t r ing . I p re -bend the A to B , h i t tha t no te , then re lease i t t o A . Then I p lay G on the fou r th s t r i ng , wh i les t i l l ho ld ing the A . I qu ick ly p lay the G, then A aga in . Then I p lay the D on the second s t r ing , G on the fou r ths t r ing , then do the p re -bend aga in , p i ck ing the ben t B , re leas ing i t t o A , then p lay ing G on the fou r th s t r i ng aga in .

Phl'ase IPhrase 6 inc ludes some lush sound ing chords , and a coup le o f t r i cky f i r s t - f i nger bends .

Phrase 6 D A 7

P . P - 1 P P

Pract ice Point 1 : I keep my f i rs t f inger on A, r ight where i t was in Phrase 5. I p lay that note and at the same t imeI p lay F at the 15th f ret on the four th s t r ing wi th my second f inger , bending i t up a hal f s tep to F#.

Pract ice Point 2 : This is another l ick wi th a f i rs t - f inger bend. I p lay A at the 12th f ret on the f i f th s t r ing wi th myth i rd f inger , D at the 12th f ret on the four th s t r ing wi th my four th f inger , and I f re t E at the 9th f ret on the th i rdst r ing wi th my f i rs t f inger . I bend the E up a whole s tep to Ff , , then I re lease i t to E, p lay the D by i tse l f , and thenplay an A7 chord. I keep my f i rs t f inger on E for the A7 chord, and p lay G at the 1Oth f ret on the f i f th s t r ing wi thmy second f inger and Cf , a t the 11th f ret on the four th s t r ing wi th my four th f inger .

Prac t i ce Po in t 3 : I p luck the A7 chord aga in , then bend the E a who le s tep up to F f , then re lease i t aga in . Then Iresolve to a D chord in 7th posi t ion. I p lay F i a t the Bth f ret on the f i f th s t r ing wi th my second f inger and barrewi th my f i rs t f inger at the 7th f ret across the four th and th i rd s t r ings. I p luck those three notes-F, A, and D-to-gether , then bend the F to Ff , .

Phnase 5Phrase 5 ou t l i nes the G chord in 12 th oos i t i on .

Phrase 5 G ,...

is when you bend the note before you p ick i t , soso tha t you can p ick the h igher no te and re leasethe '1Sth f ret wi th my second f inger .

tn

t ha t a l l you hear i s thei t to the unbent note. I

tt + t I

3 0

Phrase 7

Pract ice Point 4 : Then, whi le hold ing the A and D wi th the f i rs t - f inger barre at the 7th f ret on the four th and th i rdst r ings, I p lace my th i rd f inger on B at the 9th f ret on the four th s t r ing and p lay B and D together , then I p lay A andD together . Then I p lay the D together wi th G at the 1Oth f ret on the f i f th s t r ing, which I p lay wi th my four th f inger .When I reach fo r the G, I s t i l l l e t bo th the A and D on the fou r th and th i rd s t r i ngs r ing , and I l e t them keep r ing ingthrough the end of the l ick . I end the phrase wi th D and Ff , . I actual ly p lay F at the Bth f ret on the f i f th s t r ing wi thmy second f i nger and bend i t up to F f , . I p luck a l l t hese doub le s tops w i th my p ick and midd le f i nger .

Phrase 7I s tar t the second chorus wi th one of my favor i te pedal -s teel l icks. l t 's a chromat ic phrase us ing 6th or ' l3 thchords. The f i rs t chorus was more t radi t ional , us ing more of a 9th chord tonal i ty . In th is chorus, we get a l i t t lejazz ier . You' l l recognize i t r ight away when you hear the d i f ference in the chords.

A 1 3

t 0 & 1 2 77 2 + 0 - 8 - -

P. P .3P.P.2

14 11

Pract ice Point 1 : The f i rs t run isn ' t too hard, though the st retch might be a l i t t le tough at f i rs t . I p lay E at the 9thf ret on the th i rd s t r ing wi th my four th f inger , F# at the 7th f ret on the second st r ing wi th my second f inger , and Aat the 5th f ret on the f i rs t s t r ing wi th my f i rs t f inger . This is a very c lose-voiced D9 chord, wi th the 3rd (p l ) , the5 th (A) , and the g th (E) o f the chord . I p luck the chord , s l i de i t back one f re t w i thou t p luck ing i t , t hen s l i de i t backa n d p l u c k i t a g a i n . T h e n l t a k e t h a t s a m e c h o r d s h a p e a n d s l i d e i t u p c h r o m a t i c a l l y , o n e f r e t a t a t i m e , p l u c k i n geach t ime , un t i l l 'm p lay ing w i th my f i r s t f i nger on D a t the 1Oth f re t on the f i r s t s t r i ng . I p luck the th ree s t r ingstoge ther w i th my p ick , m idd le , and r ing f i ngers . You don ' t wan t to s t rum these ;you wan t to p luck them so a l l t heno tes sound a t the same t ime and you ge t the peda l -s tee l sound .

Pract ice Point 2 : Now I move down to a D7 voic ing. I p lay Ff at the 11th f ret on the th i rd s t r ing wi th my th i rdf inger , A at the 1Oth f ret on the second st r ing wi th my second f inger , and C at the 8th f ret on the f i rs t s t r ing wi thmy f i rs t f inger . I s t rum the chord wi th a downstroke, then p lay E at the 12th f ret on the f i rs t s t r ing wi th my four thf inger . Then I move down and p lay an E minor t r i ad in 7 th pos i t i on . I p lay E a t the 9 th f re t on the th i rd s t r i ng w i thmy th i rd f inger , G at the Bth f ret on the second st r ing wi th my second f inger , and B at the 7th f ret on the f i rs ts t r ing wi th my f i rs t f inge r .

P rac t i ce Po in t 3 : Then I p lay the o r ig ina l chord shape as desc r ibed in Prac t i ce Po in t 1 , w i th the E , F# , and A . ThenI barre wi th my f i rs t f inger at the 6th f ret across the second and th i rd s t r ings and p lay Cf , and Ff . And f ina l ly Is l ide that down one f ret to p lay CN and E at the 5th f ret .

Phrase IThis phrase involves more c lose-voiced chords. Close-voiced means that most of the notes in the chord are wi th ina one-octave range of each other . In Phrase 7, the notes were E, F#, and A, a l l wi th in a 4th of each other . In PhraseB, I use the same chord shape, s tar t ing a l i t t le lower on the neck. The notes are D, E, and G-again, three chordtones bunched together wi th in a 4th, f rom the lowest to the h ighest note. In th is case, however , the chord is func-t ion ing as a G6 chord , w i th the 5 th (D) , the 6 th (E) , and the roo t (G) .

P.P . r rP .P .z I P .P .3 P .P .4

Phrase IG

3 1

Pract ice Point 1 : I s tar t by s l id ing in to the GG chord f rom a hal f s tep below. To f inger the G6, I p lay D at the 7thf ret on the th i rd s t r ing wi th my four th f inger , E at the 5th f ret on the second st r ing wi th my second f inger , and Gat the 3rd f ret on the f i rs t s t r ing wi th my f i rs t f inger . I p lay that same chord shape one f ret lgwer, then s l ide upone f re t and p lay i t aga in .

Prac t i ce Po in t 2 :Then I s l i de in to an E minor t r i ad . To p lay E m inor , I p lay E a t the 9 th f re t on the th i rd s t r i ngwi th my th i rd f inger , G at the Bth f ret on the second st r ing wi th my second f inger , and B at the 7th f ret on thef i rs t s t r ing wi th my f i rs t f inger . Again, I p lay that same chord shape one f ret lower, then s l ide up one f ret and p layi t aga in . I don ' t p luck th i s as we d id be fo re , l j us t use the p ick to s t rum down. I k ind o f l i ke the sound o f i t .

Pract ice Point 3 : Then I go back to the f i rs t chord shape as in Pract ice Point 1 . This t ime, I p lay A at the 14th f ret onthe th i rd s t r ing wi th my four th f inger , B at the ' l2 th f re t on the second st r ing wi th my second f inger , and D at the1Oth f ret on the f i rs t s t r ing wi th my f i rs t f inger . I s tar t one f ret be low and s l ide in to th is chord as wel l . This wouldfunct ion as a G9 chord, wi th the 9th of the chord (A) , the 3rd (B) , and the 5th (D) . As you can see, the name given toa chord can change depending on i ts funct ion wi th regard to the rhythm sect ion, and a grouping of three or morenotes can often be referred to by dif ferent chord names. This chord could be r| ferred to as a DG chord, but at thispoint in the song the rhythm sect ion is p lay ing a G chord, so i t makes more sense to refer to th is chord as a G9.

Pract ice Point 4 : ldent ica l to the move in Pract ice Point 1 p layed one f ret h igher .

Phrase 0Phrase 9 uses 6th in tervals , a very popular country technique. To get the pedal -s teel f lavor , however , I do a double-stop bend, which is a l i t t le t r ickV.

? . P 2 _ P P 3 _ _ _ P P 4t i l^

^\+ t01+ 12 t0

Pract ice Point 1 : I s tar t wi th A at the 14th f ret on the th i rd s t r ing wi th my th i rd f inger and F# at the 14th f ret onthe f i rs t s t r ing wi th my four th f inger . I p luck both notes together , then bend them both, the A up a whote s tep toB, and the Ff , up a hal f s tep to G. The t r ick to that is to imagine that your f ingers are welded together , and theycan ' t move independen t l y . Pu t them down on the no tes , then concen t ra te on bend ing your weakes t f i nger in tune .In mos t cases tha t w i l l be your fou r th f i nger ; i t ce r ta in l y i s i n my case . I t r y to keep the s t r ings para l le l . I 'm no tgo ing to consc ious ly t r y to bend one up a who le s tep and one up a ha l f s tep . I concen t ra te on bend ing F# up to Gwi th my fou r th f i nger , and i f I bend the two s t r ings equa l l y and keep them para l le l , somehow, as i f by w iza rd ry ,that A is going to go up a whole s tep to B. That takes some pract ice, but i t 's very ef fect ive. I p lay the notes, bendthem up , then p lay them unben t aga in .

Pract ice Point 2 : Then I use descending 6ths and go down to G at the 12th f ret on the th i rd s t r ing wi th my th i rdf inger and E at the 12th f ret on the f i rs t s t r ing wi th my four th f inger . Then I p lay F# at the 11th f ret on the th i rdst r ing wi th my second f inger and D at the '1Oth f ret on the f i rs t s t r ing wi th my f i rs t f inger . On a l l these 6ths l icks, Iuse my p ick on the th i rd s t r i ng and my midd le f i nger to p i ck the f i r s t s t r i ng , sk ipp ing the second s t r ing en t i re l y .

Pract ice Point 3 : I barre wi th my f i rs t f inger at the 1Oth f ret across the top two st r ings, to p lay A on the secondstr ing and D on the f i rs t s t r ing. I hammer on B at the 12th f ret on the second st r ing wi th my th i rd f inger , then p layi t aga in w i thou t the hammer -on .

Pract ice Point 4 : Then I p lay a l ick we p layed ear l ier in G, th ison the th i rd s t r i ng . A t the same t ime , I ho ld D a t the 12 th f re tthe l i ck w i th a p re -bend . l bend E on the th i rd s t r i ng up a har fre lease the bend, resolv ing the note to E. Then I p lay D on thet h e E a o a i n .

t ime in D. I put my f i rs t f inger on E at the 9th f reton the four th s t r ing wi th my four th f inger . I s tar ts tep to F l , then p ick the st r ing, sounding the F, thenfour th s t r i ng , wh i le s t i l l l e t t i ng the E r ing . Then I h i t

3 2

Phrase 10Phrase 10 i s c lass ic peda l -s tee l chord ing . I p lay th i s l i ck over an E7 chord , then reso lve to an A7 chord .

Phrase 10 E] A7

Pract ice Point 1 : I barre wi th my f i rs t f inger at the 12th f ret across the top four s t r ings. I add a Gf at the 13thf ret on the th i rd s t r ing wi th my second f inger , and a Cf at the 14th f ret on the second st r ing wi th my th i rd f inger .I p luck the fou r th , th i rd , and second s t r ings toge ther . Th is i s an E13 chord . Then I p lay the h igh E , wh ich I havebarred wi th my f i rs t f inger at the ' l2 th f re t on the f i rs t s t r ing.

Prac t i ce Po in t 2 : Now I p lay the same bas ic chord , bu t th i s t ime I l ower the C# to C l a t the 13 th f re t on the sec -ond s t r ing . I s t i l l use my th i rd f i nger fo r th i s no te . Th is i s an E augmented chord .

Prac t i ce Po in t 3 : Then I p lay an A13 chord in 11 th pos i t i on . Th is i s a fou r -no te chord . I p lay C f a t the 11 th f re t onthe fou r th s t r i ng w i th my f i r s t f i nger , G a t the ' l 2 th f re t on the th i rd s t r i ng and B a t the 12 th f re t on the seconds t r ing w i th a second- f inger ba r re , and F f , a t the 14 th f re t on the f i r s t s t r i ng wr th my fou r th f i nger . I p luck a l l t heseno tes toge ther ; l don ' t s t rum th is chord . I p lay the fou r th s t r i ng w i th my p ick , the th i rd s t r rng w i th rny rn idd le f i n -ger , the second s t r ing w i th my r ing f i nger , and the f i r s t s t r i ng w i th my l i t t l e f i nger . You wan t to s t r r ke a l l f ou rno tes a t the same t ime to g ive them a rea l even sound .

Pract ice Point 4 : Now I p lay an A augmented chord. I s l ide in to i t wi th my f i rs t f inger f rom E at the 2nd f ret onthe four th s t r ing to G at the 5th f ret . I ho ld onto th is note because I use i t la ter in the measure. Then I p lay A atthe 5th f ret on the f i rs t s t r ing wi th my second f inger . Then I p luck that G on the four th s t r ing together wi th Cf atthe 6th f ret on the th i rd s t r ing wi th my th i rd f inger , and E# (F) at the 6th f ret on the second st r ing wi th my four thf inger . That 's an A augmented chord.

Phrase 1 1Th is i s a ve ry peda l -s tee l sound ing ,p lay ing consecu t i ve sca le tones a l l

scale-based phrase. Pedal s teel p layers p lay on consecut ive s t r ings, rather thanon one s t r ino .

Phrase 1 1

Pract ice Point 1 : The way I get A, B, and D to r ing a l l a t the same t ime is to s t retch a l i t t le b i t . I p lay D at the 3rdf ret on the second st r ing wi th my f i rs t f inger . Then I p lay B at the 4th f ret on the th i rd s t r ing wi th my second f in-ger . And I p lay A at the 7th f ret on the four th s t r ing wi th my four th f inger . I use the p ick on a l l these notes. I p laythe D , then k ind o f sweep w i th a downs t roke to p lay the A , B , then D aga in . Le t a l l t he s t r ings r ing toge ther ; tha t ' show to get the steel sound.

Pract ice Point 2 : Now I p lay a B minor t r iad on the top three st r ings. I p lay Ff , a t the 2nd f ret on the f i rs t s t r ingwi th my f i rs t f inger , then B at the 4th f ret on the th i rd s t r ing wi th my th i rd f inger , then D at the 3rd f ret on thesecond s t r ing w i th my second f i nger , then F f aga in . Aga in , sweep p ick these , mean ing to p lay the B , D , F# w i thdownstrokes.

3 3

Pract ice Point 3 : Then I p lay a D t r iad in 5th posi t ion. I p lay A at the 5th f ret on the f i rs t s t r ing wi th my f i rs t f in-ger . Then I p lay D at the 7th f ret on the th i rd s t r ing wi th my th i rd f inger , then F# at the 7th f ret on the secondstr ing wi th my four th f inger , then A again. Sweep p ick these, too.

Pract ice Point 4 : Then I take that chord shape, l i f t o f f my th i rd f inger , s l ide my f i rs t and four th f inger up threefrets to p lay C at the 8th f ret on the f i rs t s t r ing wi th my f i rs t f inger and A at the 1Oth f ret on the second st r ingwi th my four th f inger . Then I bend E at the 9th f ret on the th i rd s t r ing up a whole s tep to F# wi th my second f in-ger . I pre-bend the note, so I don ' t p ick i t unt i l i t 's bent . Then I re lease that to E. I ho ld the A and C up to th ispoint , then le t go of the C to p lay D at the 7th f ret wi th my f i rs t f inger . Then I p lay G at the 8th f ret on the secondstr ing wi th my second f inger .

Phl'ase l2This is a s imple r i f f featur ing double-stop, descending 6ths, a very typ ica l pedal s teel - type move.

Phrase 1 2

Pract ice Point 1 : I p lay A at the 7th f ret on the four th s t r ing wi th my f i rs t f inger ,second f inger , then B at the 9th f ret wi th my th i rd f inger . Hold onto th is B and le tthe Bth f ret on the second st r ing, which I p lay wi th my second f inger .

Pract ice Point 2 : Af ter repeat ing the prev ious B-G double s top, I then s l ide downfour th s t r i ng w i th my th i rd f i nger and F# a t the 7 th f re t on the second s t r ing w i thno tes toge ther , p i ck ing the A and p luck ing the F f w i th my r ing f i nger . Then I s l i deto p lay G and E the Sth f ret .

Phl'ase l3Phrase 13 cont inues where Phrase 12 le f t o f f .

then Af , a t the Bth f ret wi th myi t r ing wi th the next note, G at

to p lay A at the 7th f ret on themy four th f inger . I p lay those

that shape down two more f rets

Phrase 1 3 A1

P . P . 2 | P . P . 3 r P . P . 4 |

Pract ice Point 1 : I s l ide the last 6 th shape f rom Phrase 12, Pract ice Point 2 , back up two f rets to p lay A at the 7thf ret on the four th s t r ing and F# at the 7th f ret on the second st r ing. I p luck those two notes, then p lay A at the5th f ret on the f i rs t s t r ing wi th my f i rs t f inger . I keep my th i rd and four th f inger down on the four th and secondstr ings, respect ive ly , then s l ide them down one f ret to p lay Ab at the 6th f ret on the four th s t r ing and F at the 6thf ret on the second st r ing. I qu ick ly s l ide that down another f re t to p lay G and E at the 5th f ret .

Pract ice Point 2 : Then I p lay A and Ff at the 7th f ret , G and E at the 5th f ret , and f ina l ly F# at the 4th f ret on thefour th s t r ing wi th my th i rd f inger and D at the 3rd f ret on the second st r ing wi th my second f inger . These are par-a l l e l 6 th in te rva ls .

34

II

Pract ice Point 3 : Then I barre wi th my f i rs t f inger at the 1Oth f ret across the top two st r ings, A and D. At thesame t ime, I f re t Ff a t the 11th f ret on the th i rd s t r ing wi th my second f inger . I bend f f up a hal f s tep to G, thenpluck the three st r ings together . Then I re lease the bend to F#, so I resolve a D suspended chord to a D majorcn o r0.

Pract ice Point 4 : Then I sh i f t down to barre the A and D at the 1Oth f ret on the top two st r ings wi th my four thf inger . At the same t ime, I f re t E at the 9th f ret on the th i rd s t r ing wi th my th i rd f inger . I p luck those three notestogether , then bend the E up a whole s tep to Ff , . And that 's the end of the phrase and the solo.

3 5

0pelt-$lring liclrshe so lo in th i s chap te r i s en t i t l ed "Open-S t r ing L icks , " bu t I a l so ca l l i t t he "Wh iskey Jug Rag . " you ' l l recogn izeth is sound as one you've heard on dozens of records by Chet Atk ins, Jerry Reed, Mark O'Connor, Dan Crary, andAlber t Lee. l t 's a fa i r ly s tandard technique. l ' l l break down th is s ty le and show you exacly what goes on.

There are two sect ions to the "Whiskey Jug Rag," an A and a B sect ion. Each demonstrates a d i f ferent aspect ofth is tech n io ue.

0pen-$trin0 ToneI p layed th is lesson on a Fender Telecaster wi th EMG pickups. The Tele has a maple f ingerboard, which l ,ve hadf la t tened a l i t t le b i t to a 10- inch radius, as opposed to a 7- or B- inch radius, which are s tandard Fender specs. Thatdoesn' t make any d i f ference; i t 's just my personal preference. I recorded th is music wi th a smal l Boss d ig i ta l de laypeda l and a compressor ' l a l so doub le - t racked the record ing , wh ich fa t tens up the sound a l i t t l e .

0m i n u sg u r t a r

Av#!RNW$$NN . *NN Nsx N-N -qtNsw

FastCount ry ) =120

Ci t r . | (c lean) D l

+{l+

G

-l

Phrase 2

3 6

Phrase 3

Phrase 6

Phrase B

G 6

' i lPhrase i 0

:.1

3 7

l ) 4l - ' ' ' C 2nd time, D.C. al Fine

(take repeat)

The Chord Prrure$$ioltAs I ment ioned above, the "Whiskey Jug Rag" consis ts of an A and a B sect ion. The A sect ion star ts wi th D7 fortwo measures, then G for two measures, D7 for another two, and G for just one more beat , fo l lowed by a rest forthe remain ing three beats of that measure and a l l o f the e ighth measure. Then p lay D7 for two measures, G fortwo measures, then E for one measure, A minor for one measure, D7 for one measure, and G for one measure. l t 's a16-measure pa t te rn , and the en t i re sec t ion repea ts one t ime .

The B sect ion of the song wi l l a lso repeat af ter the f i rs t run through. The B sect ion consis ts of C for one measure,A7 for one measure, D7 for two measures, G7 for two measures, C for one measure, then G7 for two beats and Cfo r two bea ts on the f i r s t end ing . The second t ime th rough the B sec t ion , you ' l l sk ip the measure tha t i nc ludes G7and C, Ins tead , you ' l l j us t p lay the 2nd end ing , wh ich ca l l s fo r a C chord fo r a l l f ou r bea ts . Then the en t i re B sec -t ion repeats, wi th both endings.

A t the end o f the char t , a f te r the 2nd end ing o f the B sec t ion , you ' l l see "D .C. a l F ine . " Tha t means to go back tothe beg inn ing o f the song and p lay a l l t he way th rough to the "F ine" ind ica t ion . In th i s case , tha t means go backto the top o f the song and p lay the en t i re A sec t ion aga in , two t imes th rough .

The Right ]|andFor the A sec t ion o f th i s tune , I use wha t I ca l l a fo rward ban jo ro l l . I use a p ick , my midd le f i nger , and the r ingf inger o f my r igh t hand on th ree consecu t i ve s t r i ngs . I use my p ick on the lowes t s t r i ng , my midd le f i nger on themidd le s t r i ng , and my r ing f i nger on the h ighes t s t r i ng . l j us t fo rward ro l l . I p lay p ick , m idd le f i nger , r i ng f i nger , i n afo rward ro l l mo t ion . I use tha t fo rward ro l l t echn ique on the A por t ion o f th i s tune . You migh t p lay th i s techn iquewi th a thumb pick and your index and middle f inger . That is per fect ly acceptable. l t 's just not the way I do i t , bute i the r way w i l l work .

ln o rder to ge t the c r i sp sound tha t I need here , I keep the na i l s on my r igh t hand abou t a s i x teen th o f an inchlong , so tha t when I h i t the s t r ing I ge t con t ro l by us ing the f l eshy par t o f my f i nger , and I ge t the snap by pu l l i ngmy f inger of f the s t r ing. l t runs past my f ingernai l and bounces of f my f ingernai l , so I k ind of get that snap. Youwant that to happen because otherwise you ' re going to get the p ick sound, and then you' re going to get twothumps. And you don' t want that . You want each note to be as cr isp as every other note. So keep your f ingernai lsjus t a l i t t l e b i t l onger . A lso , I pu t c lea r po l i sh on my na i l s . l t keeps them f rom break ing .

]|ow to Approach This $tyleI set up a one- or two-bar rhythmic phrase. Then against that rhythmic phrase, I use an open st r ing that 's c0mmgnto a l l the chords in the progress ion. Those are the two most important aspects of what I 'm doing here.

Then, as the chords change, I move t r iads around underneath the open st r ing to capture the sound of the chords.Tr iads are any combinat ion of three notes. For instance, for a D7 t r iad, I can use any three of the fo l lowing notes:D, Ff , A, or C. So for Phrase 1 below, I chose F#, A, and C. l t 's not a lways necessary to use the root note of a chord,in th i s case the D . The chord w i l l s t i l l sound l i ke a D-o r a D7-even w i thou t the D be ing p layed . For the G t r i adthat fo l lows D7 in Phrase 1, I use G, B, and D-the notes that make up a G major chord.

So as the chords in "Wh iskey Jug Rag" change , l j us t change my t r i ad invers ions and p lay the same rhy thmicphrase . And I p lay i t aga ins t the open s t r ing tha t i s common to a l l t he chords in the p rogress ion . Tha t m igh t soundl i ke doub le - ta l k a t the moment , bu t as we ana lyze the so lo you ' l l see exac t l y wha t I 'm ta l k ing abou t .

3 8

Why and When 0run $ll'in0s WorltThis open-st r ing technique can be appl ied to a l l d i f ferent k inds of progress ions. 0ne of the reasons i t works realwel l for country music is because most country tunes are wr i t ten in sharp keys, as opposed to f la t keys. D and G

are very common keys in country . So are E and A. These are a l l sharp keys-keys wi th sharps in the key s ignatureyou see at the beginning of each musical s taf f .

Diatonica l ly , the open st r ings f i t in the sharp keys and in the key of C (which has no sharps or f la ts) . In the key of

C, a l l s ix s t r ings f i t . A l l s ix s t r ings are common to the key of C. The low E st r ing is the 3rd of C. The A st r ing is the6th of C. The D st r ing is the 2nd or gth, G is the sth, B is the major 7 lh, and the h igh E st r ing is the 3rd. ln the keyof C, you can use any one of the s ix s t r ings as an open st r ing.

The next key in the cyc le of Sths is G. In the key of G, the low E is the 6th, A is the 2nd or gth, D is the 5th, G is

the root , B is the 3rd, and E is the 6th. ln the key of D, the low E is the 2nd or gth, A is the sth, D is the root , G is

the 4 th , B i s the 6 th , and E i s the 2nd o r 9 th . So a l l s i x open s t r ings can be used in the keys o f G and D.

The key of A is where i t s tar ts to get a l i t t le out there. In the key of A, the low E is the sth, A is the root , D is the4 th , G i s the dominan t 7 th , B i s the 2nd o r 9 th , and E i s the 5 th . Because o f the G s t r ing , you s ta r t ge t t i ng domi -nan t 7 th l i cks , mak ing the open-s t r ing l i cks s ta r t to sound k ind o f b luesy . Bu t s t i l l , a l l s i x open s t r ings can be usedin the key of A.

As we go up the cyc le of Sths to the next key, the key of E, we get two "b lue notes" as I ca l l them. The E and As t r ings a re d ia ton ic . The D s t r ing i s the dominan t 7 th , and the G s t r ing i s a f l a t 3 rd , ano ther b luesy no te . So thel i cks you ' l l p lay in E us ing open s t r ings a re go ing to s ta r t sound ing even b lues ie r and less coun t ry - i sh than in thekey of A. But that 's 0K. I k ind of l ike that sound.

That 's why open st r ings work so wel l wi th the sharp keys.

The $oloPhrase 1Phrase 1 i l lust rates how I use an open st r ing as par t o f a chord progress ion. The open E st r ing wi l l appear overbo th the D7 and G chords , and i t w i l l sound l i ke i t be longs in e i the r chord . l t ' s the 9 th o f the D7 chord and the 6 thof the G chord. Later , you ' l l see how the open E is common to the other chords in the progress ion. That 's one ofthe ma in ru les in th i s techn ique , to use an open s t r ing tha t i s common to a l l t he chords in the p rogress ion .

D]

Practice Point 1 : I play a D7f inger on A a t the 2nd f re t onF f w i th my p ick , then A w i th

chord wi th my four ththe th i rd s t r i ng , and

my midd le f i nger , and

f inger on F# at the 4th f ret on the four thmy f i rs t f inger on C at the 1st f re t on theC wi th my r ing f inger . Then I p lay A wi th

st r ing, my secondsecond st r ing. I p laymy p ick, C wi th my

Phrase 1

3 9

midd le f i nger , and the open E s t r ing w i th my r ing f i nger . So I p lay s t r i ngs 4 ,3 , and 2 ; then 3 , 2 , and 1 . I repea t th i s ,then p lay F# on st r ing 4.

Prac t i ce Po in t 2 :Then the chord changes to G. I p lay the same two-measure rhy thmic phrase . The on ly th ing tha tchanges is the chord ' I move my le f t hand up to 3rd posi t ion and p lay G at the 5th f ret on the four th s t r ing wi thmy th i rd f inger , B at the 4th f ret on the th i rd s t r ing wi th my second f inger , and D at the 3rd f ret on the secongstr ing wi th my f i rs t f inger . I use the open E wi th th is chord as wel l .

Phl'ase 2I move my t r iads up to d i f ferent , h igher invers ions of the D7 and G chords for phrase 2.

Phrase , Ol

o a - -

-€ --6 --l7t=

Pract ice Point 1 : I move D7 up to p lay A at the 7th f ret on the four th s t r ing wi thon the th i rd s t r i ng w i th my f i r s t f i nger , and F# a t the 7 th f re t on the second s t r ingu s e t h e o p e n E s t r i n g i n t h i s c h o r d . A n d a g a i n , I p l a y s t r i n g s 4 , 3 , 2 ; t h e n 3 , 2 , 1 . Ia g a i n .

Pract ice Point 2 : l p lay B at the 9th f ret on the four th s t r ing wi th my th i rd f inger , D at the 7th f ret on the th i rdst r ing wi th my f i rs t f inger , and G at the Bth f ret on the second st r ing wi th my second f inger , as wel l as open E.Same forward ro l l pat tern wi th my r ight hand.

0o I Anchol' tUly ftight ]|and?Studen ts o f ten ask me i f I use an anchor on my r igh t hand . I don ' t anchor my r igh t hand in the A sec t ion ,when I p lay the fo rward ban jo ro l l . l do use an anchor in the B sec t ion , and l ' l l desc r ibe tha t when we ge t tothe B sec t ion . For the A sec t ion , I keep my r igh t hand a lmos t c lenched l i ke a f i s t . I t i l t my wr i s t s l i gh t l y down-ward so tha t my p ick i s h i t t i ng the s t r ings a t a fo rward ang le . You lay your p i ck f l a t aga ins t your s t r i ng andturn i t forward l ike you are turn ing a key in a lock. Turn i t to the point where the p ick s tar ts to s l ip of f thes t r ing ' Tha t ' s the ang le your r i gh t hand shou ld be a t . Tha t w i l l enab le your m idd le and r ing f i ngers to pu l ls t ra ight up. That saves nai l wear , be l ieve me.

my th i rd f inger , C at the 5th f retwi th my four th f inger . Again, I

repeat th is , then p lay s t r ing 4

Phrasn 3

40

Phrase 3 i s i den t i ca l to Phrase 1 .

Phrase 4Phrase 4 takes us to an E and A minor change .The open E is the root of the E chord, and the

Now I go back to one measure of D7 fo l lowed by one measure

ing of the A sect ion. You've heard th is phrase a lo t . l t 's noth ing

I use the forward banjo ro l l to p lay the G scale, f i t t ing in open

Phrase 5

Aga in , the open E s t r ing r ings above and i s common to bo th chords .

5th of the A chord.

Phrase 4 E, Am

D D l

Pract ice Point 1 : I use the same r ight -hand forward ro l l to p lay Gf at the 6th f ret on the four th s t r ing wi th my

fourth f inger, B at the 4th fret on the third str ing with my f irst f inger, and E at the Sth fret on the second str ing with

m y s e c o n d f i n g e r . l a l s o p l a y t h e o p e n E s t r i n g . I p i c k s t r i n g s 4 , 3 , 2 , t h e n 3 , 2 , 1 , t h e n s t r i n g 4 .

Th is f i nger ing may seem arn the next measure.

awkward at f i rs t , but i t 's necessary to be able to quick ly sh i f t to the A minor chord

Prac t i ce Po in t 2 :For the A m inor chord , I s l i de my fou r th f i nger up one f re t to p lay A a t the 7 th f re t on the fou r th

st r ing, s l ide my f i rs t f inger up one f ret to p lay C at the 5th f ret on the th i rd s t r ing, leave my second f inger on E on

the second s t r ing , and , o f course , p lay the open E s t r ing . Th is f i nger ing i s necessary to a l l ow access to the open E

s t r i n g . A g a i n , I p i c k s t r i n g s 4 , 3 , 2 , t h e n 3 , 2 , 1 , t h e n s t r i n g 4 .

Phrase 5o f G. Th is cons t i tu tes bo th the f i r s t and second end-

more than a G sca le , bu t p layed us ing open s t r ings .

st r ings wherever they f i t d ia tonica l ly .

G

P.P.1r P .P.2 -_ - , , - , - r P .P.3

5-

Pract ice Point 1 : I p lay F# at the 2nd f ret on the s ix th s t r ing wi th my f i rs t f inger , then s l ide i t to G at the 3rd f ret .

Then I p lay A on the open f i f th s t r ing. I p lay Ff to G wi th my p ick. l p lay the open f i f th s t r ing (A) wi th my middle

f inger .

Pract ice Point 2 : Now ls t retch my le f t hand out to p lay B at the 7th f ret on the s ix th s t r ing wi th my four th f in-

ger , C at the 3rd f ret on the f i f th s t r ing wi th my f i rs t f inger , and D on the open four th s t r ing. I p lay B wi th my p ick,

C wi th my middle f inger , and D wi th my r ing f inger . Try to keep your le f t -hand f ingers perpendicular to the st r ings

so that a l l three st r ings can r ing together . That sound is real ly important . l t 's l ike the ef fect you get at the p iano

when you push down the sus ta in peda l and p lay a sca le , l e t t i ng a l l t he no tes in the sca le sus ta in toge ther .

Pract ice Point 3 : I p lay E at the 7th f ret on the f i f th s t r ing wi th my four th f inger , F# at the 4th f ret on the four th

s t r ing w i th my f i r s t f i nger , and G on the open th i rd s t r i ng . Aga in , i t ' s p i ck , m idd le f i nger , r i ng f i nger .

Pract ice Point 4 : I end th is phrase wi th something I ca l l a "minor second" l ick . They ' re very common in banjo

music. I p lay G at the 5th f ret on the four th s t r ing wi th my four th f inger , Bb at the 3rd f ret on the th i rd s t r ing wi th

my f i r s t f i nger , and B on the open second s t r ing . Then I h i t G on the open th i rd s t r i ng once more . Th is l i ck sounds

d issonan t and funky , bu t when you p lay i t f as t i t sounds good . I p lay p ick , m idd le f i nger , r i ng f i nger , then p lay the

last G wi th my p ick.

4 1

Phrase INow let 's take a look at the B sect ion of th is tune. The Bpo in t than the A sec t ion , because ldon ' t use a fu l l ban joI use the p ick and midd le f i nger in an a r te rna t ing mot ion .section A.

sect ion is considerably easier f rom a r ight -hand stano-ro l l ; l don ' t use the p ick , m idd le , and r ing f i ngers . Ins tead ,I t on ly takes p lace on two st r ings, instead of three as in

Overa l l , I emp loy the same techn ique , us ing a rhy thmic phrase w i th the r igh t hand and repea t ing tha t rhy thmicphrase over a l l t he chords in the p rogress ion . I repea t the rhy thmic phrase aga ins t an open s t r ing tha t i s commonto a l l t he chords in the p rogress ion . Aga in , I use the open h igh E as the common s t r ing .

Just as a reminder , the B sect ion consis ts of one measure of C, one measure of A7, two measures of D7, two mea-sures of G7, one measure of C, then a f ina l measure broken in to two beats of G7 and two beats of C. The open Estr ing is the 3rd of the c chord. l t 's the 5th of A7. l t 's the 9th of the D7 chord, and the 6th of the G7 chord. That ,swhy I chose the open E st r ing.

My r ight hand p lays a lmost ent i re ly on the f i rs t and second st r ing, unt i l the end of the sect ion. There is no ro l l in-vo lved ; i t ' s j us t p i ck and midd le f i nger . My p ick p lays a l l t he no tes on the second s t r ing , and my midd le f i nger p laysal l the notes on the f i rs t s t r ing. l just a l ternate between the f i rs t and second st r inos.

Phrase 6 g

Pract ice Point 1 : I s tar t wi th my th i rd f inger on G at the Bth f ret on the second st r ing. My th i rd f inger is my an-chor f i nger in th i s ph rase ; I ho ld i t t h roughou t the phrase . My fou r th f i nger p lays C a t the B th f re t on the f i r s ts t r ing ' I p luck C wi th my middle f inger then pul l o f f to the open E st r ing. l t 's a b ig in terval sk ip f rom C to open E.

You real ly have to pul l o f f f rom C to E. You' re going to p lay that C wi th your four th f inger , and you,re going tohave to yank i t o f f the end of the f ingerboard in order to get the open E to r ing. pul l i t s t ra ight down toward thef loor ; don ' t just l i f t i t up of f the s t r ing. You real ly want that open E to r ing as loud as the other notes.

T h e n l p l a y G o n t h e s e c o n d s t r i n g . l l e t t h e o p e n E a n d t h e G r i n g t o g e t h e r . l n f a c t , l l e t t h e G r i n g t h r o u g h o u t t h erest of the phrase. Then I p lay A at the Sth f ret on the f i rs t s t r ing wi th my f i rs t f inger . I p luck that note wi th mymidd le f i nger on my r igh t hand , then pu l l o f f to open E aga in . Then I p lay G on the second s t r ing w i th my p ick ,then p lay B at the 7th f ret on the f i rs t s t r ing wi th my second f inger , p luck ing i t wi th my middle f inger . That ,s myrhythmic phrase.

Phrase 7Now the chord changes to A7, so I can ' t p lay Ci . I have to ra ise that note to C#. That g ives me the sound of theA / .

Phrase 7

42

A1

pract ice point 1 : I p lay 6f a t the 9th f ret on the f i rs t s t r ing wi th my four th f inger , p luck ing wi th my middle f inger .

I pu l l o f f to open E , then p lay G on the second s t r ing w i th my th i rd f i nger and the p ick . Aga in , I ho ld on to the G as

my anchor note, le t t ing i t r ing throughout the rest of the phrase.

Then I p lay B at the 7th f ret on the f i rs t s t r ing wi th my second f inger , then pul l o f f to open E, Then I p lay G on the

second st r ing, then A at the 5th f ret on the f i rs t s t r ing wi th my f i rs t f inger . At the end of the phrase, I have A and

G r ing ing toge ther , wh ich sounds a l i t t l e d i scordan t p layed s low ly bu t works when you speed i t up .

Phl'ase Iphrase B takes p lace over the D7 chord. l t 's a two-measure phrase. For th is phrase I move my anchor note down

one f ret f rom G at the Bth f ret on the second st r ing to Ff , a t the 7th f ret . Now lcan p lay the exact same phrase as

in Phrase 6 , w i th F f i n p lace o f G , and i t sounds l i ke a D7 chord .

pract ice point 1 : I move my th i rd f inger down one f ret to p lay Ff at the 7th f ret on the second st r ing ' I s tar t wi th

the C at the Bth f ret on the f i rs t s t r ing, pul l o f f to the open E, then p lay Ff on the second st r ing wi th the p ick. I le t

the Ff r ing throughout the rest of the phrase.

Then I pu l l o f f f rom A to E, then p lay F# and B. I end the phrase wi th Ff , and C p layed together . I p lay Ff , wi th my

p ick and C w i th my midd le f i nger .

Phl'ase 0Now I p lay G7 for two measures. I lower the anchor note one more f ret for th is phrase.

Phrase 8

Phrase 9

pract ice point 1 : I rep lace Fi l on the second st r ing wi th F i a t the 6th f ret , p layed wi th my second f inger . This is

now my ancnor note. Now I p lay the same rhythmic phrase, wi th a l l the same notes, except for the Fq. That makes

th is ph rase sound l i ke G7.

I pu l l o f f f rom C to open E, p lay F i , then pul l o f f f rom A to open E. Then I p lay F, then B'

pract ice point 2 : I just reverse a couple of notes in th is par t o f the phrase. I pu l l o f f f rom C to open E, p lay F, then

p lay B and pu l l o f f to open E . Then I p lay F and end on A .

4 3

Phrase l0Now I p lay th i s cu te l i t t l eand 1 . I p lay a l l t he no tesond and th i rd s t r i nqs w i th

open-st r ing l ick . l t 's a ragt ime l ickon the f i r s t s t r i ng w i th the m idd lemy p ick.

that takes p lace on st r ings 3,f i nger on my r igh t hand , and

2 , and 1 -mos t l y on 2al l the notes on tne sec-

Phrase 1 0C

Pract ice Point 1 : I s tar t in 5th posi t ion. I pu l l o f f f rom C at the Bth f ret on the f i rs t s t r ing wi th my four th f inger ,to A at the 5th f ret wi th my f i rs t f inger . I p luck the f i rs t -s t r ing notes wi th my middle f inger . Then I p lay G at theBth f ret on the second st r ing wi th my th i rd f inger and the p ick. Then I p lay open E wi th my middle f inge r again.Pract ice Point 2 : Then I s l ide down to 4th posi t ion and p lay F at the 6th f ret on the second st r ing wi th my th i rdf inger and the p ick ' I pu l l o f f to my f i rs t f inger on D# at the 4th f ret . Then I p lay open E wi th my middle f inger .That 's a minor 2nd in terval . l t sounds weird p layed s lowly, but i t 's cool when you p lay i t faster . Then I p lay C at the5th f ret on the th i rd s t r ing wi th my second f inger and p ick.

Pract ice Point 3 : Now I sh i f t down to 3rd posi t ion and p lay A at the sth f ret on the f i rs t s t r ing wi th my th i rd f in-

ff i t : : i : : ' : :^: l t j mv middle f inger' I pul l off from A to G at the 3rd fret, ptaying G with my f irst f inger. Then I ptayu+ i 0n the second s t r ing w i th my second f i nger and p ick , then open E , then p tay C on the th i rd s t r i ng w i th my th i rdf inger and p ick .

Pfirase I IThe B sect ion repeats, just l ike the A sect ion d id. Phrase 11 is the second ending of the B sect ion. l t ,s near ly ident i -ca l to Phrase 10, wi th a couple of notes miss inq.

Phrase 1 1

P.P.2

P.P,2

Practice Point

Practice Point

1 : l den t i ca l

2 : l d e n t i c a l

to Phrase 10, Pract ice point 1 .

to Phrase 10, Pract ice point 3 .

44

Underslaltd the ConceplTne who le idea beh ind th i s lesson and the en t i re Pro l i cks se r ies i s no t so much to show you the l i cks - though I

ag ree tha t they a re a l l good and ve ry use fu l , and tha t you shou ld p rac t i ce s low ly and incorpora te them in to yourg iay ing . Bu t i t ' s more impor tan t tha t you unders tand the concep t beh ind the l i cks . I wan t you to unders tand how

and why I came up w i th these ideas . In o ther words , I wan t you to unders tand how I ' ve jus t taken the p rogress ion

:na t I have to so lo over , and bu i l t o r chosen t r i ads undernea th an open s t r inq tha t ' s common to a l l t he chords in

the p rogress ion .

This doesn' t have to be done wi th just these chords-D7 to G. l t can be done wi th any ser ies of chords. l t 's a tech-' r ique that is avai lab le to you in a l l d i f ferent keys in a l l d i f ferent p laces a l l over the neck. l f you l is ten to guys l ike

Chet A tk ins and Je r ry Reed , you ' re go ing to hear a l l k inds o f d i f fe ren t pe rmuta t ions o f th i s same techn ique . Now

that you understand how i t works, you should have no t rouble recogniz ing i t on records.

Take wha t I ' ve shown you here and , more than jus t l ea rn ing and p lay ing these l i cks , go back and ana lyze how I

came up w i th them, and come up w i th your own l i cks . You ' l l i nco rpora te th i s techn ique in to your p lay ing muchfaster i f you come up wi th your own ideas rather than mine. l 've g iven you a point o f depar ture. Go ahead and f ly .

4 5

Wol'kiltu [U|an's Liclrshis chapter covers what I ca l l "Work ing Man's L icks" or "Work ing Man's Country Gui tar . " What I mean by thephrase "work ing man" i s , l i cks tha t sound ve ry t rad i t i ona l and au then t i c - l i cks tha t have been p layed andrecorded so many t imes over the years, they ' l l make you sound country by p lay ing them even i f you 've never

p layed country gui tar in your l i fe . Phrases such as those l ' l l show you in th is chapter have been recorded by p layerssuch as Sco t ty Moore , James Bur ton , and Hank Gar land . I s to le a lo t o f the phras ing f rom these peop le .

l ' ve taken a p rogress ion , the t rad i t i ona l work ing man 's b lues p rogress ion , wh ich i s a 12-bar b lues in A , and l ' veworked out four choruses of phrases. So you can hear what these l icks are going to sound l ike in the context of anac tua l mus ica l p roqress ion .

N*NwwNwNwN WNwW-N MNmNwwFast Country ) =212

A7G t r . I ( c l c a n )

00f u l l m i n u s

0 a n 0 g u r t a r:i; $lsi

a

8

Phrase 2

46

l /? ho ld bendI ^ . . - '

Ph rase 4

a a- . a 1 . . . ) O

-

Phrase 5

Phrase 6

'--\---_-

4 7

h o l d b e n d

/ Y tIrf-T--- o-

D 7 N . C .

48

P h r a s e 1 3 -

l i r l l I lJt a

--- 5-

49

Phrase 1 6 _

D 7 N . C .

b pT -*lQo ? Qt, ,

bA ]

1 !_l2 z Q

br

Phrase 1 B

U2

fu l l

50

Phrase 20

f - - - - 1 - - - - -f i r l l ho ld bend l i r l l l ro ld hcnd

=L- " ,, 12--:

" p

D ] N . C .

a1__J J

Phrase 22

Thn $oloPhnase 1You've probably heard th is l ick many t imes.

Phrase 1 o,,,''

ful l hold bend

5 1

Pract ice Point 1 : I s tar t in 5th posi t ion. I p lay G at the Bth f ret on the second st r ing wi th my four th f inger . I bendthat note up a whole s tep to A. I bend over two e ighth notes, then on the second beat of the measure, I p lay theunison A at the Sth f ret on the f i rs t s t r ing wi th my f i rs t f inger . On the th i rd beat of the measure, I p lay the f i rs ts t r i ng A aga in , then p lay the ben t A on the second s t r ing and re lease i t back to G. I ho ld the ben t second s t r ing thewho le t ime , un t i l I re lease i t a t the end o f the measure , l e t t i ng the s t r ings r ing toge ther .

Pract ice Point 2 : Now I do the same th ing on st r ings 3 and 2. I p lay D at the 7th f ret on the th i rd s t r ing wi th myth i rd f i nger and bend i t up a who le no te to E , then p lay the un ison E a t the 5 th f re t on the second s t r ing w i th myf i rs t f inger . Then I h i t the E on the second st r ing again, then p lay the bent E on the th i rd s t r ing, then re lease i t to D.

Pract ice Point 3 : Then I move down to 2nd posi t ion and do the same th ing, on the second and th i rd s t r ings. I p layB a t the 4 th f re t on the th i rd s t r i ng w i th my th i rd f i nger , bend i t up a who le s tep to C# , then p lay the un ison C f a tthe 2nd f ret on the second st r ing wi th my f i rs t f inger . I p lay the second st r ing again, then p lay the bent th i rdst r ing, then re lease i t . I end the phrase wi th G at the 5th f ret on the four th s t r ing wi th my four th f inger .

Phrase 2Phrase 2 beg ins on the th i rd and fou r th s t r i ngs .

Phrase 2

P. P.3

++

r P .P.6

F - Y2 -n {4)

Pract ice Point 1 : I p lay F at the 3rd f ret on the four th s t r ing wi th my th i rd f inger , then s l ide i t up one f ret to F# atthe 4th f ret . Then I p lay the open G st r ing. I then p lay Ff , G, F#. Then I do the s l ide again, f rom the 3rd to the 4thf re t on the fou r th s t r i ng . I p lay a l l t he no tes on the fou r th s t r i ng w i th my p ick , and the open G w i th the m idd lef inger on my r igh t hand . l t ' s an a l te rna t ing mot ion be tween my p ick and midd le f i nger , down w i th the p ick , upw i th the f i nger . A lso , l l e t the F# and G r ing toge ther .

Pract ice Point 2 : I a l ternate between F# and G two more t imes.

Pract ice Point 3 : I descend down a d iatonic , A major scale. I p lay E at the 2nd f ret on the four th s t r ing wi th myf i rs t f inger , then p lay the open four th s t r ing. Then I p lay Cf a the 4th f ret on the f i f th s t r ing wi th my th i rd f inger , Bat the 2nd f ret wi th my f i rs t f inger , and open A.

Pract ice Point 4 : I p lay the open A, then p lay C at the 3rd f ret on the f i f th s t r ing wi th my th i rd f inger , then s l ideup one f ret to Cf at the 4th f ret . Then I p lay E at the 2nd f ret on the four th s t r ing wi th my f i rs t f inger , F# at the4th f ret wi th my th i rd f inger , then E wi th f i rs t f inger . Then I p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs tf inger .

Pract ice Point 5 : I p lay B at the 4th f ret on the th i rd s t r ing wi th my th i rd f inger , and s imul taneously p lay E at the5th f ret on the second st r ing wi th my four th f inger . I p lay both notes together as a double s top. I then bend the Bup a who le s tep to C f , , wh i le le t t i ng the E r ing . l t hen re lease the bend , l e t t i ng the B and E r ing toge ther . Then Ip lay A a t the 2nd f re t on the th i rd s t r i ng w i th my f i r s t f i nger , s t i l l l e t t i ng the E r ing . Then , wh i le ho ld ing those twonotes, I p iay F# at the 4th f ret on the four th s t r ing wi th my th i rd f inger .

52

Pract ice Point 6 : Then I p lay A on the th i rd s t r ing wi th my f i rs t f inger and D at the 3rd f ret on the second st r ingwi th my second f inger . I p lay these notes together as a double s top. Whenever I p lay double s tops, I p lay the lowerno te w i th my p ick and the h igher no te w i th my midd le f i nger . I pu l l t hem hard because I wan t tha t snap . Tha t ' s thecountrv sound.

Phrase 3over the D chord, the lV ( foud chord in the progress ion, and the A chord, the I (one) chord.Phrase 3 takes p lace

s e 3 A ]Phra

iA

"1:A-8

rkl'nd

, t ' ]l

Pract ice Point 1 : I s tar t in th i rd posi t ion. I p lay E at the 5th f ret on the second st r ing wi th my th i rd f inger , thenbend i t up a who le s tep to F f , . Wh i le ho ld ing the bend , I p lay A a t the 5 th f re t on the f i r s t s t r i ng w i th my fou r thf inger . Then wh i le s t i l l ho ld ing the bend , I p lay G a t the 3 rd f re t on the f i r s t s t r i ng w i th my f i r s t f i nger . Then I h i tthe bent note and re lease i t back to E.

Pract ice Point 2 : Then I sh i f t my th i rd f inger over to p lay B at the 4th f ret on the th i rd s t r ing. I bend that note ahal f s tep to C, then p lay E at the 5th f ret on the second st r ing wi th my four th f inger . I don ' t bend the B to C# be-cause I 'm p lay ing over the D chord and I wan t the Cq , the dominan t 7 th o f the D chord . Then I p lay D a t the 3 rdf ret on the second st r ing wi th my f i rs t f inger . Then I h i t the bent note and re lease i t back to B.

Pract ice Point 3 : Then I p lay F# at the 4th f ret on the four th s t r ing wi th my th i rd f inger and bend i t up a hal f s tepto G. Then I p lay A a t the 2nd f re t on the th i rd s t r i ng w i th my f i r s t f i nger . I t hen p lay the G, then the A aga in . ThenI p lay the G, re lease i t t o F# , then bend i t back to G.

Pract ice Point 4 : Then I p lay A again, p lay G, A, G, and re lease to Ff . Then I p lay E at the 2nd f ret on the four thst r ing wi th my f i rs t f inger , then C at the 3rd f ret on the f i f th s t r ing wi th my second f inger , then Cf at the 4th f retw i th my th i rd f i nger . Then I p lay A a t the 2nd f re t on the th i rd s t r i ng aga in .

Phl'ase 4Now we get to the V ( f ive) chord, the E7.

Phrase 4 E1

Practice Point 1 : I play D5th f ret . Then I p lay Gf , a t

at the 3rd f ret on the secondthe 4th f ret on the f i rs t s t r inq

s t r ing w i th my second f i nger . I s l i de tha t f i ngerwi th my f i rs t f inger .

ho ld bend

-i

t r_*__+:_ J= =+ 4 ( 4 ) l

I

to E a t the

53

Pract ice Point 2 : Then I p lay Gf , again, h i t E on the second st r ing, s l ide i t back to D, then p lay B at the 4th f ret onthe th i rd s t r i ng w i th my th i rd f i nger .

Phrase 5Here we go back to the last chord in the f i rs t chorus, the A or A7 chord. This is a pedal s teel - type l ick .

Phrase 5 Dj N.C.

Pract ice Point 1 : I p lay B at the 4th f ret on the th i rd s t r ing wi th my th i rd f inger , bend i t up a whole s tep to C#,then p lay A at the 5th f ret on the f i rs t s t r ing wi th my four th f inger . This is where i t gets t r icky. I ho ld that bendand p lay C#, then Ff at the 2nd f ret on the f i rs t s t r ing wi th my f i rs t f inger , then C# again, then E at the 5th f ret onthe second s t r ing w i th my fou r th f i nger , a l l wh i le le t t i ng the bend r ing .

Pract ice Point 2 :Then I p lay Cf again, re lease i t to B, then p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs tf inger .

Pract ice Point 3 : Then I grab the three top st r ings wi th my th i rd f inger on B at the 4th f ret on the th i rd s t r ing,and a four th f inger barre at the 5th f ret across the f i rs t and second st r ings, to p lay E and A. I p luck those threes t r ings wh i le I bend B up to C# . t do th i s tw ice to ge t tha t peda l -s tee l sound . Then I p luck the th ree no tes a th i rdt ime, re lease the Cf to B whi le I ho ld the notes, then p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger .

Phl'ase $I s tar t the second chorus wi th a l i t t le ch icken p ick in i

Phrase 6

54

tirl IfLrllt

iPract ice Point 1 : I p lay E at the 2nd f ret on the four th s t r ing wi th my f i rs t f inger , then Ff , a t the 4th f ret wi th myth i rd f inger , then A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger .

Pract ice Point 2 : Then I p lay B at the 4th f ret on the th i rd s t r ing wi th my th i rd f inger .0n the second hal f o f beat 1,I bend that note up a s tep to Cf , . Then I s tar t an a l ternat ing mot ion between my p ick and the middle f inger on myr ight hand. I p lay a p icked note, muf f led by t i l t ing the p ick downward so much that as I p ick the note, my thumb onmy r ight hand brushes against the st r ing r ight af ter the p ick. You can a lmost get a harmonic out of the st r ing th isway, but real ly you just want to muf f le the note a l i t t le . Every t ime I p ick i t th is way, l just get a percussive thump.

Then I p lay the same no te w i th the m idd le f i nger on my r igh t hand , bu t th i s t ime I l e t the no te r ing c lea r l y . Then Ia l ternate between these two sounds a few t imes, unt i l ha l fway through the next measure.

Pract ice Point 3 : Then I p lay the C# c lear ly , re lease to B, then p lay A at the 2nd f ret on the th i rd s t r ing wi th myf i rs t f inger . Af ter that , I p lay B on the th i rd s t r ing, bend i t qu ick ly to Cf , , then p lay A again.

Phrase 7I s tar t Phrase 7 wi th the same l i t t le p ickup, then get in to a ser ies of ascending bends and some cool double s tops.

Ph raset l l,i\

p p ? p D ?

fu l lt

t i r l l

l{ - + - 8 - '7 ' 7 - 7 \ 7 1

Pract ice Point 1 : ldent ica l to Phrase 6, Pract ice Point 1 .

Pract ice Point 2 : I p lay B at the 4th f ret on the th i rd s t r ing wi th my th i rd f inger , bend i t up a whole s tep to Cr ,then p lay the unison Cf , a t the 2nd f ret on the second st r ing wi th my f i rs t f inger .

Prac t i ce Po in t 3 :Then I s l i de up one f re t and do the same th ing . I p lay C l a t the 5 th f re t on the th i rd s t r i ng w i thmy th i rd f inger , bend i t up a whole s tep to D, then p lay the unison D at the 3rd f ret on the second st r ing wi th myf i rs t f inger . Then I s l ide i t up one more f ret and do the same th ing, then another f re t and bend D at the 7th f ret upto E, and p lay the E unison at the Sth f ret on the second st r ing.

Pract ice Point 4 : Then I p lay a double-stop bend. I p lay D at the 7th f ret on the th i rd s t r ing wi th my th i rd f ingerand s imu l taneous ly p lay G a t the B th f re t on the second s t r ing w i th my fou r th f i nger . I p lay the D w i th my p ick andt h e G w i t h m y m i d d l e f i n g e r . l b e n d t h e D u p a w h o l e s t e p t o E , w h i l e h o l d i n g t h e G . T h e n l p l u c k t h e E a n d G t o -gether , then a second t ime, then re lease the E to D.

Pract ice Point 5 : Then I p lay C at the 5th f ret on the th i rd s t r ing wi th my f i rs t f inger , together wi th G, then ham-mer on Cf at the 6th f ret wi th my second f inger . Then I p lay A at the 7th f ret on the four th s t r ing wi th my th i rdf inger , together wi th G.

Phrase IPhrase I inc ludes a double-stop bend. When doing double-stop bends, you want to be very carefu l to keep bothst r ings para l le l to 0ne another . Don' t t ry to consciously bend one st r ing d i f ferent ly than the other , even when thenotes you ' re bending to are not the same dis tance f rom the star t ing notes.

D7

+5 l

II

o :5 6

55

Phrase 8,/ L\

Pract ice Point 1 : I p lay D at the 7th f ret on the th i rd s t r ing wi th my th i rd f inger and F# at the 7th f ret on the sec-ond st r ing wi th my four th f inger . I bend both notes together , the D up a whole s tep to E, and the t f up a hal f s tepto G. Concen t ra te on bend ing the D to E and jus t keep the p# para l le l to tha t s t r i ng , and i t w i l l go to the r igh tp lace . Then I p lay the D and F# toge ther w i thou t the bend .

Pract ice Point 2 : Now I barre at the 7th f ret across the second and th i rd s t r ings wi th my th i rd f inger . I p lay the Dand Ff together , then pul l o f f to p lay C and E at the 5th f ret on the second and th i rd s t r ings wi th my f i rs t f inger .Then I p lay A at the 7th f ret on the four th s t r ing wi th my th i rd f inger . Then I repeat that l ick one more t ime andend on the 7th- f ret barre. And I repeat that ent i re l ick a second t ime. I p lay the A on the four th s t r ing wi th myp ick and the no tes on the second and th i rd s t r i ngs w i th the m idd le and r ing f i ngers on my r igh t hand .

Phrase INow lgo back to the | (one) chord , the A7 chord and some coo l doub le -s top , ch icken p ick in ' l i cks .

Phrase I A.7

fu l l ho ld benc lt 4 - i - ^

. ) t +t

&^x f 6 I I

7

Prac t i ce Po in t 1 : I p lay D a t the 7 th f re t on the th i rd s t r i ng w i th my th i rd f i nger , and a t the same t ime G a t theBth f ret on the second st r ing wi th my four th f inger . I bend D up a whole s tep to E and p lay that double s top, at ter -na t ing be tween a ch icken p ick in ' techn ique and a c lea r l y heard doub le s top . I p lay the ch icken p ick in 'w i th adowns t roke o f the p ick , muf f ied by my thumb. Then I p luck the doub le s top w i th the m idd le and r ing f i ngers on myr igh t hand . I on ly p i ck the th i rd s t r i ng when I ge t the muf f led sound , bu t I p lay the second and th i rd s t r i ngs to -ge ther w i th my r igh t hand f i ngers . I p lay the ben t E and the G toge ther fo r one measure .

Prac t i ce Po in t 2 : I con t inue to p lay the doub le s top , a l te rna t ing w i th the ch icken p ick in ' , bu t each t ime I p lay thebent E on the th i rd s t r ing, I lower i t ever so s l ight ly , so by the t ime I get through e ight beats { two measures) , i tl owers back down to D . Tha t g i ves me tha t k ind o f s leazy sound .

Pract ice Point 3 : At the end of the phrase, I le t go of the D and p lay C at the 5th f ret on the th i rd s t r ing wi th myf i rs t f inger , together wi th G. Then I hammer on C#, then p lay A at the 7th f ret on the four th s t r ing wi th my th i rdf inger together wi th G.

Phl'ase l0Phrase 10 is p layed over the E orV ( f ive) chord in 5th posi t ion.

5 6

Phrase 10 E7

f ----\

Pract ice Point 1 : I p lay F# at the 7th f ret on the second st r ing wi th my th i rd f inger .Over two quar ter notes, I bendthe F t up a who le s tep to G i l , t hen p lay B a t the 7 th f re t on the f i r s t s t r i ng w i th my fou r th f i nger wh i le le t t i ng thecen t no te r ing . Then I p lay the ben t G# aga in , p lay A a t the 5 th f re t on the f i r s t s t r i ng w i th my f i r s t f i nger , then G#again. Then I re lease the G# to F i l , and then p lay E at the 5th f ret wi th my f i rs t f inger .

Phrase | |Phrase 10 se t me up fo r the open-s t r ing l i ck I p layrck is to le t the st r ings r ing together . l t 's supposed

l 1 D 7 N . C .

over the break in Phrase '11. The whole ef fect o f an open-st r ingto sound l ike a cascadino ef fect .

A]L6e

F'H

Ia

p p r D P ) P P ?

{

Pract ice Point 1 : I s tar t in 5th posi t ion f ret t ing an 46 chord. I ho ld A at the 7th f ret on the four th s t r ing wi th myth i rd f inger , Cf at the 6th f ret on the th i rd s t r ing wi th my second f inger , F# at the 7th f ret on the second wi th myfour th f inger , and A at the 5th f ret on the f i rs t s t r ing wi th my f i rs t f inger .

I p lay A on the f i r s t s t r i ng , F# on the second s t r ing , then the open f i r s t s t r i ng , then F i l aga in . I p lay the f i r s t s t r i ngw i th the m idd le f i nger on my r igh t hand and the second s t r ing w i th the p ick . I a l te rna te back and fo r th w i th thep i c k a n d m i d d l e f i n g e r o n m y r i g h t h a n d .

Prac t i ce Po in t 2 : Then I p lay G a t the 3 rd f re t on the f i r s t s t r i ng w i th my f i r s t f i nger (a b i t o f a s t re tch ) , then F ion the second s t r ing , then the open f i r s t s t r i ng , then C f , on the th i rd s t r i ng . Aga in , I a l te rna te be tween the p ick andt h e m i d d l e f i n g e r o n m y r i g h t h a n d .

Pract ice Point 3 : I sk ip over to the second and th i rd s t r ings now. I p lay Ff , on the second st r ing, Cf on the th i rds t r ing , the open second s t r ing , then A on the fou r th s t r i ng . Then I p lay C# and A aga in , then p lay the open th i rds t r ing . I end on A on the fou r th s t r i ng .

Prac t i ce Po in t 4 : I l e t go o f the AG chord a t th i s po in t and leave the open s t r ings beh ind here . I p lay G a t the 5 thf ret on the four th s t r ing wi th my f i rs t f inger , then E at the 7th f ret on the f i f th s t r ing wi th my th i rd f inger , s l idedown to D a t the 5 th f re t , then p lay C a t the 3 rd f re t w i th my f i r s t f i nger . I bend the C s l i gh t l y to sound C i , thenplay A at the 5th f ret on the s ix th s t r ing wi th my th i rd f inger .

t2The th i rd chorus s ta r t s an oc tave up , i n 14 th pos i t i on , then moves down w i th doub le s tops a l te rna t ing w i thch icken p ick in i

Phrase 12 A1

hold bcnd+

Phrase

t i r l ls

5 7

Pract ice Point 1 : I p lay B at the 16th f ret on the th i rd s t r ing wi th my th i rd f inger , together wi th E at the 17th f reton the second st r ing wi th my four th f inger . I p lay both notes together , then bend B up a whole s tep to C#. Then I doa ch icken p ick in ' techn ique s im i la r to the one I d id in Phrase 9 . I p lay the doub le s tops w i th the m idd le and r ing f i n -gers on my r ight hand. In between those notes, I p ick the th i rd s t r ing, b lock ing the sound of the st r ing wi th the mid-d le f inger on my r ight hand, creat ing a percussive thump. I a l ternate between the double s top and the thump. At theend of the phrase, I re lease the bend to B, then p lay A at the 14th f ret on the th i rd s t r ing wi th my f i rs t f inger .

Pract ice Point 2 : Then I barre at the 14th f ret on the second and th i rd s t r ings wi th my f i rs t f inger . F i rs t I p lay athump w i th my p ick , come back up ac ross the doub le s top w i th my midd le and r ing f i ngers , then go down and p laya p icked th i rd s t r i ng aga in , bu t th i s t ime le t i t r i ng . Then I move my f i r s t f i nger down to the 12 th f re t , s t i l l ba r r ingthe second and th i rd s t r i ngs , and do i t aga in .

Prac t i ce Po in t 3 : Then I p lay ano ther thump, then p lay F# a t the 11 th f re t on the th i rd s t r i ng w i th my th i rd f i ngerand A at the 1Oth f ret on the second st r ing wi th my second f inger . Then I move down two f rets to p lay E at the9th f ret on the th i rd s t r ing wi th my th i rd f inger and G at the Bth f ret on the second st r ing wi th my second f inger ,af ter a nother percussive th u m p.

Prac t i ce Po in t 4 : I keep mov ing down, a l te rna t ing w i th the thump. Th is t ime , I p lay D a t the 7 th f re t on the th i rdst r ing and F# at the 7th f ret on the second st r ing wi th a th i rd- f inger barre. Then I p lay C# at the 6th f ret on theth i rd s t r ing wi th my second f inger and E at the 5th f ret on the second st r ing wi th my f i rs t f inger .

Pract ice Point 5 : I move down one more f ret , to p lay C at the 5th f ret on the th i rd s t r ing wi th my second f ingerand Eb at the 4th f ret on the second st r ing wi th my f i rs t f inger . But th is t ime I bend both notes up a hal f s tep, thenre lease. Then I move down one more f ret wi th the same shape, bend them up a hal f s tep, then re lease them. Then If in ish the phrase wi th a f i rs t - f inger barre at the 2nd f ret on the second and th i rd s t r ings, where I p lay A and Cf .

Phrase 13Phrase 13 i s a s ing le -s t r ing l i ck in 5 th pos i t i on , p layedminor pen ta ton ic pa t te rn .

Phrase 13 D l

over the D or lV ( four) chord. This l ick is based in an A

Pract ice Point 1 : I , p lay C at the Sth f ret on the th i rd s t r ing wi th my f i rs t f inger , then D at the 7th f ret wi th myth i rd f inger , then Eb at the Bth f ret wi th my four th f inger , then E at the 5th f ret on the second st r ing wi th my f i rs tf inger .

Pract ice Point 2 : Then I descend to Ebon the th i rd s t r ing, then D, C, and A at the 7th f ret on the four th s t r ingw i th my th i rd f i nger . Then I p lay D on the th i rd s t r i ng , A on the fou r th s t r i ng , C on the th i rd s t r i ng , and A on thefour th s t r ino.

58

Pract ice Point 3 : I repeat the same phrase, but instead

s t r ing , l j us t bend D up a who le s tep to E , choke i t , t henof the ending that a l ternates between the th i rd and four thp lay C and g ive i t a tug .

i6c 14

&"'l'IFTEIh8

Phrase l4Phrase 14 i s p layed over an A chord and i s based on an A ma jo r pen ta ton ic in 2nd pos i t i on . Th is ph rase has an

open-st r ing ef fect wi thout actual ly involv ing any open st r ings.

- _ + 5 - .E

--q-J

Pract ice Point 1 : I p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger , B at the 4th f ret wi th my th i rd

f inger , Ci a t the 5th f ret wi th my four th f inger , then Cf , a t the 2nd f ret on the second st r ing wi th my f i rs t f inger . I

con t inue up the sca le ch romat i ca l l y w i th D a t the 3 rd f re t on the second s t r ing w i th my second f i nger , Eb a t the

4th f ret wi th my th i rd f inger , E at the 5th f ret wi th my four th f inger , and Ff , a t the 2nd f ret on the f i rs t s t r ing wi th

my f i rs t f inger . I ho ld the E on the second st r ing whi le I p lay Ff , on the f i rs t s t r ing.

Pract ice Point 2 : Then I p lay G at the 3rd f ret on the f i rs t s t r ing wi th my second f inger , pu l l o f f to Ff i a t the 2nd

f re t w i th my f i r s t f i nger , hammer on to G aga in and p lay i t tw ice , pu l l o f f to F# aga in , then p lay E a t the 5 th f re t

on the second st r ing wi th my four th f inger . Then I repeat that l ick .

Pract ice Point 3 : I p lay D at the 3rd f ret on the second st r ing wi th my second f inger , E at the 5th f ret wi th my

four th f inger , then reach down to p lay C at the 1st f re t wi th my f i rs t f inger , s l ide up one f ret to p lay Cf at the 2nd

fret wi th my f i rs t f inger , then p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger .

Phrase 15Phrase 15 i s ano ther s ing le*no te l i ck , beg inn ing in second pos i t i on .

Phrase 1 5

Pract ice Point 1 : I p lay F# at the 2nd f ret on the f i rs t s t r ing wi th my f i rs t f inger , then G at the 3rd f ret wi th rn ' l

second f inger , G# at the 4th f ret wi th my th i rd f inger , then open E.

Pract ice Point 2 : Then I move up to 3rd posi t ion and p lay Gi wi th my f i rs t f inger , Gf wi th my second, and A a:

the 5th f ret wi th my th i rd f inger . Then I p lay Gi at the 3rd f ret wi th my f i rs t f inger , s l ide up one f ret to Q! 1r 's"

p lay E at the Sth f ret on the second st r ing wi th my second f inger , C# at the 6th f ret on the th i rd s t r ing w th " " ,th i rd f inger , B at the 4th f ret on the th i rd s t r ing wi th my f i rs t f inger , and E at the 5th f ret on the second st ' "Q

wi th my second f inger .

59

Phrase

Phl'ase 1$Phrase 16 fea tu res a descend ing ch romat i c run a l te rna t ing w i th an open s t r ing .

P h r a s e 1 6 D l N . C .

Pract ice Point 1 : I p lay A at the 1Oth f ret on the second st r ing wi th my th i rd f inger , then the open second st r ing.Then I p lay G# at the 9th f ret wi th my second f inger , then the open second st r ing. I keep moving down chromat i -ca l ly , p lay ing the open second st r ing between each f ret ted note. I p lay G at the Bth f ret , open, F# at the 7th f ret ,open, F i a t the 6th f ret , open, E at the 5th f ret , open.

Pract ice Point 2 : fo f in ish the phrase, I p lay F# at the 7th f ret wi th my th i rd f inger , then C at the 5th f ret on theth i rd s t r ing wi th my f i rs t f inger , bend the C a l i t t le , then p lay A at the 7th f ret on the four th s t r inq wi th mv th i rdf inger .

ltPhrase 17 i s a peda l -s tee l , s l i de k ind o f l i ck tha t you 've heard peda l s tee l gu i ta r i s t s l i ke Red Rhodes p lay . Th is i swhere the f i na l chorus beg ins . Th is ph rase takes p lace comp le te ly on the f i r s t and second s t r ings .

Phrase 17 A1

r ' . f . t _ P . P t _ P P

43.211-*- 1V15-

Pract ice Point 1 : I p lay G at the 8th f ret on the second st r ing wi th my four th f inger , then s l ide up one f ret to G#at the 9th f ret . Then I p lay A at the 5th f ret on the f i rs t s t r ing wi th my f i rs t f inger . I le t the two st r ings r ing to-ge ther , c rea t ing d issonance . I use the p ick on the second-s t r ing no tes and the m idd le f i nger on my r igh t hand onthe f i r s t - s t r i ng no tes , i n an a l te rna t ing mot ion .

Pract ice Point 2 : I keep my two le f t -hand f ingers down, my four th f inger on G# and my f i rs t f inger on A. I p lay G#wi th my four th f inger , then s l ide i t up one f ret to A at the 1Oth f ret on the second st r ing. As I s l ide my hand upone f ret , my f i rs t f inger s l ides up one f ret to p lay Bb' a t the 6th f ret on the f i rs t s t r ing.

Pract ice Point 3 : I make the same move three more t imes. I p lay A at the 1Oth f ret on the second st r ing, s l ide upto Bb at the 11th f ret , then p lay Bi a t the 7th f ret on the f i rs t s t r ing wi th my f i rs t f inger . Then I p lay Bb on thesecond s t r ing , s l i de up to B i a t the 12 th f re t , and p lay C a t the 8 th f re t on the f i r s t s t r i ng . The th i rd t ime , I p lay B lat the 12th f ret on the second st r ing, s l ide to C at the 13th f ret , then p lay Cf at the 9th f ret on the f i rs t s t r inqwi th my f i rs t f inger . I ho ld on Cf for one beat .

60

Pract ice Point 4 : Then I cont inue the

th i rd t ime , I p lay D a t the 15 th f re t on

fret on the f i rs t s t r inq.

S a m e m o v e m e n t a n o t h e r t h r e e t i m e s , m o v i n g u p c h r o m a t i c a l l y u n t t l ' t h e

the second s t r ing , s l i de up t0 Eb a t the 16 th f re t , then p lay E a t the 12 th

four th f inger , E at the 12th f ret on the

the 14th f ret on the f i rs t s t r ing wi th my

my f i rs t f inger up a whole s tep to Cf , . I

the th i rd s t r ing wi th my second f inger .

pract ice point 5 : I p lay Eb at the 16th f ret on the second st r ing wi th my

f i rs t s t r ing wi th my f i rs t f inger , Eb on the second st r ing again, then Ff , a t

th i rd f i nger . Then I p re -bend B a t the 12 th f re t on the second s t r ing w i th

plav the Cf , then re lease the note to B. Then I p lay A at the 14th f ret on

Phrase 18a s imple double-stoP r i f f .Ph rase 1 8

Ph rase 1 9

Phrase 1 I

l( . r . 1 -

l l )

,^> -

P.P.2

s t r ing , keep the s t r ings para l le l , and the th i rd s t r i ng w i l l go where i t ' s

sound ing the A-C doub le s top , then re lease them to the unben t G-B '

A-r^ z'\ A - / \ i \

+--

Practice Point 1 : I pre-bend G at the 12th

second st r ing wi th my four th f inger ' I bend

s t r ings . Concen t ra te on bend ing the second

supposed to on i ts own. I h i t the two notes,

Practice Point 2: I PlaY Ff, at

f re t on the second st r ing wi th

down another f re t to PlaY E at

Phl'ase 10a s tandard peda l -s tee l l i ck in D .

f ret on the th i rd s t r ing wi th my th i rd f inger and B at the 12th f ret on the

G up a who le s tep to A and bend B up a ha l f s tep to c i be fo re I h i t the

the 11 th f re t on the th i rd s t r i ng w i th my th i rd f i nger , toge ther w i th A a t the '1Oth

my second f inger . Then I mgve that shape down one f ret to p lay Ff and Ab, then

the 9th f ret on the th i rd s t r ing and G at the Bth f ret on the second st r ing '

Phrase 1 9 D1

P.P.2ful I-\ 'i h o l d b e n d- - - {

Practice Point 1 : I PlaY a

f ret on the second st r inglooks l ike a C6 chord, but

A-C double stop together.

I use the m idd le and r ing

nOtes.

- f- *S-! -*-,..2

/\,,,,\

f re t ted chord w i th C a t the B th f re t on the f i r s t s t r i ng w i th my f i r s t f i nger , A a t : "e ' l : -

w i th my fou r th f i nger , and E a t the 9 th f re t on the th i rd s t r i ng w i th my second "ce ' :

i t i s a l so a Dg chord . I bend the E up a who le s tep to F f , on the th i rd s t r rng , the" c a , : - t

Then I p lay the ben t F f i aga in . Then I p lay the doub le s top , fo l l owed by the ben : F ' ega '

f i n g e r o n m y r i g h t h a n d t o p l u c k t h e d o u b l e s t o p , a n d t h e p i c k t o p l a y t h e t h r : - - - : ' ^ l

6 l

Pract ice Point 2 : l p lay the l ick again. I re lease the bent Ff , to E, p lay the E, thenstop, Ff , double s top, F#, re lease the bent F# to E, then bend i t back to Ff . Then I1Oth f ret across the f i rs t and second st r ing and p lay A and D together .

Pract ice Point 3 : ldent ica l to Pract ice Points 1 and 2.

bend i t back to F f , . I p lay doub lelay my four th f inger down at the

Phrase 20Phrase 20 begins a ser ies of descending 46 t r iads.

Pract ice Point 1 : I s tar t in 9th posi t ion wi th what amounts to an F# minor chord, or an A6 chord. I p lay C# at the9th f ret on the f i rs t s t r ing wi th my f i rs t f inger , A at the 1Oth f ret on the second st r ing wi th my second f inger , andFf , a t the 11th f ret on the th i rd s t r ing wi th my th i rd f inger . Then I move that shape down chromat ica l ly , f i rs t onefret , then another f re t . I p lay the th i rd s t r ing wi th my p ick, the second st r ing wi th my middle f inger , and the f i rs ts t r i ng w i th my r ing f i nger . I g rab the chord c lus te r the way a peda l s tee l p layer wou ld . I cu t the sound o f f qu ick lyaf ter the last chord.

Pract ice Point 2 : I move to 5th posi t ion and p lay another AG t r iad. I p lay A at the 5th f ret on the f i rs t s t r ing wi thmy f i rs t f inger , F# at the 7th f ret on the second st r ing wi th my four th f inger , and C# at the 6th f ret on the th i rdst r ing wi th my second f inger . Then I move th is t r iad down chromat ica l ly , f i rs t one f ret , then another f re t . I cut thesound of f a t the end.

Pract ice Point 3 : Then I p lay an 46 t r iad on the second, th i rd, and four th s t r ings. I p lay A at the 7th f ret on thefour th s t r ing wi th my th i rd f inger , Cf , a t the 6th f ret on the th i rd s t r ing wi th my second f inger , and F# at the 7thf ret on the second st r ing wi th my four th f inger . I move that t r iad down chromat ica l ly as wel l , f i rs t one f ret , thenano ther f re t . Th is t ime I l e t i t r i nq a t the end .

Phrase 21Ph rase 21

Phrase 21

i s the f i na l E l i ck in the sonq .

E7//.\.

Phrase 20 Al

62

prac t i ce po in t 1 : I s ta r t i n 9 th pos i t i on and use my th i rd f i nger to bend an F { a t the 11 th f re t on the th r rd s t r i ng

;p a who le s tep to Gf . l t hen p lay the un ison Gf i a t the 9 th f re t on the second s t r ing w i th my f i r s t f i nger , us rng a

p ick downs t roke , bu t I mu f f le the s t r ing us ing the f l esh o f the m idd le f i nger on my r igh t hand so I ge t the ch icken

p ick rn 'e f fec t . Then I come down and p lay the ben t no te on the th i rd s t r i ng norma l l y w i th the p ick '

p rac t i ce po in t 2 : I move up ch romat i ca l l y one f re t and do the same th ing as in Prac t i ce Po in t 1 . Then I move up

ano ther f re t and do i t a th i rd t ime .

Pract ice Point 3 : I p lay B at the 12th f ret on the second

fret on the th i rd s t r ing wi th my f i rs t f inger , G at the 12th

th i rd f inger , and E at the 12th f ret on the f i rs t s t r ing wi th

w i th my p ick and a l l t he no tes on the f i r s t s t r i ng w i th the

Practice Pointn i n g o n E .

I move back to 9th posi t ion and do the

Pract ice Point 5 : I move to 7th posi t ion and p lay D at the 7th f ret

the Bth f ret wi th my second f inger , E at the 9th f ret wi th my th i rd

st r ing wi th my four th f inger . Then I do the same exact run star t ing

ending on B at the 7th f ret on the f i rs t s t r ing '

s t r ing wi th my second f inger . Then I p lay Ff , a t the 11th

f ret wi th my second f inger , Gf , a t the 13th f ret wi th my

my second f inger . I p lay a l l the notes on the th i rd s t r ing

midd le f i nger on my r igh t hand .

exac t same run as in Prac t i ce Po in t 3 , th i s t ime beg in -

on the th i rd s t r ing wi th my f i rs t f inger , Df , a t

f inger , then p lay Ci l a t the 9th f ret on the f i rs t

on C a t the 5 th f re t on the th i rd s t r i ng and

my f i rs t f inger , C at the 5th f ret wi th my

fret on the f irst str ing with my second f inger'Pract ice Point 6 : Then I P laY B

second f inger, Cf, at the 6th fretat the 4th f ret on the th i rd s t r ing wi th

wi th my th i rd f inger , then A at the 5th

Phrase 22I end the sonq over the las t A chord w i th a funky , ch icken p ick in ' l i ck .

Practice Point 1 : I PlaY Ff,

f i rs t f inger , then Ff , again.

then p lay A at the 7th f ret

Practice Point 2: I play A

str ing wi th my f i rs t f inger ,

s t r ing wi th my f i rs t f inger ,

at the 7th f ret on the second st r ing wi th my th i rd f inger , then E at the 5th f ret wi th my

Then I p lay C at the 5th f ret on the th i rd s t r ing wi th my f i rs t f inger , g ive i t a s l ight bend,

on the four th s t r ing wi th my th i rd f inger .

at the 7th f ret on the four th s t r ing wi th my th i rd f inger , G at the 5th f ret on the four th

E at the 7th f ret on the f i f th s t r ing wi th my th i rd f inger , C at the 3rd f ret on the f i f th

then the open A s t r ing .

Phrase 22

6 3

tla$hy Countl'yr l icks in the style of two of my favorite art ists, Albert Lee and Steve Morse.gu i ta r s i tua t ion . I p lay A lber t Lee-s ty le l i cks over a chorus o f A , D , and E , thenthen Morse , and so on . You can p lug in your own names ; they ' re jus t l i cks , oneand one in more o r l ess o f a rock 'n ' ro l l s t y le , w i th d i s to r t i on .

Ihe ToneThe c lean s0und , the f i r s t so lo , was my '61 S t ra t p lugged in to a Ro land Chorus Echo , se t fo r a qu ick s lapback echo .I had a l i t t l e reverb on i t , and I had i t se t on the t reb le p ickup . I p layed th rough an o ld Fender Pro Reverb amp w i thtwo JBL speakers. That 's how I got the c lean, Alber t Lee sound. I a lso used a very s taccato p ick ing technique, whichl ' l l t a l k more abou t l a te r .

For the rock , S teve Morse-s ty le sound , I used a doub le -co i l p i ckup Pau l Reed Smi th gu i ta r . I had tha t se t on thebass p ickup, and ran i t through a Boss overdr ive and a d ig i ta l de lay. The delay g ives i t a fa t ter sound. And I had theamp c ranked up p re t t y loud . A coup le o f t imes in the re when I p layed a no te , you 'd hear a we i rd harmon ic tha tseemed to come out of nowhere. I would ret ract my p ick up in to my palm for those notes and p lay the note wi thjus t the t i p o f my p ick . A l l I wou ld ge t then wou ld be a percuss ive thump and a harmon ic . Th is i s ca l led ch ickenp ick in i The way to ge t the ac tua l ha rmon ic i s , a f te r you p lay the ac tua l no te w i th your p i ck , the s t r ing comes tores t on the s ide o f your thumb. Tha t ' s where the harmon ic comes f rom.

I n th is chapter , I 've p ieced togetheI

I The so lo i s a so r t o f due l ing , two-I Steve Morse-sty le l icks, then Lee,in more of a s tandard country s ty le ,

NNMNNvs NTwNNwNN\$ oom r n u s^ , , 1 + ^ .

f u l l0 a n 0

64

I

P t r a s e 4

1-#* --1- 5

A,

Phrase 5

P h r a s e 6

Phrase 7

Phrase B

i t - - o

f i -a4 : -t} +a-+6-+3-++ 16 -- 73 /t+-+5 16 171 7

rz lre

6 5

66

---- 3 - - _ - - 9

,---"-___-_- .:-

=Il

il

_/'-

€>

6 7

The $oloPhrase 1The solo s tar ts wi th

Phrase 1 AGtr . I (c lean)

a c lean , A lber t Lee -s ty le ch icken p ick in ' l i ck .

Pract ice Point 1 : I p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger . I a l ternate between the p ick andthe m idd le f i nger on my r igh t hand . When I p i ck the no te , I come r igh t up w i th the m idd le f i nger on my r igh t handand choke the no te so i t doesn ' t sound . Then I con t inue the up s t roke w i th my midd le f i nger to p i ck the no te andlet i t r ing. l t 's an a l ternat ing e ighth note f igure, p layed for two measures.

Pract ice Point 2 :Then I p lay C at the 5th f ret on the th i rd s t r ing wi th my four th f inger , B at the 4th f ret wi th myth i rd f inger , A at the 2nd f ret wi th my f i rs t f inger , then Ff at the 4th f ret on the four th s t r ing wi th my th i rd f inger ,then back to A, down to F# again, then C at the Sth f ret on the th i rd s t r in g again. I bend that C up a l i t t le , thenp l a y A a g a i n .

Phl'ase 2I move up to 4th posi t ion to p lay a l ick over an E choro.

Phrase 2 F. -

Pract ice Point 1 : I p lay E at the 7th f ret on the f i f th s t r ing wi th my four th f inger . Then I p lay F# at the 4th f ret onthe four th s t r ing wi th my f i rs t f inger , G at the 5th f ret wi th my second f inger , and G# at the 6th f ret wi th my th i rdf inger ' Then I p lay B at the 4th f ret on the th i rd s t r ing wi th my f i rs t f inger , Cf at the 6th f ret wi th my th i rd f inger ,t h e n B a g a i n .

Pract ice Point 2 : lsh i f t pos i t ions up one f ret . I p lay E at the Sth f ret on the second st r ing wi th my f i rs t f inger , C#at the 6th f ret on the th i rd s t r ing wi th my second f inger , E again, then G at the 8th f ret on the second st r ing wi thmy four th f inger . Then I p lay F# at the 7th f ret wi th my th i rd f inger , E at the 5th f ret wi th my f i rs t , then CN at the5th f ret on the th i rd s t r ing wi th my f i rs t f inger , hammer on C# at the 6th f ret wi th my second f inger , then p lay Aat the 7th f ret on the four th s t r ing wi th my th i rd f inger .

Pract ice Point 3 : I p lay B at the 4th f ret on the th i rd s t r ing wi th my f i rs t f inger , Cl a t the 5th f ret wi th my secondf inger , then C# at the 6th f ret wi th my th i rd f inger . Then I p lay E at the Sth f ret on the second st r ing wi th my f i rs tf inger , Ff a t the 7th f ret wi th my th i rd f inger , E again, then A at the 5th f ret on the f i rs t s t r ing wi th my f i rs t f inger .

68

Phl'ase 30n Phrase 3, I swi tch

P h r a s e 3 G t r . l t s

to the rock, Steve Morse-sty le sound.

I+=

Prac t i ce Po in t 1 : I p lay D a t the 7 th f re t on the th i rd s t r i ng w i th my th i rd f i nger , then bend i t up a who le s tep to

E. Then I p lay Ci at the 5th f ret on the th i rd s t r ing wi th four th f inger and bend i t up a hal f s tep to Cf , . Each bend

takes p lace over the leng th o f a ha l f no te .

Pract ice Point 2 : I p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger , then B at the 4th f ret wi th myth i rd f inger , C at the 5th f ret wi th my four th f inger , then down the scale: B, A, G at the 5th f ret on the four thst r ing wi th my four th f inger , Ff a t the 3rd f ret on the four th s t r ing wi th my second f inger , F# at the 4th f ret wi thmy th i rd f i nger , then the open D s t r ing .

Phrase 4Phrase 4 cont inues in the Steve Morse stv le .

?hrase 4

I

:6^. ;

.T:A.B - i +

Pract ice Point 1 : I p lay Cl at the 1st f re t on the second st r ing wi tn my f i rs t f inger , s l ide up one f ret to C#, thenplay D at the 3rd f ret wi th my second f inger , D# at the 4th f ret wi th my th i rd f inger , then E at the 5th f ret wr th my

four th f inger . Then l f lop my four th f inger over to p lay A at the 5th f ret on the f i rs t s t r ing.

Pract ice Point 2 : I come back down, p lay ing E at the 5th f ret on the second st r ing wi th my four th f inger , Di a t

the 4th f ret wi th my th i rd f inger , D! at the 3rd f ret wi th my second f inger . Then I p lay C at the 5th f ret on the

th i rd s t r ing wi th my four th f inger , B at the 4th f ret wi th my th i rd f inger , A at the 2nd f ret wi th my f i rs t f inger .

Then I p lay B again, then Ff , a t the 4th f ret on the four th s t r ing wi th my th i rd f inger , then A again.

Pract ice Point 3 : I p lay C at the 5th f ret on the th i rd s t r ing wi th my four th f inger , then B at the 4th f ret , A at the

2nd f ret . Then I move over to the four th s t r ing and p lay G at the Sth f ret on the four th s t r ing, Ff a t the 4th f ret wi th

my th i rd f inger , E at the 2nd f ret wi th my f i rs t f inger . Then I p lay C at the 3rd f ret on the f i f th s t r ing wi th my secondf inger , g# at the 4th f ret wi th my th i rd f inger , then A at the 5th f ret on the s ix th s t r ing wi th my four th f inger .

On th i s las t no te , I ge t the we i rd harmon ics by ho ld ing the p ick rea l t i gh t i n my r igh t hand , w i th jus t the t i p o f thep ick showing , and as I p i ck thE no te I l e t the f l esh o f my f i nger b rush the s t r ing . Tha t ' s when the harmon ic pops

ou t . A lo t o f the t ime , i t ' s j us t l uck when you ge t tha t ha rmon ic , bu t i t sounds good .

Phrase 5

69

1 2

Phrase 5 a l ternates back to the Alber t Lee-sty le again.

Phrase 5 AGtr' . I

Pract ice Point 1 : I p lay G at the Bth f ret on the second st r ing wi th my four th f inger , bend i t up a whole s tep to A.Then I p lay s taccato e ighth notes, a l ternat ing wi th the unison A at the 5th f ret on the f i rs t s t r ing wi th my f i rs t f in-ger . I p lay second st r ing A, f i rs t s t r ing A, second st r ing A, etc . I do that for two measures.

Pract ice Point 2 : Then I re lease the bend and p lay G at the Bth f ret on the second st r ing wi th my four th f inger , Eat the 5th f ret wi th my f i rs t f inger , then Eb at the Bth f ret on the th i rd s t r ing wi th my four th f inger , D at the 7thf ret wi th my th i rd f inger , C at the Sth f ret wi th my f i rs t f inger , then A at the 7th f ret on the four th s t r ing wi th myth i rd f inger .

Pract ice Point 3 : Then I sh i f t back up, as Alber t Lee is known to do, and p lay C at the 8th f ret on the f i rs t s t r inqwi th my four th f inger . I bend the note up just a l i t t le , then p lay A at the 5th f ret wi th my f i rs t f inger .

Phl'ase 0With both of these sty les of p lay ing, the Alber t Lee-sty le and the Steve Morse-sty le, l 've found that i t works bet teri f you p ick every note. l f you t ry to s lur the notes, i t loses a lo t in the t ranslat ion. l f you l is ten c losely to guys l ikeSteve Morse, Alber t Lee, Jerry Reed, and Ray Flacke-guys who p lay fast l ike that-you ' l l not ice that , for the mostpar t , they ' re p ick ing every note. That 's what g ives the character is t ic sound. So remember that when you' re pract ic-ing these. Don' t t ry to s lur notes. You' l l not ice the d i f ference r iqht awav.

Phrase 6 E

Prac t i ce Po in t 1 : I use an a l te rna t ing mot ion be tween the p ick and the m idd le f i nger on my r igh t hand . The l i cktakes p lace on the second and th i rd s t r i ng , so my p ick p lays a l l t he no tes on the th i rd s t r i ng , and my midd le f i ngerp lays a l l the notes on the second st r ing.

The le f t -hand f inger ing is very important for th is l ick as wel l . I p lay fb at the 4th f ret on the second st r ing wi th mysecond f inger , then Ci at the 5th f ret on the th i rd s t r ing wi th my th i rd f inger . Then I move up one f ret and p lay Eat the 5th f ret on the second st r ing wi th my second f inger , then C# at the 6th f ret on the th i rd s t r ing wi th myth i rd f inger . Then I move down one f ret and p lay Eb on the second st r ing and Ch on the th i rd s t r ing. Then I movedown one more f ret and p lay D on the second st r ing and B on the th i rd s t r ing. Then I move back up gne f ret top l a y E b a n d C a g a i n .

hold bend' +

A

7 0

prac t i ce po in t 2 : I p lay E and C# aga in , then Eb and C i , then D and B , j us t l i ke in Prac t i ce Po in t 1 . Then I sh i f t my

lef t hand to f i rs t pos i t ion and p lay Cl at the 1st f re t on the second st r ing wi th my f i rs t f inger , then s l ide my f i rs t

f inger up one f ret to p lay C# at the 2nd f ret . Then I p lay A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger '

pract ice Point 3 : The tag on the end of the l ick s tar ts wi th Ff at the 4th f ret on the four th s t r ing wi th my th i rd

f inger , E at the 2nd f ret wi th my f i rs t f inger , then Cl at the 3rd f ret on the f i f th s t r ing wi th my second f inger , Cf

at the 4th f ret wi th my th i rd f inger , and then the open A st r ing.

Phl'ase 7That br ings us to the second Steve Morse-sty le, or country rock- type, chorus.

Phrase 7

grad. bend

Pract ice Point 1 : I s tar t in 7th posi t ion. I p lay Ff , a t the 7th f ret on the

bend i t up, then p lay A at the 1Oth f ret wi th my four th f inger . That sets

over a D chord.

pract ice Point 2 : I p lay F i a t the 6th f ret on the second st r ing wi th my f i rs t f inger . I s l ide up one f ret to Ff , , then

play G at the Bth f ret wi th my second f inger , then Gi l a t the 9th f ret wi th my th i rd f inger . Then I p lay A at the

1Oth f ret wi th my four th f inger , then lay my four th f inger down across the f i rs t and second st r ings at the 1Oth f ret

and p lay D on the f i rs t s t r ing.

pract ice Point 3 : I p lay F at the 1Oth f ret on the th i rd s t r ing wi th my th i rd f inger , then s l ide down one f ret to p lay

E at the 9th f ret , then p lay D at the 7th f ret wi th my f i rs t f inger .

Phl'ase II sh i f t up to 13th posi t ion to p lay Phrase B over the E chord. This is a three- and four-note sequence.

second st r ing wi th my f i rs t f inger and

me up fo r the nex t l i ck , wh ich happens

Pract ice Point 1 : I p lay E at the 14th f ret on the four th s t r ing wi th my second

wi th my four th f inger , then Gi l a t the 13th f ret on the th i rd s t r ing wi th my f i rs t

notes, then p lay A at the 14th f ret on the th i rd s t r ing wi th my second f inger .

pract ice Point 2 : I p lay F* at the 16th f ret on the four th s t r ing wi th my four th f inger , then Gf , a t the 13th f rq l 6 '^

the th i rd s t r ing wi th my f i rs t f inger , A at the 14th f ret wi th my second f inger , and B at the 16th f ret wi th mv

fou rth f inger.

pract ice Point 3 : I p lay G# at the 13th f ret on the th i rd s t r ing wi th my f i rs t f inger , A wi th my second f inge ' B

wi th my four th f inger , then Cf , a t the 14th f ret on the second st r ing wi th my f i rs t f inger .

pract ice Point 4 : Now I p lay the same l ick I p layed in Phrase 7, Pract ice Points 2 and 3, but th is t ime I do I ore '

an A chord . I p lay C a t the 13 th f re t on the second s t r ing w i th my f i r s t f i nger , s l l de up one f re t to p lay C ! a l : "e

f inger , then Ff , a t the ' l6 th f re t

f inger . Then I repeat those three

7 1

14th f ret , p lay D at the 15th f retE at the 17th f ret wi th my four ththe 17 th f re t on the f i r s t s t r i ng .

Then I p lay C a t the 17 th f re t onfret , then p lay A at the 14th f ret

wi th my second f inger , then Df at the 16th f ret wi th my th i rd f inger . Then I p layf inger , and lay my four th f inger across the f i rs t and second st r ings to p lay A at

the th i rd s t r i ng w i th my th i rd f i nger , s l i de down one f re t to p lay B a t the 16 thwi th my f i rs t f inger .

Phrase 0Now I go back to the next Alber t Lee or c lean country-sty le l ick . This phrase is a ser ies of para l le l l icks moving overthe t r i ads o f A , D , and E . A lber t Lee p lays a lo t w i th h i s p i ck and the m idd le and r ing f i ngers o f h i s r i gh t hand . 0nPhrase 9 , l a l te rna te be tween par ts tha t a re p icked and sound k ind o f l i ke ch icken p ick in ' , and par ts tha t a rep lucked w i th the f i ngers o f the r igh t hand , wh ich sound more l i ke A lber t Lee .

Phrase 9

7 7

D D A" l / l

Pract ice Point 1 : I p lay E at the 2nd f ret on the four th s t r ing wi th my f i rs t f inger , p lay i t again, then h i t f f , a t the4th f ret wi th my th i rd f inger , then A at the 2nd f ret on the th i rd s t r ing wi th my f i rs t f inger . I h i t A twice.

Pract ice Point 2 : l f inger B at the 4th f ret on the th i rd s t r ing wi th my th i rd f inger and D at the 3rd f ret on thesecond st r ing wi th my second f inger . Before I h i t the s t r ings, I pre-bend those notes up a hal f s tep to p lay C andEb. I use the m idd le and r ing f i ngers on my r igh t hand to p luck the no tes . Then I re lease the no tes to B and D. ThenI p lay A at the 2nd f ret on the th i rd s t r ing and Cf , a t the 2nd f ret on the second st r ing wi th a f i rs t - f inger barre.

Prac t i ce Po in t 3 : For the D chord , l t ake tha t same l i ck , sh i f t i t up to 7 th pos i t i on , and p lay exac t l y the sameth ing . You ' l l no t i ce tha t the doub le s tops ge t eas ie r to bend up h igher on the neck . F i rs t I p lay A a t the 7 th f re t onthe four th s t r ing wi th my f i rs t f inger , h i t i t again, then p lay B at the 9th f ret wi th my th i rd f inger , then D at the7th f ret on the th i rd s t r ing wi th my f i rs t f inger twice.

Prac t i ce Po in t 4 : Then I do the doub le s tops . l f i nger E a t the g th f re t on the th i rd s t r i ng w i th my th i rd f i nger andG at the Bth f ret on the second st r ing wi th my second f inger , and pre-bend them up a hal f s tep to p lay F l and Ab.I p luck those s t r ings w i th my r ing and midd le f i nger , re lease the no tes to E and G, then p lay D and F f a t the 7 thf ret on the second and th i rd s t r ings wi th a f i rs t - f inger barre. ldeal ly , you want to bend the double s top up a hal fs tep , bu t i f you can ' t tha t ' s 0K . Jus t bend them up somewhere and le t them come back , so tha t you ge t the fee l ingand the sound o f a bend .

Pract ice Point 5 : Now I move the l ick up to p lay over the E chord. I p lay B at the gth f ret on the four th s t r ingwi th my f i rs t f inger , h i t i t again, then p lay Cf , a t the 11th f ret wi th my th i rd f inger , then E at the gth f ret on theth i rd s t r ing wi th my f i rs t f inger twice.

Prac t i ce Po in t 6 : l f i nger F f , a t the 11 th f re t on the th i rd s t r i ng w i th my th i rd f i nger and A a t the 1Oth f re t on thesecond s t r ing w i th my second f i nger . I p re -bend bo th no tes up a ha l f s tep to p lay G and Bb , p luck them w i th mymidd le and r ing f i nger , re lease them to p lay F# and A , then p lay the f i r s t - f i nger ba r re ac ross the second and th i rdst r ings at the 9th f ret to p lay E and Gf , .

7 2

Phl'ase 10Phrase 10 i s the taq fo r Phrase 9 . In th i s l i ck , the

Phrase 1 0

on ly t ime I use my p ick i s on the fou r th s t r tng .

lI

Pract ice Point 1 : I p lay E at the 9th f ret on the th i rd s t r ing wi th my th i rd f inger , G at the Bth f ret on the seconds t r ing w i th my second f i nger . Then I sh i f t down to 5 th pos i t i on and bar re my th i rd f i nger ac ross the second andth i rd s t r i ngs a t the 7 th f re t to p lay D and F# . Then I p lay a f i r s t - f i nger ba r re a t the 5 th f re t to p lay C and E , thenhammer on C# at the 6th f ret wi th my second f inger . Then I p lay A at the 7th f ret on the four th s t r ing wi th myth i rd f i nger . I p lay a l l t he doub le s tops in th i s l i ck w i th the m idd le and r ing f i ngers on my r igh t hand . I p lay a l l t heth i rd -s t r ing no tes w i th my midd le f i nger and a l l t he second-s t r ing no tes w i th my r ing f i nger . I p lay on the fou r ths t r ing w i th my p ick .

Pract ice Point 2 : I p lay a f i rs t - f inger barre at the 5th f ret on the f l rs t and second st r ings to p lay E and A. Then Ido the second ha l f o f P rac t i ce Po in t 1 . I p lay the 7 th - f re t ba r re , the S th - f re t ba r re , hammer on the C f , , then p lay Aon the fou r th s t r i ng w i th my p ick .

Phrase 1 1I move up to 16 th pos i t i on to p lay the fou r th S teve Morse , o r maybe Er i c Johnson , rock -s ty le so lo , In th i s pa r t i cu la rl i ck , the r igh t hand i s go ing to requ i re a ve ry fas t a l te rna te mot ion be tween the p ick and the m ldd le f i nger . Tha t ' show I ge t the ch icken p ick in 'e f fec t . The l i ck takes p lace on the second and th i rd s t r i ngs . I p lay a l l t he no tes on theth i rd s t r i ng w i th my p ick , and a l l t he no tes on my second s t r ing w i th my midd le f i nger . l t ' s a l l a l te rna t ing mot ion .

To ge t th i s ph rase to sound l i ke a barnyard an ima l o f some sor t , you have to muf f le the s t r ings . I use the hee l o fmy r igh t hand , r i gh t a lmos t on the b r idge . You wan t the s t r ings to sound , to r i ng ou t , bu t j us t no t a l l t he way .Don ' t mu te them so much tha t they sound l i ke jus t pe rcuss ive thumps ; le t them r ing ou t a l i t t l e .

Phrase 1 1Gtr

^ holcl hcnd^ / f a {

; / t \r r r l l- - l l

t ) ': a a-1>2 + i a )

7 3

19 1 716

1 91 A

Pract ice Point 1 : I p lay B at the 16th f ret on the th i rd s t r ing wi th

Cf . I bend up toward the ce i l i ng , ho ld the bend , then add F f , a t theger . Then I p lay the bent Cf , , then E at the 17th f ret on the secondpar t o f Phrase 11 , I ho ld the ben t C f and a l te rna te be tween F f and

Pract ice Point 2 : When lget to the D7 chord, I le t the Ci l down a

on top . So now I 'm on ly bend ing the B up a ha l f s tep to Ch .

Pract ice Point 3 : When the band p lays the E chord, I le t the bent th i rd s t r ing resolve down

at the 16th f ret . I cont inue wi th the Ff , and E on top.

Pract ice Point 4 : I bend the B back up to Cf ,p lay the F# on top, then E on top, re lease the

at the 19th f ret on the four th s t r ing wi th my th i rd f inger .

my f i rs t f inger , then bend i t up a whole s tep to19th f ret on the second st r ing wi th four th f in-

s t r ing wi th my second f inger . Throughout th isE on the top very rapid ly .

ha l f s tep to C i , and con t inue w i th the F# and E

to i t s o r ig ina l p i t ch , B

bend to B , then p lay A

Phrase 12Phrase 12is another c lean, Alber t Lee or Ray Flacke-sty le par t , p layed of f an A t r iad in Bth posi t ion.

Phrase 1 2Gtr.

AI

Pract ice Point 1 : I p lay an A t r iad on the top three st r ings. I p lay E at the 9th f ret on the th i rd s t r ing wi th my sec-

ond f inger , A at the 1Oth f ret on the second st r ing wi th my four th f inger , and C# at the 9th f ret on the f i rs t s t r ing

wi th my th i rd f inger . Because i t 's doing noth ing, my f i rs t f inger rests on G at the 8th f ret on the second st r ing. l ' l l

use i t in a moment . I p lay a l l the notes on the f i rs t s t r ing wi th my r ing f inger , a l l the notes on the second st r ing

w i th my midd le f i nger , and a l l t he no tes on the th i rd s t r i ng w i th my p ick .

I p luck A and Cf w i th my midd le and r ing f i ngers , then pu l l o f f f rom A to G on the second s t r ing . Then I p lay E on

the th i rd s t r ing wi th my p ick. I repeat th is one t ime, then end wi th the A and Cf together .

Pract ice Point 2 : ldent ica l to Pract ice Point 1 .

7 4

pract ice Point 3 : I lower the Cf to C to p lay over the D7 t r iad. I p lay E and A the same as before, wi th my second

and four th f inger , respect ive ly . I barre my f i rs t f inger across the top two st r ings at the 8th f ret to p lay G on the

second st r ing and C on the f i rs t s t r ing.My r ight hand p lays exact ly the same rhythm as in Pract ice Point 1 , and my

lef t hand does the same pul l -o f f f rom A to G.

Pract ice Point 4 : I f in ish the phrase wi th a t rademark Alber t Lee-sty le, s ing le-note run. This is a l l out of the f in-

ger ing pat tern for an A chord at the 9th posi t ion. I p lay C at the Bth f ret on the f i rs t s t r ing wi th my f i rs t f inger ,

s l i de up one f re t to p lay C# , then p lay ch romat i ca l l y up to E a t the 12 th f re t -C f , D , D# , E . Then I come back down

to D#, D, then p lay Cl , s l ide up to Cf i , and p lay A at the 1Oth f ret on the second st r ing wi th my second f inger .

Pract ice Point 5 : I p lay Ff at the 11th f ret on the th i rd s t r ing wi th my th i rd f inger , E at the 9th f ret wi th my f i rs t

f inger , then B at the 12th f ret on the second st r ing wi th my four th f inger , Bb at the 11th f ret wi th my th i rd f inger ,

A at the 1Oth f ret wi th my second f inger , and G at the 12th f ret on the th i rd s t r ing wi th my four th f inger .

Pract ice Point 6 : I cont inue down the scale wi th F# at the 11th f ret wi th my th i rd f inger , E at the 9th f ret wi th my

f i rs t f inger , then D at the 12th f ret on the four th s t r ing wi th my four th f inger , C at the 1Oth f ret wi th my second

f inger , g f a t the 11th f ret wi th my th i rd f inger , and E at the 9th f ret on the th i rd s t r ing wi th my f i rs t f inger . Then I

p lay C at the 1gth f ret on the four th s t r ing wi th my second f inger , B at the 9th f ret wi th my f i rs t f inger , and A at

the 12th f ret on the f i f th s t r ing wi th my four th f inger .

Phrase 13This brings us to the last chorus of the country rock, Steve Morse, or Billy Gibbons-style-whomever you want to

name it after-solo. I play this in the '17th position.

Phrare l3

rl

7 5

Pract ice Point 1 : I p lay E at the 17th f ret on the second st r ing wi th my f i rs t f inger , then Ff at the 19th f ret wi thmy th i rd f inger , then A at the 17th f ret on the f i rs t s t r ing wi th my f i rs t f inger .

Pract ice Point 2 :Then I p lay Cf at the 21st f re t on the f i rs t s t r ing wi th my four th f inger . l t 's way up there. I p laythe C f , then bend i t up a ha l f s tep to D , then re lease i t t o C f , a l l ve ry qu ick ly . I on ly p i ck the no te once . Then I p layA at the 17th f ret wi th my f i rs t f inger , then Ff , a t the 19th f ret on the second st r ing wi th my th i rd f inger , and E atthe 17th f ret wi th my f i rs t f inger . l f i t 's more comfor table, you can p lay the Ff , wi th your second f inger . I repeatth i s l i ck tw ice , and then a th i rd t ime w i thou t the bend .

Pract ice Point 3 :The chord changes to D at th is point , so I lower my top note one f ret to Ci at the 20th f ret . I dothe same exact l ick as in Pract ice Point 2 , except I bend f rom Cf up a whole s tep to D.

Pract ice Point 4 : Then l p lay the l ick exact ly the same again, except I p lay B at the 19th f ret , bend i t up to Cf , re-lease i t to B, then p lay the lower notes.

I repeat Pract ice Points 1 through 4 to end the solo.

That's All, tullrsI hope you've enjoyed th is book and benef i ted f rom i t . Remember: Pract ice s lowly, be pat ient , work hard, and havefu n.

7 6

'iuilan |llotalion Leuenduul lu l luu lu l D A

be notated three different wavs: on a musical staff,in tablature, and in rhythm slashes.

[ ( i

\ i -, ' i r , ' '

D

Guitar Music can

RHYTHM SLASHES are wr i t ten above thestaf f Strum chords in the rhythm indicated.Jse the chord diagrams found at the top of:he l i rs t page of the t ranscr ipt ion for theappropr iate chord voic ings, Roundroteheads indicate s ingle notes

THE MUSICAL STAFF shows pi tches and'hythms and is d iv ided by bar l ines intoneasures. Pi tches are named af ter the f i rs tseven let ters of the alPhabet.

TABLATURE graphical ly represents the;ui tar f ingerboard. Each hor izontal l ine'?presents a str ing. and each number'epresents a f ret .

HALF-STEP BEND: Str ike the note and bend- o

'1 /2 step.

BEND AND RELEASE: Str ike the note and:end up as indicated, then re lease back to the: ' r0 inal nOte. 0nlv the f i rs t note is st ruck.

HAMMER-ON: Str ike the f i rs t ( lower) n0te wi th: - : t i nge r , t hen sound the h igher no te ton the. :ne str ing) wi th another f inger by f ret t ing i t, ' , lhout o ick ino.

WHOLE-STEP BEND: Str ike the note andbend un one steo.

l s t & 2nd s t r i ngs open , oPen D chordplayed together

GRACE N0TE BEND: Str ike the note and bend up asindicated The f irst note does not take up any time

Notes:

F bY 8A A

r E

- -

/ / / / ^ / ' o

SLIGHT (MICROTONE) BEN0: Str tke theno te and bend up 1 ,4 s te [

Str i ngsE

6

DAE

PRE-BENO: Bend the note as indicated. thenstrike it.

l u l l

L+---A

B _ l l

PULL-OFF: Place both f ingers on the notesto be sounded. Str ike the f i rs t note andw i thou t p i ck ing , pu l l t he f i nge r o f f t 0 soundthe second ( lower) note

VIBRATO: The str ing is v ibrated by raptdlybend ing and re leas ing the no te w i th thefret t ing hand

LEGATO SLIDE: Str ike the f i rs t note andthen s l ide the same f ret-hand f inger up ordown to the second note. The second noteis not st ruck.

A -

-2 . - , . :rctd

NATURAL HABM0NIC: Str ike the note whi lethe f ret-hand l ight ly t0uches t f ie st Ingdirect ly over the f ret indicated.

_ A o _* - - rFGu

l l a f l r .

PALM MUTING: The note is part ia l ly mutedby the pick hand l ight ly touching thestr ing(s) just before the bndge.

VIBRAT0 8AR SCO0P: Depress the bar just

before str ik ing the note, then quicklyrelease the bar.

WIDE VIBRAT0: The pi tch is var ied t0 a greate 'degree by v ibrat ing wi th the f ret t ing hand

tAAAAttrtr"!r l lr =

rAAAA/Vr/Vtr'll l

+9

. '

I

SHIFT SL IDE: Same as lega to s l i de exce0 :the second note ts st ruck

PINCH HARM0NIC: The note ts f ret tednorma l l y and a ha rmon ic i s p roduced b , , , : :t he edge o f the thumb o r the t i p o f t he n : : 'f inger of the pick hand to the norma p i r : : :

RAKE: Drag the p rck a : . : : ,i n d i c a t e d w i t h a s - J j - '

tt:l

TAB

;T ^. a v

a

TRILL: Very rapid ly a l ternate between tne- : :es i nd i ca ted by con t inuous ly hammer ing: - and pu l l i ng o f f

ffi

T :r- ll

Pt-nq - il- € - _ - ] ]

PICX SCRAPE: The edge of the pick is' - : r : d down (o r up ) the s t r i ng . p roduc ing: s - :a tchy sound .

fnEM0L0 PICKING: The note is p icked as=: : . and cont inuously as possib le.

AB

TAPPING: Hammer (" tap' ) the f ret indicatedwith the pick-hand index or middle f inger andpul l of f to the note f ret ted by the f ret hand.

!,,_____

MUFFLED STRINGS: A percussive sound isproduced by laying the fret hand across thestring(s) without depressing, and striking themwith the pick hand.

VIBRATO BAR DIVE AND RETURN: ThEpitch of the note or chord is dropped aspecif ied number of steps (in rhythm) thenreturned to the original pitch.

n L e

ffi-"l 5

f J x -f , A ^€

VIBRATO BAR DIPi m m e d r a t e l . , : - - :s tePs . the r r : . , : .

h

(o '

TAB

4th str ing. 2nd f ret

7 7