THE GATTON TECHNIQUE x3 a as n ema V pee nn For the ascending rolls in Ex. 4, Gatton uses the pick on the low- “the Lone Ranger bad guy music.” (Yes, that ultra-fast Les Paul-style ‘est note, followed by the middle and ring fingers. When descending, _ lick was overdubbed at half-speed,) he relies mainly on the pick. The progression is inspired, he says, by Bed n meee hambne (re atc eagle terse UM at oN cel “The rock and rol lick that begins Ex. 5 is played entirely with the ‘Waitin’ In Schoo’ claims Gatton. The next phrase is a chromatically flatpick. “It comes from the part Joe Maphis plays on Ricky Nelson's ascending line played in three octaves at once. x5 For the next section, Gatton kicks in the echo (see Ex. 6). He c’tfect when he plays rockabilly standards such as “Mystery Train” stresses the importance of timing the effect—there should be an and "My Baby Left Me.” At other times he creates a manual echo audible siteenth-note slapback. He uses the same type of echo effect by double-picking each bass note. ahah 52 cutanpuversmance 1800