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One-Measure over I. IV.STOP LICKS Harmonizingin Thirds Harmonizingin Fourths in Harmonizing Fifths Harmonizing Sixths in CombiningThirds and Fourths CombiningMajor and Minor Thirds Double Stopswith SingleNotes Double Stopswith Bends Double Stopswith PedalPoints CHAPTER 5: REPETITIVE SEQUENCES Phrases One-Measure Outlinins I & IV Chords Two-Measure Phrases Variations One-Measure String-Skipping Variations One-Measure over I. and V Chords Two-Measure Phrases over I & IV Chords Variations One-String. IV andV Chords Variationsover I.+5 46 1'7 +t -18 21 25 -+9 r 50-5 52 53-60 6r-63 61-65 66-68 69 10 71 t2-74 15 16-ll 18-99 2l 28 29 29 29 30 30 3r 32 33 39 . IV and V Chords Two-Measure Double-Stop Licks Repetitive Repetitive Licks Open-String CHAPTER 6: CHROMATIC LICKS GUITAR NOTATION LEGEND ll t1 t< I -' l5 16 l1 l8 19 20 21 29 30-31 33-34 35-36 37-38 39-40 1l 42-13 22 22 22 22 23 23 LJ 14 .Page PREFACE CHAPTER 1: SCALES Major Pentatonic CountryPentatonic DominantPentatonic Rootless Mixolydian #2 StringSkipping I Audio Tracks 4 5 1 8 9 l0 t-1 5-6 7-8 9 -l 0 rt-t2 t3-27 28 I i CHAPTER 2: BENDING VariousExamples PlayingthroughChord Changes CHAPTER 3: OPEN.STRING LICKS G Major Scale Key of E Key of A Key of D Key of G Key of C Key of B PlayingthroughChord Changes CHAPTER 4: DOUBLE.

The repetitive seqLlenccs greatwarm-upexercises. Ray Flacke.ry Skaggs.I hopethis book inspires you to clclrcl. and Don Rich (Buck owens).rn expand. In the seventies eighties. .and playedmostlyon a Telecaster-type guitar. (Think aboutemulating soundof a pedalsteelguitar.Double-stop licks-licks thatarepredominantly played with two notesat a time-are alsocovered. but you can't talk aboutcountrychicken-pickin' itre in nineties without the nameof Brent Mason comingup' Masonhasredeflned possibilities raisedthe standards the and to which otherplayersare compared'It will be excitingto seewhat this nextdecade wilt hold for the chicken-pickin. This book touches the basictechniques definethe chicken-pickin' on that style.Included somescales are thatcanhelp to inspiresomenew ideas..The term c'hicken pickin'describes styleof playingoften usedin (but not limited a to) countrymusic. heardexcitingnew ideasand playingby singer/guitarists we JuniorBrown and Vince Gill. the op.ut a flowing.urther into the excitingand ever-changing chicken-pickin' genre. Taketheseideasand change them to create your own licks. community.ni.This style was firsr popularized the flfties and sixtiesby players in suchas JamesBurton. anclSteve Warinertook it to another level' In the nineties.Jimmy Bryant..n-rtring licks .cascading soundthat is usedvery oftenin this styleof playing. The purpose this book is to give you ideason which voLr of cr. in style.. and guitarists like Albert Lee. are are but alsoparticularly eff'ective outliningchorcl in changes. Bendingis alsovery irnportant nailingthe chicken-pickin.Roy Nichols (Merle Haggarcl).

I 1 /-:\ I A /-\ /1 z /-:\ /':\ \:. foundation F ig./ /:\ Here are somelicks derivedfrom thesebasicpatterns: Fi g. lt is the Here are the five basic patterns: from which countryguitar is built and expanded. 2 C .:\ J \:.SCALES MAJOR PENTATONIC If therewereone scalethat definedcountryguitar.it would have to be the major pentatonic scale./ ..

4 1 /-\ /'f /-\ \:.Play throughtheseexamples: can Fig./ 4 /-\ 2 \:/ /1 \:./ 5 \:.Thesepatterns be combinedto extendthe rangeof your lines./ /a\ ? /'t Here are somelicks incorporating combinedpatterns: the .

5 . It now rea d s :1.I changedone note to make it sounda little hipper. 3 . Here are the five basicpatterns: F ig. 6 . b 3 . 7 1 \./ 4 /:\ 2 /-\ \:/ /:\ 3 Try theselicks derivedfrom the country pentatonicscale: g FiB^8 OFige .PENTATONIC COUNTRY le This next sca is derived from the major pentatonicscale.

l0 1 /7 /:\ /:\ v \:/ 5 \:. Herearethe f-ive basicpatterns: Fig. b1. tune. 5.l l A Fig.9.l2 .It works greatlrhe pitchesare as follows:3. 6./ \:/ /. Try this one on a western swing or evena quick train-beat typ.\ \:.ROOTLESS DOMINANT PENTATONIC For thoseof you with inquiringminds.hereis an interesting scale thatwill jazz up your countrylinesa bit./ Chec k out th e s e l i c k s c l e ri v e dfro tn th e r ootl cssdonri nantpentatoni c: F i g .

#2 MIXOLYDIAN Check out how you can alter one note and make the Mixolydian mode more useful as a country scale./ 4 Try out somelicks derivedfrom the Mixolydian #2 scale: Fi g.3./ 2 \:-/ 6 /1 ? \:. 5. Hereare the seven F ig. 13 1 /-\ \_/ 5 \:. 4. #2./ \:. 6. 15 A .The basicpatterns: pitchesare: I .b7.

this is the sectionfor you. Fig.l6 1 /l /:\ \./ /a\ 4 2 /-\ \:/ \:. l8 10 . Play throughtheseexamples and see.STRING KIPPING S If you are looking for someexciting new soundsthat will challengeyou technically./ 5 /a\ \:-/ ? /:\ \_-/ \:-/ Hereare somelicks basedon this concept: Fig.

with the second bent up to the third: Fi g. Here are a few examples. to degree the third.-f ll n=t--^\ a | I1 I. Then. then add the flat serenth: gFig2r hold bcnd and thenthe root. with the fourth still bent to the fitth: Or. Bend the second stringwhile you are holding it. The main difference Bendingis approached when you benda note. t u You can alsobendthe fourth to the fifth and grab the root. 20 A hold bend .BENDING in quite diff-erently countryguitarplayingthan in bluesor rock. another higherstring.you will more than likely hold that note up and play somenoteson is that in country.. you can grab the flat seventh hold bend 11 . then the fourth.grab the fifth. on the adjacent i&': hold bend 0 rll tl ll Try grabbing the fourth before the fifih.

then the root: Fig.. with the samenote bend.26 A the flat seventh: Again.hold bend You don't alwayshaveto grab notes on adjacent strings when you have a note already bent.For example. substitute sixth for the Fis.Bend the flat seventhup to the root..----.grab the flat seventh first. then the third: g nis21. try bendingthe second the third on the third string.25 A With the samenote bent. to Then grab the root and then the flat seventh the on first string: Fig.27 A hold bend . grab the second. grab the third above.then the second: with the flat seventh bent up to the root.-.

Here is another idea that you can usewith the secondbent to the third: try grabbingthe sixth. then the sixth: Fi g . then the fifth F i g .2 9 A .3l A 6 strings: Try this idea using non-adjacent hold bend 13 . Anotherinteresting idea: zontallyup and down the neck.Here'sa descending Fig.30 A You can embellish this idea by adding extra notes: Fig.& ti hold bend to herecan be playedwith harmonics soundevenmore like a pedalsteel All of the bendinglicks covered and work your way horiideayou can try is to link someof theselicks together guitar.2 8 A i6"' hold bend Or you can grab the fifth.

1.To outlineCJ (fifih to third) on the firststring.{ -j PLAYING THROUGH CHORD CHANGES Try this next exercise testyour bendingprecision.Unison bendsare an effectiveway of gettingfrom one end of the neck to the other: r'iI-) . Over the E.ou. are going to outlinethreedifferentchords: to We E. and B.then grab the E. to to D (root to f-latseventh) the first string. B on the chord. holcl bcnd hold hend B hold bend hold bcnd 14 .bendF to F# (f1atfifth to fifih) on the thirclstringanclgrab the Df then Cf (third ro second) on the l l r s ts t r i n s .bendthe Ff to G# (second third) on rhe third string.chord. A.

A. D. Certainlicks work betteras ascending licks in the key of E: of each.I will give a few examples The bestkeys are E.you needto play in keysthat containthe notesof the openstrings. and C. play thesetypesof runs.creatinga cascading how you would play a G major scale: Fig.Here is Theselicks are made up of open stringsringing out againstfrettednotes. G.STRING LICKS effect.Here area coupleof descending Fig. runs.OPEN.35 G to Obviously.in eachof thesekeys.37 c o n td ) E You can expandon that idea too! 15 .

g Fis4r ( cont d) 0 Fig. d) o Fig.40 E Thesedescending ideassoundgood in the key'of A.Here are someascendins runs in E: ( cont. 42 A 16 .

A OFig44 [utdt E2ztt ]rY t f I l ideas. you can play thesedescending gFrg45 17 .licks in A: Tn these ascending . In the key of D...13 Fi_s.

( cont d) 0 18 . ..48 D Here are someinteresting descending licks in G... . or t hes ea s c e n d i n go n e s : g Fig47 (cont d) 0 Fig.

andsomeascendins 0 F i g . Plav throushthesedescending Fig. c o n td ) C 19 . 54 . Fig.5 2 G conl d) i&'t licks in C.ITT\r v.. 53 .licks in G: ...

you can get somepretty interestin-u cascading open-string licks in the key of B as well..5 6 (contd)a Believeit or not.and these ascendins ones: F i g .. Try this descending example: F i g .5 7 B Hereis an ascendins lick: (cont d) o 20 ..

Try theseexamplesin the key of E over the I cameup with a few repetitivelicks that outline chord changes. I and IV chords: OFiB5e. Here is an exercise over the I and IV chords. alsoin the key of E in the that incorporates ideaswe've beendiscussing this chapter. 21 .

STOP LIGKS The term double stop refersto two notesbeing played(stopped) the sametime. Let's beginby harmonizing major scale the in thirds: Now let's harmonize fourths: in Fig.fifihs.DOUBLE.fourths.we'll harmonize sixths: in Fig.62 C Now let's harmonize in Fig. The intervals at most commonlyusedare thirds.64 22 . 63 And last. and sixths.

'-.As we all know. one A lot of my licks incorporate or more singlenotesalongwith double-stop key of A: Fig. you can createsomevery interesting \\'ith theseintervals. madeup of major-and minor-thirdintervals interval): F i s .---- This first one is in the notes.usedirl anythin. variousdifferentintervals' can excess becomeboring.g solos.So what I like to do is developlicks that incorporate licks (in the key of D) madeup of thirdsand fourths: The frrsttwo figuresare ascending ttut dt (andalsoone major-second lick Next is a descending in A.6 7 A .68 A 23 . however.

72 G 24 .- (cont d) e Fig.' D al.Here'sone in G: g[soo Hereare somelicks that incorporate bendswith double-stop licks: eFisTo (cont d) o trirr ' 7 I ^'b.t/ ..

Here are someexanlples point is a note that is repeated variouskeys: Fig.a petlul in while other notesmove under.74 C F ig.Another cool techniqueyou can try is the useof pedalpoints. 75 G=-_ rl 25 .over.or aroundit.For thoseof you who don't knou'.

Theselicks are all in the key ofA: OFig78 26 .

This lick coversthe I and IV chordsin the key of E.Theseideaswork especially outline the I and IV chordsin the key of G: The flrst two examples F i g .REPETITIVE SEQUENCES that repeatand outlinethe chordsover phrases we ln this section.hichyou are playing.: Fi g.here are a coupleexamples which I've addedthe sixth to spiceit up a bit. 83 A 27 .8 l c fl on are The next two examples variations the first two.. 82 G in If you want to take this a stepfurther.or two-measure tunes. will focuson short. well over quick train-groove q.. Fi g. Thereare many possibilities.one.

Here are sometwo-measure phrases. This exampleoutlinesthe I and IV chordsin the key of G: This one outlinesthe I and IV chordsin E: 28 .

89 E phrases that outline the I and IV chordsin the key of C: Here are a coupleof two-measure 29 . IV and V chords(respectively) the key of E. The first one coversthe I and IV chords: Here are someother one-measure @o''.variationsin G. and are very challengingto play at quick tempos: Fig. 8 8 in The next threelicks outline the I.

IV and V chordsin the key of E: OFisel. and checkout theseexamples which againoutline the I.- B 30 .. IV andV chordsin the key of A: If you are feelingup to somebig stretches stringskipping. Here are threeideasyou can play over the I. i E t r t -...Theselicks will requiresomestretching.You can play somepretty interesting repeating figureson one string. Here are sometwo-stringrepeating figuresthat outlinethe I. IV and V chordsin the kev of E: OFiee3.

Here are some variations: O Fis e4. licks over the I and IV chordsin the key of E: Try theserepetitivedouble-stop OFiBe5u .

IV andV chordsin the kev of D: 32 . IV and V chordsin the key of E: Theselicks outlinethe I.If you like the soundof cascading open-string runs. check out thesenext threerepetitivelicks over the I.

CHROMATIG LICKS t . all of theselicks in keysotherthan those lick The first exampleis a descending that beginson the fifth in the key of E: OFige* lick that beginson the third in the key of D: The next exampleis an ascending O''. run: Hereis an examplein the key of E that beginswith a chromatic @o'* 33 . s the c containchromati passingtones(notesbetween conventional c a l e o n c s )T r r The licks in this chapter of the examples.

also in E. Fig.This lick.1 0 3 A Here is a lick that weavesitself up and dou'n chromatically. This lick is lesschromatic. beginswith an ascending chromaticrun off the fifth and quickly descends to the third: Try this ascending beginning the root. still very effective. lick on yet The next examplebeginswith a chromaticline andjumps from the third to the first string. 104 G 34 . F i g .then descends with chromatic passing tones. beginningon the fifth in the key of G.

F i g .:. beginson exampleis highry chromaticand This next of A. in the fifth and descends the ke1 lt highly challenging.1 0 8 A . a- 35 .chrtrttl ati al l i ' thr' tl l l l C e that i t begi ns on the fi fth and ci escencl s lick is similar to the last one in This next in A: ir t t I I t --+ + winds its chromaticallyfrom the third' then The next exampleascends of D: ker way back down to the root in thc- a passingtone (the tlat third) Here is a lick in E that beginson tones: with very few chromaticpassing and ascends 9u'.

ll I A d I.I 1 2 G 36 . The frrstone beginson the root and ascends the in key of A. F ig. The second lick begins the root anddescends. beginning rhe fifth: on F i g .Check out the way this next lick weavesits way down from the third on the first string to the root on the sixth string (in the key of A). on arso Fig. 109 A \t Thesenext two licks incorporate somewider intervals. in A.(I t-\\ Here is a descending ideain rhe key of G.

but is very different. The first lick.wide intervallicleaps. is F i e .I 14 D The third lick. in the key of G. 37 . also in D. Fig. is likewisebuilt off the third. They all incorporate tunes.1l 3 The second lick is built off the third in the key of D. soundgreatover swing-type Thesenext threeexamples rhythmicallymadeup of triplets.

The next four licks cover a lot of ground very quickly. besinson the third: e Fisrr' The third lick.I 19 A dla/ . and beginson the third: Fig.I 18 E . and beginson the seventh: The second lick.- The fourth lick is in the key of A. The first is in the key of E.is in the key of E. again. alsoin E..- 38 . this tinre beginning the fifth: on Fig.9r'rr.

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