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Country Licks For Guitar PDF
Country Licks For Guitar PDF
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I sBN !-t3q-!el,l[-]
ililil||lr||ililr]||||ilttl
r173999"955771.r +
ill/
UH
by
Inouato
Steue
andJenomeAnnold
I S B N 0 - b 3 q - 0 e 13 0 - 3
ZJHnlol-EoNARD.
L-acoRpoRA-t-roN
7777 W. BLUEMOUND RD. P,O. BOX I38I9 MILWAUKEE. WI 532I3
C o p y r i g h0t 1 9 8 3 ,2 0 0 0b y H A L L E O N A R DC O R P O R A T T O N
International CopyrightSecured All RightsReserved
D u r i n gt h e f i f t i e sG
, r a d yM a r t i na n dH a n kG a r l a ncdo u l dn o t o n l yb e h e a r do n c o u n t r yr e c o r d sb,u t
t h e ya l s o
played o n r o c k a b i l lryh,y t h m' n ' b l u e sa, n dr o c ks e s s i o nass w e l l .G a r l a n dw,h o w a so n eo f t h e m o s t
highly
r e g a r d egdu i t a r i s ti sn N a s h v i l lsee, tt h e e n t i r ej a z zc o m m u n i toyn i t s e a ri n 1 9 6 1w i t h
h i sb e b o pa l b u mJ o z z
Windsfrom o NewDirection.
0 n t h e w e s tc o a s ta, t t h e s a m et i m e ,J i m m yB r y a nw t a sm e l t i n gs t r i n g sw i t h h i s h i g h - v e l o c i tcyo u n t r y
)azz,
w h i l eb l u e g r a sf lsa t p i c k eerx t r a o r d i n a ci rlea r e n cw
e h i t e c r e a t e da n e wv o c a b u l a rf yo r t h e T e l ef,i r s tw i t h t n e
p r o t o t y p i ccaol u n t r y - r o cbka n dN a s h v i l lwee s ta n dl a t e rw i t h T h eB y r d s .
T h ec o u n t r yg u i t a r i s tm
s e n t i o n eadb o v e( a n dt h e m a n ym o r ew h o w e r en o t )h a v ea c c 6 u n t e d
f o r s o m eo f t h e
m o s te x c i t i n g
a n di n n o v a t i vpel a y i n gi n A m e r i c am
n u s i ct o d a t e .I n w r i t i n gt h i sb o o kw
, e h a v et r i e dt o c a p t u r e
t h e e s s e n coef m o d e r nc o u n t r yg u i t a ra n di t s m y r i a di n f l u e n c eW
s .e h o p et h a t t h i sv o l u m ew i l l e x p a n dy o ur
c u r r e nrte p e r t o i roef m u s i c ai ld e a sa n dh e l py o ud e v e l oap p e r s o n as lt y l eo f c o u n t r yg u i t a r .
Iaile
ufhntcnts
Open-String
Licks
A l s o t, h e a c c o m p a n y iC
n gDw i l l a s s i syt o u i n d e c i p h e r i nt hge f i n g e r i n gs ,o u n da, n dt i m i n go f e a c hl i c k . 0 nt h e
a u d i oC D ,e a c he x a m p l ies p e r f o r m et dw i c e - o n c eu p t o s p e e da n do n c es l o w l y .
lirlrs
$iltulu-$triru
OProLick#1
H e r e 'asv e r yt y p i c al li c ko r t a gi n C .l t l a y sw e l lo n t h ef i n g e r b o aar nd de m p l o yasu n i s o bn e n di n b a r2 .
OProLick#2
T h i sd o m i n a nlti c kw o r k sg r e a ti n c o u n t r yt u n e sa s a V 7 m o v i n gt o t h e t o n i c .l t a l s ow o r k sw e l li n s w i n gt u n e s .
gProLick#3
Thislickworkswellovera C (l)or Am (vi).lf youmoveit up a minorthird,it willworkoverCmor Eb.Remember,
anytonicmajorlickmovedupthreefretswillgiveyoua tonicminorlick.
CorAm
OProLick#4
Thisis a familiar
lickutilizing Tryplaying
sixthintervals. all thenoteson thethirdstringwithyourpick,andallthe
noteson thefirststringwithyourmiddle finqer.
C7
gProLick#5
T h i sl i c ka l s ow o r k sw e l lo v e rA m .
OProLick#6
( u s i n go p e ns t r i n g s b
T h i sb l u e g r a sf lsa t p i c k i nlgi c ki s w r i t t e ni n o p e np o s i t i o n ) ,u t i t s h o u l da l s ob e w o r k e do u t i n
c l o s e dp o s i t i o n( n o o p en s t r i n g ss) o t h a t i t m a yb e t r a n s p o s etdo o t h e rk e y s .
+
+
-a
-
-
OProLick#7
Herewe havea verybluesy lickw h i c hu s e su n i s o nb e n d si n b a r s1 a n d2 . I s u g g e ssth i f t i n gf r o mf i f t h t o s e c o n d
position
at beat3 of 6ar2.
A1
r' /-t--
OProLick#8
T h ef o u r t hn o t ei n t h i sl o n gt w o - o c t a v sei n g l el i n ei n G i s a n o p e nEstring.
Asthelickis transposed
to otherkeys,
t h e o p e nE c a nr e m a i na s p a r to f t h e l i c kb e c a u siet i s o a s s eodv e rsorapidly.
---------
gProLick#9
T h i si sa m o v a b l ei c kw i t ha b l u e s yf l a v o r A
. p o s i t i o ns h i f tf r o m f o u r t ht o n i n t hi s r e q u i r eadt b a r2 . N o t et h e u p w a r d
s w e e ap t t h ee n do f b a r3 .T h i si s d o n eb y s w e e p i ntgh e p i c ka c r o s s t r i n g s3 , 4 , a n d5 u s i n oa n u o s t r o k e .
OProLick#10
T h i si sa l i c ki n t h es t y l eo f A l b e rLt e eA. l t h o u giht m a yl o o kd i f f i c u l ti,t ' sa c t u a l l y
problem o n eo f t h e e a s i eor n e sA. ntv
wsi t hp h r a s i nwgi l lb ec r e a r eudpb yi r ' ea u d i bB. a r1 i s m e r e l ya b l u e sl i c kw i t h
in t e r s p e r st e a n o p e nB s t r i n g
hrdo u q
hout.
#11
OProLick
T h eo n l yt r i c kh e r ei s t o l e a r nt h e l i c ks l o w l ya n d r e m e m b et h
r a t s p e e di s t h e b y - p r o d u cotf a c c u r a c y .
Pedal-$teel
lirlrs
#12
OProLick
T h i si sa c l i c h ep e d a l - s t el ieclk N
. o t i c teh a ts e v e r a
t i lm e st h eB n o t ei s b e n tu pt o C f t h r o u g h o tuht ef i r s t
two bars.
gProLick#13
T h i si sa l e n g t hpye d asl t e e l - t y pl iec ko v e ra f a i r l yc o m m ocno u n t rpy r o g r e s s iIonnb.a r1 ,t h eE i sb e n t o F #
a n dh e l dt o p i t c ht h r o u g h o tuht eb a rT . h i sh a p p e nasg a i ni n b a r5 . B a r7 h a ss o m ed i f f c u ldt o u b l e - s t r ibnegn d s ,
s ob es u r ea n dl i s t e n t o t h ea u d i ot o h e a rh o wt h e y ' rseu p p o st oe s o u n d .
I
D A1
-',}-."\ ,/^'-:--\
tutld bend
OProLick{14
Hereis a typicalcountry
lick.Becareful theyaredifficultto playin tunebutabsolutely
withthetwo stringbends;
necessary guitarflavor.
for that Hawaiian
/--
t> e;i c-t-fi {al
gProLick#15
Here'sa pedal-steel
tagwhichgetsitssoundby bending
Ff to G{ on beat1 andholding
thebendthrough
bar1 unti
isfinallyreleased
at theendof bar1.
10
gProLick#16
' i e r ei s a l i c ko v e rC 7 u s i n gt r i c k yd o u b l e - s t obpe n d sW
. h e nb e n d i n gt w o n o t e ss i m u l t a n e o u si ltys,e e m st o b e
e a s i eirf y o u i m a g i n teh a t t h e t w o f i n g e r sy o u a r eb e n d i n g
w i t h a r ew e l d e dt o g e t h ear n du n a b l et o m o v e
. o e p e n d e n tol yf o n ea n o t h e rY. o ut h i n b e n dt h e n o t e sc, b n c e n t r a t i nogn b e n d i n gy o u rw e a k e sf ti n g e ri n t u n e .
v o u rs t r o n gf i n e rw i l l f o l l o wy o u rw e a kf i n g e ra n db e n dt h e o t h e rn o t ea u t o m a t i c a lilny t u n e .T r yi t , y o u ' l ls e e !
gProLick#17
Thisis a variation
on thepreceding
lick-thistimemoving
to eithera I chordor a lVchord, on howyoulookat it.
depending
C1
OProLick#18
T h i sl i c kh a sa s w i n gf e e la n dw o r k sw e l l i n a w e s t e r ns w i n gs i t u a t i o nT.h ed o u b l e - s t r i nhga l f - n o t eb e n d sw i l l
p r o b a b lnye e ds o m ep r a c t i c e .
D7
,/'\
11
litlts
lpglt-$trinu
gProLick#19
o lp e ns t r i n gw
T h i sl i c ko r t a gi n C u t i l i z i esse v e r a s h i c hf a l li n t ot h eC s c a l eT. h el i c ki s b e s tp l a y e du s i n ga n a l t e r n a t i n g
m o t i o nb e t w e etnh ep i c ka n dm i d d l fei n g e rR. e m e m b tenra, l lo p e ns t r i n gl i c k st,r y t o k e e pt h e l e f t - h a n df i n g e r sa r c h e d
a n dp e r p e n d i c ut o l at rh ef i n g e r b o asroda l ls u r r o u n d isntgr i n gasr ea l l o w e dt o r i n gt h r o u g h o ut th e e n t i r el i c k .
G1 C
le t ri tt g t lt rutt F,lrrtttl
O ProLick
#2n
Thislickusesa.descending
half-step
fingering a banjostylelickthrough
withan openstringto create a cycleof fourths
cnor00ro0ressr0n.
12
O ProLick
#21
r " s b l u e so r s w i n gl i c kc a na l s om a k ea g r e a te n d i n g( G zt o C ) .P a yc l o s ea t t e n t i o nt o t h e o p e ns t r i n g s .
G7 alt.
O ProLick
#22
T n ; so n em a yb e a b i t t r i c k ya s i t i s m e a n t o b e p l a y e df a s t .l t ' sa b l u e s yl i c k ,a n dm a yb e u s e di n a v a r i e t yo f
c o J n t r ya n db l u e g r a sssi t u a t i o n s ,
C1
C
g ProLick
#23
Nere's
a funkybluesylickutilizing
openstrings.
There
areno special
tricks-other
thanremembering
to allowtheopen
I
s:rings
to ringthroughout
theentirelick.
A]
t\
13
litlts
[ltoril
#24
EProLick
T h i sl i c kd e m o n s t r attheesp o p u l acro u n t rsyo u n d
o f p l a y i n gs i x t h so v e ra t y p i c acl h o r dc h a n g e .
C C] FDl
e
I
#25
O ProLick
T h ev o i c i n g isn t h e f i r s tm e a s u rm A.l s o t, h e u s eo f a v o l u m ep e d acl a nb e h e l p f uiln
e a yt a k es o m es t r e t c h i n g
a c h i e v i ntgh e s t e e g
l u i t a rs o u n d .
C nb Gt Gl
14
O ProLick
#26
T " i si s a w e s t e r ns w i n g - s t y lceh o r dm e l o d yp h r a s e
t h a t m a k e sa g o o di n t r o d u c t i o n .
A1
'-JI',-il
v v r v f
- ,
1 C ? O E 1 e E 1 a E at
v
- e a E r a
v v v
a
E
EA
A E
t
t
f v v t v v
O ProLick
#27
I r i s c h o r dl i c kc a nb e p l a y e do v e ra n yd o m i n a nst e v e n t ch h o r d( C 7 V
, 7 )r e s o l v i ntgo t h e t o n i c( F ,l ) .
C]
15
litlts
[nukalilly
M o s tc o u n t r yg i g sr e q u i r teh e p l a y i n g l y u s i cT. h ep h r a s ei sn t h i ss e c t i o n
o f f i f t i e sp o pa n dr o c k a b i l m w i l la i d
b o t hc o u n t r ya n dr o c k a b i l ql yu i t a r i s twsh o n e e da u t h e n t irco c k a b i l l iyc k si n t h e i rr e p e r t o i r e .
O ProLick
#28
T h i sl i c kw o r k sg r e a to v e rG ,G 7 ,o r E ma s a l e a dl i c ko r e n d i n g .
O ProLick
#29
T h i sw e l l - k n o wrno c k a b i l l iyc ko u g h t o r i n ga b e l l !
16
ProL ick
#30
h e rv e r yp o p u l abrl u e so r r o c k a b i l l vi c k .
AorAT
OProLick#3l
N o t et h e u s eo f t h e b 3 r d( G )i n t h ef i r s ta n dt h i r dm e a s u r teosg e tt h e" b l u e ss"o u n d .
-a-
E]
17
g ProLick
#32
Thislickworksbestovera | [A7)or lV [D7)chord.Noticethatthelickis repeated
in thelasttwo bars,phrased
in triplets.
eProLick#33
Thisisanexpanded version
of Iick#28.lt'sbeenused
byeveryone (whoprobably
fromChetAtkins invented
it)
to theStrayCats.
G. G7 or Em
:-F-- ;-_--
---,,--\ ------
1B
#34
ProLick
i s a r o c k a b i l lbyl u e sc h o r u si n C c o n t a i n i nm g a n yo f t h e c l a s s i lci c k so f t h e s t y l es, u c ha s :s l i d i n gi n t ot h e
s t o p sf r o m a h a l f - s t e pb e l o w ,r e p e t i t i o u sh y t h m i cp h r a s e sa ,n da d r i v i n gr h y t h md e r i v e df r o m p l a y i n g
r
o n t h e d o w nb e a t s .
zT-
F]
,-^--
19
rQProLick#35
T h i sb o o g i et u n er e f l e c t as b l u e g r a si ns f l u e n cae l a D o cw a t s o n .
DorDT
20
ProLick
#36
t p i c a l b o o g i el i c kc a nb e p l a y e da s a r h y t h mp a r to r a r e a l l yh o t s o l oa t f a s t e rt e m p o s .
.J
P\I
E]
J ,
I
g ProLick
#37
'lris
lickcanbeplayed it up twelvefrets(oneoctave)
Trymoving
usingonlyonefinger,butthetimingis tricky. and
o ayit overthesamechord.
L V L g E V
a o a l . l n a t a l nn
L
6
V
i a n a n
L V L V
a
L
n ..|
L ! v
. ! n
L W L 9 L V
21
lunky
[uuntry
tinks
gProLick#38
H e r e 'a
s f u n k yc o u n t r yl i c kt h a t c o u l da l s ob e p l a y e da s a b l u e sl i c k .
E A
,
ltold bt'ntl
,
ltold ltend
,_!":"'_'':"'!
_
gProLick#39
0 u r l i c kf o r t h i st y p i c acl h o r dp r o g r e s s i od ne p e n dosn t h e b e n d sa n df u n k ys o u n df o r i t s e f f e c t .
OProLick#40
T h i sc o u n t r yb l u e sl i c kc a nb e p l a y e do v e rA 7 o r D 7 .
22
#41
ProLick
i s o n eo f o u r f a v o r i t easn di s a c t u a l l ya l o t e a s i etrh a ni t l o o k so n p a p e rT. h eX ' si n d i c a t eg h o s to r m u f f l e d
w h i c ha r ea c h i e v ebdy n o t p r e s s i ntgh e s t r i n ga l l t h e w a y d o w nt o t h e f r e t ,b u t j u s t t o u c h i n gi t w i t h t h e l e f t
i t w i t h t h e r i g h th a n ds o i t s o u n d lsi k ea t h u m p .
a n dp i c k i n g
C'
holtl bentl
,
#42
Lick
Pro
lickwhichagainresolves
of thepreceding
Htre'sa variation on whereyou'recoming
to a I or lVchorddepending from.
c7
23
OProLick#43
Notice i n t h i sl i c kt h ep r e - b e n adns dr e l e a sbee n d isn b e a t2 o f b a r2 a n d b e a t1 o f b a r3 . T h ef i r s t b e n di s a c c o m p l i s h e d
! V b e n O i nbgo t hn o t e su pa h a l fs t e pu s i n gt h ef i r s tf i n g e rT. h es e c o n di s d o n eb y b e n d i n gt h e C t o D w i t h t h e t h i r d
f i n g ew
r h i l ef r e t t i n g
F w i t ht h ef o u r t hf i n g e r .
OProLick#44
Thisis a greatfour-bar
funky.lickwhichemploys
effective
useof boththe pentatonic
andbluesscales
witha shift
fromfifth to secondpositionin bar3.
24
#45
ProLick
: s a t h r e e - b afru n k yl i c k ,a n yb a ro f w h i c hm a yb e u s e da s a l i c ki n i t s e l f .
C7
* J
V
Pro #46
Lick
n ft e a r l y J e r rR
t h i su p - t e m p ob l u e sc h o r u si n A , b a r si 3 - 1 6 c o n t a i na f u n k yl i c kr e m i n i s c e o y eed.
25
26
ProLick
#41
b e n d si n t h i sl i c kc r e a t ea n e a r t h yp e d a l - s t eseol u n dB
. es u r et o b e n di n t u n ea n dw a t c ht h e t i m i n q .
Itold bend
al
27
OProLick#48
T h i si s a p i a n o - s t y l e
i c kt h a t i s g r e a tf o r l e a do r b a c k u pe, s p e c i a lilny t h e b l u e s yc o u n t r yv e i n .
OProLick#49
H e r ei sa n o t h epri a n o - s t ybl o
e o g i lei c kw h i c hc o u l db e u s e da s a r h y t h mp a r to r a l e a dl i c k .
Swing Feel ( ,l , ,\ )
OProLick#50
Theuseof double stops,
bends,
andbluenotesgivesthislickitsfunkysound.
Becareful
of thepre-bends
in barl,
beat3. andin bar2. beat1.
28
#51
ProLick
V - l V - V - l l i c ks h o w sa d e f i n i t eB r i t i s hr o c ki n f l u e n c eb,u t t h e p h r a s i n m
g a k e si t c o u n t r ya l l t h e w a y .
e ProLick
#52
A l t h o u g ht h i sl i c kl o o k sd i f f i c u l ot n p a p e rp, r a c t i c iet s l o w l ya n dt h e s p e e dw i l l c o m el a t e r .
30
Lick
Pro #53
f o r t h e p u l l - o f f sh, a m m e r - o nasn, ds l i d e si n t h i sb l u e s yc o u n t r yl i c k .
ProLick
#54
p l a y i n gt h i sf u n k yl i c k ,i t i s n e c e s s atroy u s er i g h t - h a nfdi n g e r sa s w e l la s a p i c kb e c a u soef w i d ei n t e r v asl k i p s .
p l a y i n gt h e o p e nA s t r i n gw i t h y o u rp i c ka n dt h e d o u b l es t o p sw t t hy o u rf i n g e r sT. h i sm e t h o di s n o t o n l ym o r e
: i s eb, u t i t w i l l g i v et h e l i c km o r es n a p .
A1
e
hold bertd
Pro
Lick
#55
s i s o n eo f t h e m o s tsatisfying l i c k st o p l a yo n c ei t i s m a s t e r eldt i.s e x t r e m efluyn k ya l a J e r r yR e e do r A l b e r tL e e .
h y c l o s ea t t e n t i o nt o f i n g e rasn db ec a r e f uolf p r e b e n d i nsb a r1 .A l s ob, es u r et o b e n dt h e n o t e st o e x a c to i t c h
Itfore playing.
Guitar Notation Legend
GuitarMusiccan be notatedthreedifferentways:on a musicatstaff, in tabtature,
and in rhythm s/ashes.
D A D EG
@@
n
open -jfr
RHYTHM SLASHES arewrittenabovethe
s t a f fS. t r u mc h o r d isn t h er h y t h mi n d i c a t e d
U s et h ec h o r dd i a g r a mf o s u n da t t h et o p0 f
t h ef i r s tp a g eo f t h et r a n s c r i p t if0onrt h e
a p p r o p r i actheo r dv o i c r n gR s .o u n d
n o t e h e a idnsd i c a tsei n g l en o t e s
Notes:
.F
tn
w.l
UO
nn
T H EM U S I C ASLT A FsFh o w sp i t c h easn d rE
r h y t h masn di s d i v i d ebdy b a rl i n e si n t o
measures. Pitches arenamedafterthef irst Strings:
sevenlettersof thealphabet. E
I
TABLATURE graphically represents the
g u i t afri n g e r b o a rEda. c hh 0 r i z o n tl ai nl e D
A
r e p r e s e nats t r i n ga, n de a c hn u m b e r
E
represents a fret, 4 t hs t r i n g2. n df r e l l s t & 2 n ds t r i n g o
s p e n , o p e nD c h o r d
p l a y etdo g e t h e r
HALF-STB EE P N DS: t r i k e
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u p 1 / 2s t e p . D e n du 0o n es t e o . indicated.
Thefirstnotedoesnottakeupanvtime. n o t ea n db e n du p 1 / 4s t e p .
H A M M E B - OSNt r: i k e t h ef i r s t( l o w e rn) o t ew i t h P U L L - O FPFl:a c e b o t hf i n g e ros nt h en o t e s LEGAT0 SLIDE: Strikethefirstnoteand SHIFT S L I D ES: a m ea s l e g a t sot i d ee. x c e p l
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t o t ea n d t h e ns l i d et h es a m ef r e t - h a nf idn g e u
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d o t ei s s t r u c k .
s a m es t r i n gw ) i t ha n o t h ef irn g e b r yf r e t t i n igt w i t h o upt i c k i n gp,u l lt h ef i n g e or f ft o s o u n d d o w nt o t h es e c o n n d o t eT. h es e c o n n do t e
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TRILL:Veryrapidly alternate between the TAPPINH G a: m m e(r" t a p) t h ef r e ti n d i c a t e d N A T U R AHLA R M 0 N IS Ct:r i k et h en o t ew h i t e PINCH HARM0NIC: Thenoteis fretted
n o t e si n d i c a t ebdyc o n t i n u o u shlaym m e r i n g w i t ht h ep i c k - h a ni ndd e xo r m i d d l fei n g e ar n d t h ef r e t - h a nl idg h t ltyo u c h etsh es t r i n g n o r m a la l yn da h a r m o n i sc p r o d u c ebdya d d r n , :
o n a n dp u l l i n ogf f . pulloffto thenotefrettedbythefrethand. d i r e c t loyv e rt h ef r e ti n d i c a t e d t h ee d g eo f t h et h u m bo r t h et i p0 f t h ei n d e x
tr% f i n g eor {t h ep i c kh a n dt o t h en o r m apl i c ka t t a , .
32