~ with Albert Lee, Jerry Donahue and Steve Trovato

" 10 IHlot Country PI1av-,Along lrax " Live Rhryt:hm Sectio:n ,Featuring IMus~c~ans IlnstltlJt'El Staff Ail1ilsts

• Demo solos by Monster 'GUiitarists

• C'omplle'te IR'hythm Charts and S:ollo lrSlnscriiptiorns w/falb

IUWlmate Play' .. AtlJng Rock Oultar TI'ax featu,ring P,aul Ol:l'bert CPMOO01ACD

Ultimate' Play-Allong EilJues. O'u~'ta'r' Trax I'eatturln,gl Rot,Cen IforCi and Scott H,enoerson CPM0002A'CID'

Ultimate PllC1V"A!longl C-GUmty Gul.tar Trax 'featuring Alben: Lee and Jer1ry Don'lihue QPM000"3AC1D

$119 •. 95

in Us, ....

CPMOOWACD

~ with Albert lee. Jerry Donahue and Steve Trovato

Project Managler: Aaron Stang Mixing board courtesy 01' Solldl State' Logic Art Design: Joseph IKlucar

e 1994, 191916, 2001 WARIi'lER BROS.. PUSUCATIDNS AH Rigl'1,[S Reserved

Any dupHcatiorrl, aeaptatron Or ,arrallgement of tlh,e ,eomIPosltio,lIls contained in this collection requkes the written consentot the iPutlli~Sher.

No oallit of tnts book: ma.y be Pihotocopiea or repfOClllced in ,any way withOut lpe,rmissioll. unaetnortzed uses are an infringement of the us, Copyright Act and at1epuni'Sllable lOy law.

'The Authors

Steve Tr-ovato is one of the premier educators at the Musicians Institute in Hollywood, CA. He has authored and produced several instructional books and videos. Steve performs regularly at night, dubs, also doing clinics, seminars and. TV dates. He is currently working on a solo album. Steve currently holds a position as lecturer at. the University of Southern California.

Paul Farnen has been 0[1 the BIT faculty since 1981 and has held the Departmeat Chairman position since 1986. His album credits include both jazz and R&B and he has writtenand performed on several documentary films elmO) and commercials, He has also been involved ill clinics in the U.S.; Japan. (Yamaha and T.e.A.) and Europe.

The Players

Albert Lee ~ Guitar

Albert is one of the most influential guitarists ever to grace the country MUsic scene. Albert defines "hot guitar" and his playing has set the standard. for the "new" generation of country pickers .. Albert has performed with Emmy Lou Harris' "Hot Band" and spent five years louring with. Eric Clapton. He currently tours with the "Everly Brothers" and has two solo albums to his credit, Speechless and Gagged, But Not Bound, available on MeA Master Series.

Jerry Donahue - Guitar

Guitar Player MagaZI:ne rants him among the elite, and their recent poll placed rum second in the Best Country Guitar Player in the World category (January, ]994), As a member of the Hellecasters, Jerry was honored when the same poll named The Return Of The Heliecasters Best Overall Album and Best Country Album. Guitar ShfJp Magazine (Spring, 1994) also named it "Guitar Album Of The Year;' describing Jerry Donahue as a "freak of nature,'; Guitar great [lanny Gatton called him "the string-bending king of the planet,' One moniker fits Jerry Donahue best of all "Master ofthe Teleeasten"

Eric Paschal- GuiJtar

Originally from Port Worth, Texas" Eric now makes his home in Santa, Clarita, California, where he has a rigorous schedule including club and session work. He is not only an instructor and program leader at the Musicians Institute but is abo co-author of OIT's "Rhythm Guitar" program. Eric currently is at work on several recording projects inciuding a collection cforiglnal etudes.'

Gary Hess - Drums

Gary is widely recognizedas an exceptionally gifted stylist and is as "at horne" playing:

Jazz Fusion as he is playing Country Western. Because of his versatility he is much in demand ill widely diverse settings. He has performed in concert with Robben Ford, Jeff Berlin, Joe Pass and Albert Lee. He is not only the author of PIT;s reading curriculum but is a classroom instructor. His classes include Motown (R&B)) Sight-readmg, Live Playing Workshops: and he manages to teach privately also.

Todd Johnson ~ Bass

Todd is a true pioneer of the six string bass as he has invented a truly unique technique of playing simultaneouschoed and bass accompaniment. He has spent the Last four years recording and performing ill concert with jazz guitarist Ron Eschete. He bas recently released a collaboration album with Ron entitled Mo Strings Attached with more recordings scheduled to be released soon. Todd joined the BIT faculty in 1992 and teaches courses in Bass Improvisation. Mr. Johnson is aID so endorsed by GHS and Poly tone Amplifiers.

Travis Parker - Fiddle

Travis Parker is not only an active session player (fiddle and violin) in tile L.A. area but also plays in the groups "The POllY Express" and "The Craig Colley Band" who have opened for "Brooks and Dunn'; and "Steve Wariner." '

Brett Garsed- Huitar

Australian hom Brett Garsed started playing at age 12,. and is basically self taught His first break carne when be joined John Farnham. In 1986 he came to. the U.S. to join "Nelson," with whom he recorded the After The Rain album that went double platinum. Shortly following be released his first collaboration album with T. J. Helmerich titled Quid Pro Qu,o. In 1992 be joined the GIT teaching staff and put out two more albums. His latest endeavors included an REH video titled "Rock Fusion" and collaborating with fusion guitarist Frank Gambale.

ALBERT LEE

GUITAR: Music Man "Albert Lee" model

AMPLIFIER: Groove Tubes Soul-0 Series 150 Watt head with two Celestion 12" speakers

STEVE TROVATO

GUITAR: Telecaster with Seymoar Duncan custom pickups

AMPLIFIER: Groove Tubes Soul-O Series 150 Watt head with two Celestion 12'" speakers

JERRY DONAHUE

GUITAR: Fender Jerry Donahue Signature Telecaster with special five-way switch that emulates three customary sounds and two "best sounds of a Stratocaster,"

AMPLIFIER: An Award Design JD-l 0 sound expander/speaker emulates direct

ERIC PASCAL

GUITAR: 1952 Reissue Fender Telecaster

AMPLIFlER:Fender "Blues-Deville' with four 10" Blue Alnico speakers

BRETT GARSED

GUITAR: Fender Stratocaster

AMPLIFIER: Groove Tubes Soul-O Series 150 Wan head with two Celestion 12" speakers

We would like to extend a specialthanks to our engineer, T J Helme rich.

Page # CD Prog:r.am #

Tuning Note , , , ' , " ' ' ' , 1

Concrete Skies

Performance Notes, . , , . " , . , ., .. , , . , , . , , . " .6 . , , . , .. , , , , . , . , , , . " .. " :2 Lead Sheet, .,' , , .. , . , .,' , . , .,' , . , ". , , ... '. '. ,9

Guitar Solo "' ,.' .. , , .. , , , , , . , " .11

Been There, Done That

Performance Notes .' .. ,", .. " .. ,',.,', 14 " .. ,.,.,.,',', .. ,.,.', ' .3

Lead Sheet " .. , '. , , a- •••••• ' ••• , .' •• , • , .16

Guitar Solo ' , .. , , , . " " 19

I. W. Pearson

Performance Notes , , .. 23 " , ,' A

Lead Sheet , , 25

Guitar Solo ' , . , 27

Bucket O"Rocks

Performance Notes ."., " .30 "., 5

Lead Sheet , .. " .. , , , .32

Guitar Solo ," , .' , . " ' " 34

Crazy ... Not Broken

Performance Notes ., , , .38 , 6

Lead Sheet , , Al

Guitar Solo ' , .43

Make It Easy

Performance Notes "., ' ,.47 .. , , .. , , 7

Lead Sheet ' ' , ' .49

Guitar Solo .. ' ' ' .50

April Mae Jiune

Performance N ales " .. ,.,',.".,', .. ', .. , .. ,,54 ...••...• ",., ..• ", ••. 8

Lead Sheet " .. , ,.' .. ".'. ' , .. ,,56

Guitar Solo , , ,.57

Boardner's Time

Performance Notes .. , ".' '.', ". ,60 ., .. , ,.,', .. ,., 9

Lead Sheet .. ,', ' , " 62

Guitar Solo .,' , .' ' " , 63

Don't Be Late

Performance Noses . ' , .. ' , , , .66 .. , , , .. ,', .. 10

Lead Sheet , 68

Guitar Solo , , , , , .. , ,69

Mile High Cafe

Performance Notes 72 , , , 1 m

Lead Sheet , , . , , " , .. 74

Guitar Sola .. ' , , , , .76

"Concrete Skies" is a thirty-two measure, straight-eighth note COUTItl)' rock groove. It is, divided into two sections, each of which is sixteen measures in length and features 8! solo by GH's Steve Trovato. Virtually every measure of this solo offers the player all interesting new technique to add to their repertoire. SIeve uses a hybrid right-hand aeehnique combining his pick with his middle and ring fingers to create the classic percussive chicken piekin' sound.

In measure nine, Steve plays double stops (two notes slmnltaneously) with his middle and ring fingers on the second and thlrd strings. Muting the strings just after playing creates the staccato effe.ct. The sweep at the end of measure ~en is done by rating the pick upwards across strings three, four and f~ve with a third finger barre at the seventh fret. The effect in measures fifteen and sixteen is created by playing the firs~ double stop, in each series of three ,. s taccato,

In measures seventeen and eighteen, the bend is on the third string; a unison note is played staccato Oil! string two followed by two muted pick attacks, also on the second string, All of the double stops in bats twenty-one through twenty-four are played by using either your ring and middle fiagers or your ring finger and pick simultaneously.

On the third beat of measure twenty-five the double stop is pre-bent before befung played. After it is played tine bend is lowered to the original pitch creating a pedal steel-like sound. The bend in beat three of measure twenty-seven is accompjished by bending the ojJeml fourth string down. This will raise the pitch of the fourth string from D to E. This, of course, will not work on a guitar with a locking nut, substitute a hammer-on for the bend.

In measure thirty. beats three & four, the four-note figure is played 011 four separate strings. Use your pick on strings four & three, your middle finger on string two and your ring finger on string one, Measures thirty-one and thirty-two feature the third (G~) and the flatted seventh (D) of the E chord down the neck on different sets of strings.

In measure thirty-three, theopen G is played roy pulling off alternately from C and D on the trurd string, Use your first finger on the C and your finger on the D. The remainder (If the solo is composed of funky double-stops,

The A major pentatonic scale is a great place to begin when soloing over "Concrete Skies." This scale will work over the entire progression but be sure to listen because some notes willt'fit" certain chords better than others.

For a more contemporary approach 1r]P using the A minor pentatonic scale or A blues scale over the progression. Dial in a "clean" sound on your amp for that "twang." lncluding a compressor willadd sustain and a percussive attack which will cause the double stops to jump out.

A B!~ues Scale Patterns

P,attern 4

5

Pa.ttern 2.

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A Minor Pentatonic Scale Pa.tterns

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A Maj;or Pentatonic Sc,ale Patterns

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_RA,@t§t¥1M!¥"

'ConClrete Skiies (lead Sheet)

By STEVE TROVATO and !PAUL lFARNEN

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......_ Concrete Skies: GuitalrSolo

Solo by STEVE TROVATO

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'Ibis progression is played with a. typical two-beat "train" feel The key is A major with a couple of non-diatonic twists, Scale choices are the A major pentatonic or the A blues scale. This track features a solo by Alben Lee, The actual solo section is preceded by a four measure introduction known as a "turnaround." A turnaround usually ends ona V7 chord and typicaUy is located at the last two or four measures of a song. The turnaround sets up a rerum to the beginning of the progression. In this ease a slight varisticn of the turnaround is played at the top of the song and this is where Albert begins to play.

The rhythm guitar style used in this song is a well known sound that should be in every guitarist's repertoire. The style is called "Travis" picking and in Ihis case requires a hybrid! right-hood iPicking techaique, The ~erm "hybrid" refers to using your middle and r~ng fingers in conjunction with the pick. The pick plays altemating bass notes on the low strings white the fingers playchords on the high strings. This can be tricky at first because you must develop independence between YOUI: pick and fingers .. Pay dose attention to the tablatuse Ior the exact notes being playedand practice slowly until. you achieve an even rhythm. It's best to mute the bass strings with the heel of your right hand by keeping it back near the. bridge. This will ensure. the. proper percussive sound that is so characteristic of this s~yle of rhythm guitar.

'The rhythm gnltar part for the first eight measures of the solo section (A 7) is played with a first finger barre across the second.third and fourth strings at the fifth fret On beat one play the open fifth string A On beat two play tile A 7 chord with your pick, middle and ring fingers, On beat tl:!ree play the sixth string open, On the "and" of three play the D and ~ and on beat four play the note A (fourth string). The notes on beats three and four are all played by barring the second, third and forth strings at the 7th fret

Albert's solo bums from beginnirrg to end as !lis impeccable sense of time locks. his lines 'righ~"in IDe pocket" Albert's nautral musicianship and dedication to his: craft enable him to playa seemingly effortless constant flow of eighth-aote lines and his hybrid right-hand picking technique aflows him to intersperse random double-stops along with his single-note playing,

Albert is a classic example of a guitarist with his own sound. Some, key components iliat create a musician's SOUI1(;ID are phrasing, tone, note choice and picking style, Albert dials in a clean, bright sound and then adds quite a bit of bass. This gives him a country "twang' while adding fullness ill the bass strings. His Music Man "Alben. Lee" model guftar bas three single-coil, custom wound Seymour Duncan pickups. Al.be.1t favors the position between the middle and ned: pickups, 'This gives him the sound of both pickups and is almost S tratocaster- like-.

Albert's phrasing is unique and very hard to duplicate. His playing is exciting and unpredictable,

Albert's cboiee of notes needs to be discussed in detail. He uses primarily the major pentatonic and blues scale interchangeably. The major pentatonic scale provides the ttaditionaloountry sound while the blues scale adds an edge that makes the sound more contemporary, This progression is in the key of A, so the scales of choice are the A major pentatonic and the A blues scale. AIDbert.'s double-stops are generally derived from chord tones. In this progressionallthe chords ar-e dominant sevenths, SO there are four chord tone-s: 1,. 3, 4, k7. Albert creates most of his double-stop ideas from various double-stop inversions of these chord tones, For example, over the tonic Albert usually plays a major third (C~ over A). Over the third he plays the fifth e£ oyer C~). Over the fifth he plays the flatted seventh (0 over E), and over the flatted seventh he plays the nine (B over G). 'This pattern can ~e applied to each chord in the progression.

The lick in measure twenty is accomplished by playing the triplet on the fifth string, m~l'I~illig with the heel of your right hand, and playing the higher note, on the third siring, with your middle finger. This part of Albert's hybrid right hand picking technique is wl1ere. he uses not only his middle and ring fingers with his pick but his pinkie as well! The "chicken piekin" sound is obtained by playing the notes staccato and not a1!lowinl!: them to ring for any duration.

As with all the solos contained in this book" this one should be learned slowly and thoroughly. Pay dose anention to the minute details and nuances as they may contain the key that unravels the 'elusive sound of the solo.

A Blues Scale Patterns

A Major Pentat.onic S,ca,le PaHerlns

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Been There, Dione That (Lead Sheet)

By STEVE TROVATO and PAUL FARNEN

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....... 59 ~ <:» 0~ This is an earthy modal sounding progression in the key ofD played wfuth aeut-time feel, The low drone SOUIld! is produced by tuning the low E siring down a whole step to D and thea al:ternati!l,Q; bass octaves between D 011 the sixth siring and D on the fourth string played with yourthumb, Since there is no third iathe D chord being played, a slightly ambiguous soond is created that: is neither major or minor, Songs similar to this are common in country music and the decision must be made as to whether to approach the solo as D major or D minor. Generally this bnot. difficult because, the overall mood and feel of tile tune will suggesta sound.

This song feaauresa solo by '"bending wizard" Jerry Donahue .. The feel and mood of this progression suggest a minor approach so Jerry went to work. The scale that works best for this song js the Dminor pentatonic. Tl:!at scale and the C majer and D minor triads agreement me the most common ingredients in Jerry's solo, JeffY Donahee isa master at slow. de-liberately greasy; bends that remain impeccably in tune. This technique win need to be worked on and prnct~oed diligently.

A good exercise for bending practice is unison bending. Play my note on the high E strmg then playa second note either a haJIf step or a whole step lower on the B string. Practice bending (he note Oil the B string until it sounds in unison with the note being played on the IE': stdng, Support your bend with ene or more fingers to add strength to your hand.

Jerry frequently bends two notes simultaneously wMch bas a great sound. In. W<lliy cases, when bending double-stops (two notes played simultaneously), each note is bent toa different pitch. This is demonstrased in measure ten .. On beat ene he is playing C and E on the secondand third strings, Oil beat two he bends the C and B up, to DandF. To do U1Js place your third finger on the Cand your fourth finger on the E. Keep these two fingers together es if they weee inseparable.Bend both strings teeping them parallel, !lot consciously trying to bend the third string up a whole step and the second! string up half'step. If you keep' the strings paraUel as you bend, the desired effect will De produced. Jerry uses tills technique seveeal times throaghout the solo.

Jerry winds interestingly through tbe remainder of his solo using the [)mimQr pe:n:ta.toni.c scale and the D natural minor scale. Much of Jerry's sound is produced by position shifts andsliding, which says ~at he indeed mows ~1 the scales in every position and how irnportant it is to practice all patterns.

Donahue finishes his solo with finger-breaking index finger bends in measures forty-eight and forty-nine, For tffiIe,m chord in bar forty-eight he plays P, In and C on the fif~h, fourth and third strings respeetivejy, He plucks all three strings simuiraneeusly lIsing the pick, middle and ring fingers on his right hand. He then bends the C Ull to D by pulling i~. downward with his index finger. A Hghter gauge G string (si;)(,been or fifteen) may he required to do this. Make sure to bend only the third string and !lot the fourth or fifth ..

He them moves this same pattern up a. whole step for the C chord and the!lagain one more whole step for IDe D mlnor, The bend into the Dminor chord requires less effort because the bend is .only a half step (E toF),

As a final note, Jerry uses a hybrid right, haad picking technique. He makes use of his middleand ring fwgers along with his pick. This. enables him to achieve the rolling souad across three smngs.

D !Minor Pentatonic Scale Patterns

D NatuF'a~ M.inor Scale PaHerns

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12

I. W. Pearson (Lead Sheet)

By STEVE TROVATO and PAUL FARNEN

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Intro:

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Solo by JERRY DONAHUE

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This is a typical country progression in the key ef E with a rock edge. It features a solo by Jerry Donahue. Even though the major pentatonic scale is usually the first choice as a possible scale source for impr-ovising over a country song. the rock edge in this progression suggestsa more bluesy approach featuring the minor pentatonic scale. Jerry's solo demonstrates the use of both scales.

Jerry plays classic country licks derived from tile E major pen.tatonic and blends them with bluesy licks derived from the E blues scale. These scales, together with Jerry's unique style of bending, create theamazing sound and feel of this track, During the intra, Jerry plays the root. of each chord on the fifth string and then bends the fourth and third strings each a. half step. SpecificalIDy, in measure one/beet one he plays a B with his flrs~ finger. Next he frets IF on the fourth string with his second fingei and A~ Oil the [Mrd. string with his third finger, Pulling these two noses downward simultaneously he raises their pisches to PI! and B respectively, Take care to bend both notes in tune and keep the strings. parallel with one an.otfuer during the bend!. Strive always. to bend in tune. Ul~imately the best gauge of being ill tune is to listen to yourself very carefully. Repeat this move for each chord in the intra, moving apchrometically to E.

Jerry is a master of bending and uses three techniques. First, he simply bends either singlenotes or double-stops into the desired pitch. Second, he uses the pre-bend or release bend. This refers to bending a note before it's played, strike the strings and release the bend allowing the strings to retum to their original pitch. Third and certainly the most elusive technique, is bending an open string, Pl<1lY the note and men reach ul' with your left hand behind the Dum, and push the string down to raise its pitch, Bend.ing on~, two and even HTIifOO striags simultaneous my can create unbelievable effects!

Jerry uses pencil lead in the grooves of his i1U~ to free the strings from binding and help them retarn to pinch. The behind-the-nut bend is, of course, nan-applicable if you have a guitar with a locking nut. Also, I suggest a set of light or ultra light strings to make bending a. little easier. To demonstrate this effect for yourself; play an E on the sixth string then play a D on the fourth string. Witllil your left hand index. finger, reach behind the nut and push the fourth string down unti~ you raise the pitch to E, Much practice is required before any real control over this type of bending is mastered, biu the effect is well worth the effort.

Jerry picks up the pace during the last four measures of his solo by playing ideas thar combine fretted notes with open strings and his hybrid right hand pickj~g technique, He climaxes his solo during the last two msasures with <l blii10ifig flurty of open strings and fret~ed notes. Pay close attention to the notation here to be sure of the exact nates being played, Enjoy!

E Blues Scale Patterlr1l$

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By STEVE TROVATO and PAUL FARNEN

Moderately J = 124

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This song in HE" is a 12-bar bIDues boogie shuffle with a bridge; Ute slide solo is, by Australian born Brett Garsed, Because the sound of the slide is so prevalent in country-rock music we thought that it would be important to include a slide guitar. solo. Bands like 'The AIDIman Brothers, Lynyrd Skynyrd and others have popularized this style of guitar playing.

Slide guitar solos are most frequently played using amp distortion. This gives the solo a rougher edge to it. Many players also include compression to increase sustaia. Slides themselves range from spark plug sockets to glass bottle necks. The steel slides commercially availahle work fine for most players. Players who have the luxury of owning two guitars may lise one for slide purposes. The action is usually raised so that the slide does not hit the frets. Many times open timings such as "0" or "E"are· used tocreate different sounds.

Brest Garsed uses a stock Fender Strate caster, a Groove Tubes Soul-O series 150 Wau head and a. "two-twelve" Celesrion cabinet, He even uses a standard tuning. Brett wears the slide on his midd~e finger and frets notes both behind and in front of the slide with his index, ring and pinkie flngers.

This solo begins witl:! Brett fretting the first four notes (orlbe "pick up") and then using the s~de to play ~he E. This Hery solo is then off and running. Note the outstanding control Brett has over his slide. All the strings surrounding ibe one being played must be dampened to avoid extraneous noise. BreH Isa master of this. All ~h:e notes in this solo could be played using only the slide but Bretauses his fingers in combination much (lif the time. He bas integnl~ed his fingers into bis slide playing so well that i~ is difficult. to determine when he uses his finger and when he uses the slide.

To play the liet in measures <eighteen and nineteen angle the slide diagonally on the second and third strings, The B note on the third string and the D on the second string are played by alternating the: pick and middle finger of your right hand. Play the chromatic passage in measure twenty by using the slide for the first and last notes and thirdand fourth finger for the middle ones, The actual fretted. notes in this 8010 sound more percussive and staccato fuan the notes played with the, slide. This may help you to distinguish which is which,

The lick in measure twenty-two is a masterpiece in its fire and precision. A lick of this velocity is especially difficult to play in tune due to the rapid movement of the slide. Practice this one very slowly to be sure it is in tune before increasing the tempo. The lick in measures twenty-nine and thirty is OODe again played by angling the slide. The high E notes in the last two measures are played on the f~rst string just beyond the high end of the neck. Since most guitars do not have a full two octave range, you must listen carefully ~o hear when the note is ill tune,

Note choices for slide are usually derived from the dominant seventh chord. tones for each chord, For non-slide players, use theE blues scale for the entire piece. Even though some oil' the notes in this scale are not found in ~be chords they areeonsidered acceptable dissonances within the blaes tonality.

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40 "Make It Easy" is a medley of two essential Country-Rock progressions featuring a solo by Steve Trovato. The first half of his solo demonstrates a triadic approach and the second Ilalf demonstrates the art of the harmonized double-tracked guitar solo that is prevalent ill Country-Rock music.

The first half of the pr-ogression (16 measures) is composed of major mads. These triads are G, C and D. For this section of the solo Steve uses primarily only the notes of the triads and the momentum of the· steady eighth-note feel to' drive his playing.

A note thet eompllments the basic triad is the fourtih degree of tile major scale played againsteach chord. This is demonstrated in measure five. Here Steve bends the B to C on the "and" of beat two and then agein in measure six where he bendsFII to G over the D chord. This sound repeats, several times during: the first half of the solo. This recurring theme keeps the listener's attention more than playing riff after riff of unrelated ideas ...

The second half of the solois double-tracked.The second half of the solo is double-tracked (two guitars in harmony). For this solo Steve recorded the melody track (lower part) flrst and then experimented with several different ideas for the harmony part U sually, tile intervals of diatonic thirds or fourths seemed to sound the best There is no right or wrong way to harmonize amelody .. The omlly requirement is that it sounds good against. the chords being played. Make sure that when youare worldng out the parts that you have a reference track of the CbOFd pregression to practice with .. Sometimes you may come up with II! killer harmonized solo only to find that it does not sound pleasing against the chords.

'There are two important. factors to consider when constructing a harmonized guitar solo. One is tone matching and the other is lime matching. It seems logical! tbat using tile identical tone for both parts would! sound best, but inactuality the two parts blended better when we added a small amount of distortion to the harmony part to soften up the attack. The melody ttact was played! fairly clean.

The second essential element is the phrasing <liJIQ articulation of both parts played. Bach part should be identical except for theactual notes being played. They should! match bend. for bend. pick-stroke for pick-stroke and slide for slide, The resulring sound will be very satisfying and is an important part of Country-Rock guitar history,

The best scales to use for this progression are the G Major pentatonic and the G Majo:r scale. Some notes win work better than others over certain chords so be sure to listen to the overall sound, Your ears arealways the best judge,

G M,ajo,r Scale Patterns

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Make It E,8SY (ILead Sheet)

Moderately fast country rock J .:::: [36 Intro:

By STEVE TROVATO andiPAUL FARNEN

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Make It Easy: Guitar' Solo

Solo by STEVE TROVATO

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Here we have a country shuffle that is as ~imely today as it was 20, 30 and even 40 years ago. 'This is clearly one of the most recognizable feels 10 country music, both old and new. It is in the key of G major and, as with all the progressions in the book, be sure to practice it in all keys. This is done by referring to the chord chart provided, learning the rhythm part and the chord progression and transposing i~. to other keys, Then record the progression in the new keys with guitar or rhythm section and use the tape to practice.

Albert Lee performs the solo. Immediately the listener is struck by the fact of how "in time" and! relaxed Albert plays the guitar. The more "in time" a guitarist can. play, the more comfortable and! effortless he or she will make a solo sound. Albert also retains a strong sense of melody in his playing regardless of the number of notes that he plays. This is partly due to his great sense of phrasing. It's almost as if he is singing his solo in h~s head as he plays, and when he runs out of breath l1e pauses, breathes, and begins again. This enables his solo to take on a. lyrical 01:" vocal quality

The type of phrasing that Albert uses here is very appealing ~o the listener because of its natural rhythm. Listen. closely to his solo and notice how be plays it in four measure phrases. At the end of each feur measure segment there is a noticeable pause and then a new idea begins.

Albert usesa hybrid right hand picking technique combining his middle, ring and pinkie fingers along witllllis pick. However, most of this solo is played using only a fla~. pick. Occasionally Albert will spice lip the solo by adding double-stops (two noses sim!:11taneously),. This is one of llilis trademarks. He plays the lower note with his pick and the upper with one of his fingers.

Notice Albert's use of dia~onic sixths in measures twenty-five-and twenty-six. Diatonic siLxllis refer to any scale-tone harmonized with the note six tones above or below it In. this ease, Albert plays the lower note on the fourth string with his pick and the upper note 011 the second stril1g with his mjddlefinger.

Albert createsa nice texture called a "banjo roll" using a comhination of am open string ami! two fretted notes in measure twenty-seven. He plays D om the !.hird string, F on the second! string and the high E string is played open. Using the pick to play string three, the middle finger ~o play string two and the ring finger to play the first string he creases acascading effect similar to holding down ~.he sustain pedal on a piano and playing a scale. The notes ring into one another. A great example of tllil.is tedudquecan be heard on a song called ''TBird ~o Vegas" from Albert's MeA master series album Speechless.

The key to Albert's modem approach to country guitar is his choice of scales, Albert. plays the major pentatonic scale and the blues scale and moves back and forth between the two. Since this song is in the key of G major, ninety percent of Albers's solo comes fromeither the G major pentatonic scale or the G blues scale. The remaining ten percent is made up of tones from the major triad of each chol:"d in the progression.

Try playing G majo!:" pentatonic ideas during the G6 chord and switch to the G blues scale during the C9 chard. Use either the G major pentatonic 01" G blues scales for the D9 chord,

A great w.ay to connect phrases and add length to yoar Jines is to lise chromaticism, Chromatic passing tones may be added to both the Gmaj,or pentatonic and the 0 blues scale. The notes of the G major pentatonlc scale are: G~A~B~D~E .. Try playing: G~A-B~-B~ D-S-E.For the G blues scale (0, B~, G, m, n, F) tty playing G~B~~C:"·Db~D~EJ;~F~ffi-G. Note where Albert chooses to play ehromatkally and more ideas wiH become apparenj,

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This is a. fun Country-Rock progression in G major with a solo by Gl'T's Eric Paschal, Eric's easy listening style offers some different: ideas that appear only in this solo. Eric uses the intervals of the diatonic third and diatonic sixth. These particular intervals are a necessary part. of any aspiring country guitarist's repertoire because of their inherenteonntry sound.

Eric uses some great "close" voicings, At the end of the first: measure of the solo he plays D-E-Gvoiced on the thlrd, second and first strings. This implies a 06 chord (E is the ,6th note of a G scale). Eric again uses this voicing on beat two of measure seven but this time it is in the eighth position with C on top and results in a 06 chord. In. measure nine, beat three, it is in the fifth position and the notes are A, H, and E. Because the shape is being played over D it must be some sort of D chord. In this case, we will call it a Dad.d9 because it contains two notes from the triad: D and F~ plus an E (the ninth degree of the D major scale).

Eric plays a beautiful phrase in measures eleven and twelve using only the notes of each triad played in diatonic sixths and diatonic thirds. The slidesadd a relaxed feel to an already great lick. He also creates a sfight dissonance in measure thirteen by approaching each note of the triad from a half step below. The three-notechord shape mentioned earlier is repeated on beat awo of measure fifteen this time in the third position with G on top (referred to as a Cadd9).

This chord shape adds a sweeter texture and can be played over any triad in two places: played with the root on top creating a 6th chord or with the fifth on top creating an add9 chord. This chord voicing may be difficult to. play at first because of the stretch required, but once mastered it provides another technique for your bag of tricks. The voicing appears severed more times, in Eric's solo, Refer to the tablature to find them, During the final two measures of Eric's solo, he creates a harp-like etfec: by arpeggiating chords using a hybrid right hand picking technique. He mils across consecutive sets of three strings using his pick, middle and ring fingers .. The sound of Eric's telecaster includes compression, resulting in longer sustain.

10 general, use the G major pentatonic scale over the first half of this progression and the G blues scale over the second half. Experiment with Eric's ideas of USing diatonic thirds and sixths.

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This is a western swing tune in the key of E The style is reminiscent of "Bob Wills and the Texas Playboys," "Asleep at the Wheel" and many other artists. The solo is by Gl'F's Steve Trovato. This solo was designed by Steve to be, an exercise in country "double stops" (two notes played simultaneously) ..

As the pickup notes begin, Steve plays them us.ing a hybrid right hand picking technique. In this case it means using the pick, middle and ring fingers. The double bend on beat one of measure 5 is executed by bending both notes simultaneously and keeping the strings parallel with one another. This bend might require some practice to ensure that it is played in tune. The next bend heard, leading into measure six, is a release bend. The notes are bent before being picked and allowed to return to their original pitch after being played, The double stopsin measures nine and ten are played staccato to achieve a "chicken pickin;';eftlect.

Measure eleven has a pleasant cascading effect produced by using open strings against fretted ones. Refer to the tablature for details. In beat four of measure twelve, Steve uses a C augmentedchord C-E-G~ to lead back (resolve) into the next chord! (F). The "chicken pickin'" sound in measure eighteen is created by playing fast triplets on the third string while muting it with your fretting hand. In measure twenty-one, the double stop's are fourths from the harmonized F minor pentatonic scale .. The F minor pentatonic scale, is spelled: F~Ab~B~C-B. Although both the If major pentatoni.c and F blues scale work equally well for this progression, the iF blues scale lends a more blues-like: edge.

The lick in measure ~wenty-five is perhaps tile most difficult of the entire, solo. The doublestops are played on strings three and two and are plucked with your middle and! ring firtgers respectively .. The pedal woe F is played on the fourth string using youe pick. Agahi, some practice may be required to work this one, up to tempo. It is important to note that regardless of the number of notes played, Steve maintains a strong sense of phrasing and melody.

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35 .. -' .. This song is a twenty-four bar blues in the key of A. Thislonger version of the blues is common ill Country and Country-Rock music. Songs sucffi:! as "Worki!1g Man's Blues" by Merle Haggardand "They CaIDl Me The Breeze" by ZZ Top are are good examples of songs that use this form. Stylistically, you can treat i~. as a. raucous Country-Rock groove with a distorted rock solo orjust play it with a dean tone. Far this example we let Albert Lee do it his way.

This solo is brimming with Albert Lee's trademark solo ideasand should provide inspiration for yeers to come. We asked! Albert to just "go fOI:" if'and the result is <Jin amazing array of blinding speed, funky double stops and chicken pickin', Albert Lee's playing is so accomplished that even though this solo is very difficult to play l1e bravely moves through it with grace and: ease. By tile way, if anyone is wondering, this was a "first take.'

Albert begins this solo ratherquiedy but :it doesu's take long to beat up. He plays this solo in four measure phrases that give it a lyrical quality, The first four measures are single notes derived from tile A major pentatonic scale with some occasionat chromaticism added that practically produces a singabie melody. The next foul:' measures add a few double-stops (two notes simultaneously) which give it a funk appeal. Albert's double-stops are played using the pick for the lower note and middle or ring fingers to pick the upper one,

in measures thirteen and fourteen Albert explodes wHh a blazing line of triplets. Practice tllis sIDowly and be sure that .h can be played in time before speeding i~ up.

Albert gets the second chorus off the ground with a series of "machine gun" triplets played on the second and third strings .. Tile first note is played by bendinga 0 note on ~he third! string up to A and then playing the, remainder of A notes on the, second string. The triplet runs in measures nineteen through twenty-four <we challenging in that they traverse most of the length of [he freeboard, Albert builds the solo further by adding a line of double-tops in measures ~.wenty-one and twenty-two,

In measure 49, a great effect is created by using octaves. Albert plays a run from C~ to E using strings five and three. He plays d on the fifth string with hls pick then C~ on the third string using his middle finger and back to C~ on the fifth string, This is then moved up chromatically to E. The so~o then winds down toa somewhat relaxed conclusion.

This solo is particularly noteworthy because of its development. II begins rather innocently and then gradually builds to a climax toward the end of ~.he second chorus. Albert then brings the listener back to tile top as if to the top of the next vocal verse, This is the earmark of a great solo and soloist

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-.... GUITAR TA.B GIL,OSSA,RY ~¥

TABLAT'URiE IEXPLANATIIOIN

REAOING lA13LATUIRE: Tablature illuWales [hesi;.:: sh"ings ,of the guitar. Notes and chords are indicated by lme placement ot Iret numbers, on a given stri.ng(s),

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.~~i"W~ @" jrd t·'~"t:r

~rt,IJF~ CD ·12~h r~r'1 .:\rn:~~,Li' (] "~LI'lI FrC'!

BENIDING NOTES

HALF STEP: P~ay the note and bend slringi one half sle~L"

WIHOLE STEP:

P~ay the note and bsnd slw'irng orne whole step.

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PR,EBENO AND REL'EASE: Bendl trre siring. play it. then release 10 . the original note.

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'J\~--B,,- -~~I

RHYTHiMSL,ASHIES

STRUM I:NOICA· liONS:

Strum w~th indicated rhythm,

The chord voioinqs are found on the flirst page aflhe transcnpnon underneath Ihe SQngJ li,l~e.

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*A ha~i step is In.e smal~est irnle,lVal in Western music; ~j is equal to one fret. A whol'e slep eouals two, frets.

"By Kerrm Cnipj.:,~rl and Aaron Stang

® ®® e e e

511 31, I jr open .Ir onen

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IIND:ICATING SINGLE

IN ClITES USING IRHYTHM

SLAS!HES::

Very often si.ngle notes are lnocrporatec into a rhythm part The note name is ~ndicated above the irhylihm slash with a frel number ;;lind a siring ilndication,

ARTII'CULATIONS

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f'ij '1000 Beam Me Up Music clo.c;PPiSelwin. Inc. Miami" F!Qf~d'a 330.14

~nlem<lij[lI1al Copyright Secured Ma~1! To U.S.A. Ali Aig~ IS ReseNed

HAIMMERON:

Play ~ower not:e, then "hammer on" to higher note w~lh another finger. Only the first note is attacked.

PULL QIFF:

P~ay higher mote. then"pul~ ott" to Ilower note with, an oune rli ng,er. Only Ine firsl note is attacked.

LEGATO SLIDE;

Pl1ay note and slide 10 the fQllowinQi note, (On~y first note is alta ck ed),.

PALM MUTE:

Th e n ate or notes are muted by the palm 01 the pick hand by 'lightly touching the string(s) near the ibridge.

Notes or ehordsare to be p'layed with, 8dded emphasis"

DOWN S1iROKES AND UPST1ROKES:

Notes or chords are to be played wlth e~ther a dowrlswok,e

v ) 01 the pick.

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