Chicken Pickin

Page 4

PREFACE

I

I i

Audio Tracks

CHAPTER 1: SCALES Major Pentatonic CountryPentatonic RootlessDominantPentatonic Mixolydian #2 StringSkipping

5 1 8 9 l0

t-1 5-6 7-8 9 -l 0

CHAPTER 2: BENDING VariousExamples PlayingthroughChord Changes

ll t1

t3-27 28

t<

29 30-31 33-34 35-36 37-38 39-40 1l 42-13

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.STOP LICKS Harmonizingin Thirds Harmonizingin Fourths Harmonizingin Fifths Harmonizingin Sixths CombiningThirds and Fourths CombiningMajor and Minor Thirds Double Stopswith SingleNotes Double Stopswith Bends Double Stopswith PedalPoints CHAPTER 5: REPETITIVE SEQUENCES PhrasesOutlinins I & IV Chords One-Measure Two-MeasurePhrases One-MeasureVariations String-Skipping Variations One-Measure over I, IV, and V Chords Two-MeasurePhrasesover I & IV Chords Variations One-String,One-Measure over I, IV andV Chords Two-MeasureVariationsover I, IV and V Chords RepetitiveDouble-StopLicks RepetitiveOpen-StringLicks

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l5 16 l1 l8 19 20 21

22 22 22 22 23 23 LJ

21 25

rt-t2

14 .+5 46 1'7 +t

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-+9 50-5r 52 53-60

2l 28 29

6r-63

29 29

69 10

30 30 32

71 t2-74 15 16-ll

CHAPTER 6: CHROMATIC LICKS

33

18-99

GUITAR NOTATION LEGEND

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3r

61-65 66-68

The term c'hickenpickin'describes a styleof playingoften usedin (but not limited to) countrymusic,and playedmostlyon a Telecaster-type guitar.This style was firsr popularizedin the flfties and sixtiesby players suchas JamesBurton,Jimmy Bryant.Roy Nichols (Merle Haggarcl), and Don Rich (Buck owens). In the seventies and eighties,guitaristslike Albert Lee, Ray Flacke.ni.ry Skaggs.ancl SteveWarinertook it to anotherlevel' In the nineties.we heardexcitingnew ideasand playing by singer/guitarists JuniorBrown and Vince Gill, but you can't talk aboutcountrychicken-pickin'in itre ninetieswithout the nameof Brent Mason comingup' Masonhasredeflnedthe possibilitiesand raisedthe standards to which otherplayersare compared'It will be excitingto seewhat this nextdecadewilt hold for the chicken-pickin, community. This book toucheson the basictechniques thatdefinethe chicken-pickin' style.Includedare somescales thatcanhelp to inspiresomenew ideas.Bendingis alsovery irnportant in nailingthe chicken-pickin, style. (Think aboutemulatingthe soundof a pedalsteelguitar.; op.n-rtring licks ...ut a flowing,cascading soundthat is usedvery oftenin this styleof playing.Double-stop licks-licks thatarepredominantly played with two notesat a time-are alsocovered.The repetitiveseqLlenccs are greatwarm-upexercises, but are alsoparticularlyeff'ectivein outliningchorclchanges. The purposeof this book is to give you ideason which voLrcr.rn expand.Taketheseideasand changethem to createyour own licks.I hopethis book inspiresyou to clclrcl.urther into the excitingand ever-changing chicken-pickin' genre.

SCALES MAJOR PENTATONIC If therewereone scalethat definedcountryguitar,it would have to be the major pentatonic scale. lt is the foundationfrom which countryguitar is built and expanded.Here are the five basic patterns: F ig. I 1

/-:\ A

I

/-\ /1

z

/-:\ /':\ \:./

,,:\ J

\:./ /:\

Here are somelicks derivedfrom thesebasicpatterns:

Fi g. 2 C

Thesepatternscan be combinedto extendthe rangeof your lines.Play throughtheseexamples:

Fig.4 1

/-\ \:./

/-\ /'f

4

/-\ 2

\:/ /1

\:./ 5

\:./ /a\

?

/'t

Here are somelicks incorporatingthe combinedpatterns:

PENTATONIC COUNTRY This next scale is derived from the major pentatonicscale.I changedone note to make it sounda little hipper. It now rea d s :1, b 3 , 3 ,5 , 6 . Here are the five basicpatterns: F ig. 7 1

\./ 4

/:\ 2

/-\

\:/

/:\ 3

Try theselicks derivedfrom the country pentatonicscale:

g

FiB^8

OFige

ROOTLESSDOMINANTPENTATONIC For thoseof you with inquiringminds,hereis an interesting scalethatwill jazz up your countrylinesa bit. Try this one on a westernswing or evena quick train-beattyp. tune.It works greatlrhe pitchesare as follows:3. 5, 6. b1.9. Herearethe f-ivebasicpatterns: Fig.l0 1 /7

/:\

/:\

\:/

v

5

\:./ \:/

/.\ \:./

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 .l l A

Fig.l2

#2 MIXOLYDIAN Check out how you can alter one note and make the Mixolydian mode more useful as a country scale.The pitchesare: I , #2,3, 4, 5, 6,b7. Hereare the sevenbasicpatterns: F ig. 13 1

\_/

/-\

5

\:./ 2

\:-/ 6 /1

?

\:./ \:./ 4

Try out somelicks derivedfrom the Mixolydian #2 scale:

Fi g. 15 A

S T R I N GS K I P P I N G If you are looking for someexciting new soundsthat will challengeyou technically,this is the sectionfor you. Play throughtheseexamplesand see. Fig.l6 1 /l

/:\ \./ /a\

4

2

\:./

/-\ \:/

5 /a\

\:-/ ?

/:\ \_-/

\:-/

Hereare somelicks basedon this concept:

Fig. l8

10

BENDING in countryguitarplayingthan in bluesor rock. The main difference quite diff-erently Bendingis approached is that in country.when you benda note,you will more than likely hold that note up and play somenoteson anotherstringwhile you are holding it. Here are a few examples.Bend the seconddegreeto the third. Then. on the adjacenthigherstring,grab the fifth, then the fourth.

0

i&':

rll

tl ll

hold bend

Try grabbing the fourth before the fifih, with the second bent up to the third: Fi g. 20 A n=t--^\

-

,.-f ll

a |

I1 I.

t

u

hold bend

You can alsobendthe fourth to the fifth and grab the root. then add the flat serenth:

gFig2r

hold bcnd

Or, you can grab the flat seventhand thenthe root, with the fourth still bent to the fitth:

hold bend

11

Bend the flat seventhup to the root; grab the third above,then the second:

with the flat seventhbent up to the root, grab the second.then the third:

g

nis21.-..----..hold bend

You don't alwayshaveto grab notes on adjacent strings when you have a note already bent.For example, try bendingthe secondto the third on the third string. Then grab the root and then the flat seventhon the first string: Fig.25 A

With the samenote bent, substitutethe sixth for

the flat seventh:

Fis.26 A

Again, with the samenote bend,grab the flat seventhfirst, then the root: Fig.27 A

hold bend

Here is another idea that you can usewith the secondbent to the third: try grabbingthe sixth, then the fifth F i g .2 8 A

i6"' hold bend

Or you can grab the fifth, then the sixth:

Fi g .2 9 A

,& ti

hold bend

All of the bendinglicks coveredherecan be playedwith harmonicsto soundevenmore like a pedalsteel guitar.Anotherinterestingideayou can try is to link someof theselicks togetherand work your way horiidea: zontallyup and down the neck.Here'sa descending Fig.30 A

You can embellish this idea by adding extra notes: Fig.3l A

6

hold bend

Try this idea using non-adjacentstrings:

13

Unison bendsare an effectiveway of gettingfrom one end of the neck to the other:

r'iI-) .{

-j

PLAYING THROUGH CHORDCHANGES Try this next exerciseto testyour bendingprecision.We are going to outlinethreedifferentchords: E. A, and B. Over the E,chord,bendthe Ff to G# (secondto third) on rhe third string,then grab the E, to D (root to f-latseventh)on the first string.To outlineCJ (fifih to third) on the firststring.ou.1.the B chord,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 .

holcl bcnd

hold hend

B

hold bend

14

hold bcnd

OPEN.STRING LICKS Theselicks are made up of open stringsringing out againstfrettednotes,creatinga cascadingeffect.Here is how you would play a G major scale: Fig.35 G

Obviously,to play thesetypesof runs,you needto play in keysthat containthe notesof the openstrings. The bestkeys are E, A, D, G, and C. Certainlicks work betteras ascendingruns.I will give a few examples of each,in eachof thesekeys.Here area coupleof descendinglicks in the key of E:

Fig.37 c o n td )

E

You can expandon that idea too!

15

Here are someascendinsruns in E:

o

Fig.40

( cont. d)

E

Thesedescending ideassoundgood in the key'of A.

g

Fis4r

0

Fig. 42

( cont d)

16

A

licks in A: Tn theseascending

,13 Fi_s. A

OFig44 [utdt

E2ztt ]rY t f

Il

ideas... In the key of D, you can play thesedescending

gFrg45

17

. . . or t hes ea s c e n d i n go n e s :

g

0

Fig47

Fig.48

(cont d)

D

Here are someinterestingdescendinglicks in G...

0

( cont d)

18

licks in G: ..andsomeascendins

0

F i g .5 2

conl d)

G

i&'t

licks in C... Plav throushthesedescending

Fig. 53

,ITT v. \r

Fig. 54 , c o n td ) C

19

...andtheseascendins ones:

F i g .5 6 (contd)a

Believeit or not, you can get somepretty interestin-u cascadingopen-stringlicks in the key of B as well. Try this descending example: F i g .5 7 B

Hereis an ascendinslick:

o

(cont d)

20

I cameup with a few repetitivelicks that outline chord changes.Try theseexamplesin the key of E over the I and IV chords:

OFiB5e,

the ideaswe've beendiscussingin this chapter,alsoin the key of E Here is an exercisethat incorporates over the I and IV chords.

21

DOUBLE.STOP LIGKS The term double stop refersto two notesbeing played(stopped)at the sametime. The intervals most commonlyusedare thirds,fourths,fifihs, and sixths.Let's beginby harmonizingthe major scale in thirds:

Now let's harmonizein fourths:

Fig.62 C

Now let's harmonizein

Fig. 63

And last,we'll harmonizein sixths:

Fig.64

22

\\'ith theseintervals,you can createsomevery interestingsolos.As we all know, however,anythin,gusedirl excesscan becomeboring.So what I like to do is developlicks that incorporatevariousdifferentintervals' The frrsttwo figuresare ascendinglicks (in the key of D) madeup of thirdsand fourths:

ttut

dt

Next is a descendinglick in A. madeup of major-and minor-thirdintervals(andalsoone major-second interval):

F i s .6 7 A

,'-,----

A lot of my licks incorporateone or more singlenotesalongwith double-stopnotes.This first one is in the key of A:

Fig.68 A

23

Here'sone in G:

g[soo

Hereare somelicks that incorporatebendswith double-stoplicks:

eFisTo

o

trirr ^'b.'' 7 I

(cont d)

D al,t/ - - -

e

(cont d)

24

Fig.72 G

Another cool techniqueyou can try is the useof pedalpoints.For thoseof you who don't knou'.a petlul point is a note that is repeatedwhile other notesmove under.over,or aroundit. Here are someexanlplesin variouskeys:

Fig.74 C

F ig. 75 G=-_ rl

25

Theselicks are all in the key ofA:

OFig78

26

REPETITIVE SEQUENCES phrasesthat repeatand outlinethe chordsover ln this section,we will focuson short,one- or two-measure q.hichyou are playing.Theseideaswork especiallywell over quick train-groovetunes. The flrst two examplesoutline the I and IV chordsin the key of G: F i g .8 l c

fl

The next two examplesare variationson the first two. Thereare many possibilities...

Fi g. 82 G

If you want to take this a stepfurther,here are a coupleexamplesin which I've addedthe sixth to spiceit up a bit. This lick coversthe I and IV chordsin the key of E,:

Fi g. 83

A

27

Here are sometwo-measurephrases.This exampleoutlinesthe I and IV chordsin the key of G:

This one outlinesthe I and IV chordsin E:

28

variationsin G. The first one coversthe I and IV chords: Here are someother one-measure

@o''. 8 8

The next threelicks outline the I, IV and V chords(respectively)in the key of E, and are very challengingto play at quick tempos: Fig.89 E

Here are a coupleof two-measurephrasesthat outline the I and IV chordsin the key of C:

29

You can play somepretty interestingrepeatingfigureson one string.Theselicks will requiresomestretching. Here are threeideasyou can play over the I, IV and V chordsin the key of E:

OFisel,

Here are sometwo-stringrepeatingfiguresthat outlinethe I. IV andV chordsin the key of A:

If you are feelingup to somebig stretchesand stringskipping,checkout theseexampleswhich againoutline the I, IV and V chordsin the kev of E:

OFiee3,

i

B

E t r t -- - - - -

30

Here are some variations:

O

Fise4,

Try theserepetitivedouble-stoplicks over the I and IV chordsin the key of E:

OFiBe5u

If you like the soundof cascadingopen-stringruns, check out thesenext threerepetitivelicks over the I, IV and V chordsin the key of E:

Theselicks outlinethe I, IV andV chordsin the kev of D:

32

CHROMATIG LICKS The licks in this chaptercontainchromatic passingtones(notesbetweenthe conventionals c a l et o n c s )T. r r all of theselicks in keysotherthan thoseof the examples. lick that beginson the fifth in the key of E: The first exampleis a descending

OFige*

The next exampleis an ascendinglick that beginson the third in the key of D:

O'';

Hereis an examplein the key of E that beginswith a chromaticrun:

@o'*

33

This lick, also in E, beginswith an ascendingchromaticrun off the fifth and quickly descendsto the third:

Try this ascendinglick beginningon the root. This lick is lesschromatic,yet still very effective.

The next examplebeginswith a chromaticline andjumps from the third to the first string,then descends with chromaticpassingtones.

F i g .1 0 3 A

Here is a lick that weavesitself up and dou'n chromatically,beginningon the fifth in the key of G.

Fig. 104 G

34

ati al e l i ' thr' tl l l l C ci escenclchrtrttl s in that i t begi ns on the fi fth and one last the to similar is lick This next in A:

it rt I I

t

--+

+

from the third' then winds its The next exampleascendschromatically of D:

a passingtone (the tlat third) Here is a lick in E that beginson tones:

ker way back down to the root in thc-

passing and ascendswith very few chromatic

9u',

ke1 on the fifth and descendsin the and highly challenging.lt begins chromatic highry is example This next of A.

F i g .1 0 8 A

,a :- .

35

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). F ig. 109 A

\t

Thesenext two licks incorporatesomewider intervals. The frrstone beginson the root and ascendsin the key of A.

The secondlick beginson the root anddescends. arsoin A.

Fig.ll I A d I,(I

t-\\

Here is a descendingideain rhe key of G. beginning on rhe fifth: F i g .I 1 2 G

36

Thesenext threeexamplessoundgreatover swing-typetunes.They all incorporatewide intervallicleaps. The first lick, in the key of G, is rhythmicallymadeup of triplets.

F i e .1l 3

The second lick is built off the third in the key of D.

Fig.I 14 D

The third lick. also in D. is likewisebuilt off the third, but is very different.

37

The next four licks cover a lot of ground very quickly. The first is in the key of E, and beginson the seventh:

The secondlick, alsoin E. besinson the third:

e

Fisrr'

The third lick, again,is in the key of E. this tinre beginningon the fifth:

Fig.I 18 E ,9r'rr-- -

The fourth lick is in the key of A, and beginson the third:

Fig.I 19 A dla/

38

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