Mike Levine-Country Rock Riffs for Guitar (Play It Like It is) -Cherry Lane Music (1996)

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Featuring:

Major, Minor & Pentatonic Country Licks Pedal Steel Effects

Chicken Pickin'

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Slide Licks

Four Complete Solos

Country Rock RiffS for Guitar IIY Mike levine

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greatllit Copyright

© 1996 Cherry

Lane Music Company

International Copyright Secured All Rights Reserved The music, text, design and graphics in this publication are protected by copyright law. Any duplication or transmission, by any means, electronic, mechanical, r photocopying, reco ding or otherwise, is an infringement of copyright.

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Standard Tuning Slide Lick

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There are some situations when alternate tunings are not practical. Learning to play slide in standard tuning is extremely useful, and this example shows you some of the possibilities.

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IV-V-I Steel Intro A classic steel-type intro. Note the hammered double stops in bar 2. In addition to bends, hammer-ons are another good way to make your guitar sound like a steel. Shuffie ( fJ= J )! ) -3-

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Descending 6ths This is a variation on a standard country lick, with the rhythm turned around and some chromatic passing tones thrown in for interest. Even more important than the note selection is the phrasing, which gives this example a steel-like sound. B

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Clarence White-Style Steel Solo Although Byrds guitarist Clarence White used a ''B'' bender to achieve his steel sound on guitar, this solo attempts to capture that flavor using ordinary string bends. Not for the faint of heart, this break con­ tains some of the same type of slide/bend combinations as the previous example, as well as two slide/hammer-on combinations in bar 15. Once you have this one mastered, you'll have a large arsenal of steel licks at your disposal.

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Slow, Soulful a Ia Vince Gill Like most contemporary country players, Vince can play in a wide variety of styles. This example is in the style of some of his more lyrical playing, and has a definite R&B influence. D

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Slow & Tasty Solo This solo demonstrates some of the more expressive qualities of country guitar. It blends sensitive melody lines, a little blues and some pedal steel riffs to create an emotionally charged feeling for the listener. The rakes (bars 5 and 6) are added to selected notes for empl:lasis.

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F L A SH Y Low Pull-Offs

You can play this with a flat pick and palm mute it, or you can use your thumb and fingers and chicken pick it unmuted. 1\ .1.1

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Hot Chromatic Tag This bluegrass ending works equally well on electric or acoustic.

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Earl Scruggs-Style Banjo Lick This riff, in G, has an Earl Scruggs-style banjo sound, yet doesn't use open strings. The #4 to 5 (CI to D) hammer-ons are the key to this sound.

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Moveable Bluegrass Run This moveable riff has a first position bluegrass sound as well. Notice how the one slide in this run smooths out the whole passage-subtle variations such as this can make your playing much more interesting. '

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Vince Gill-Style Fast Open-String Riff This is typical of the kind of passage Vince Gill might play during a fast two-beat song. Here, the open D string creates a drone-like effect. D

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Reminiscent of Albert Lee, this solo combines fast sequences, chromatic flourishes, fiddle-like low drones and pedal steel licks-have fun with it! A7

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TABLATURE EXPLANATION/NOTATION LEGEND

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TABLATURE: A six-line staff that graphically represents the guitar fingerboard. By placing a number on the appropriate line, the string and the fret of any note can be indicated. For example:

Af-·

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2nd 10th fret and 3rd strtng, 9th !ret played together

open E chord

Definitions for Special Guitar Notations

BEND: Strikethenote andbend

VIBRATO: Vibrate the note by

PULL..()FF: Place both fingers

up :;, step (one fret).

rapidly bending and Mleaslng

on the notes tobesounded. Strike the first (higher) note, then sound

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the string with a leff-hand finger.

the lower note by pulling the lin­

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PALM MUTE: With the right

hand, partially mu-te the note by lightly touching lt1e string just

before the bridge.

geroffthe highernote whilekeep­ ing.the lower note fretted.

BEND: Strike the note and bend up a whole step

(two frets).

Full

WIDE OR EXAGGERATED VI· BRATO: Vibrate the pitch to a greater degree with a left-hand finger or the 1remolo bar.

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MUFFLED STRINGS Laythe left TRILL: Very rapidly allemate be· tween the note Indicated and the small note shown In parentheses by hammering on and pulling off.

hand across the strings wi1hout

depressingthem to thelf"Eit·board' strikelhestringswithlherighthand, producing a percussive sound.

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BEND AND RELEASE: Strike the note and bend upY. (orwhole) step, then release the bend back tothe original nola. Alllhreenotes aretied: ontylhetirst note is s1rvck.

TAPPING:Hammer("tap")lhefret SLIDE: Strike the first note and then wilh the same left-hand finger move up the string to the second note. The second note

Indicatedw�hthe right-handindlex or midde finger and pull off to the

PICK SLIDE: Rub the pick edge

down the length of the string to produce a scratchy sound.

note fretted by the left hand.

Is not struck.

T p ..---._ ._,._, TREMOLO PICKING: Pick the

noteas rapidlyandcontinuoysty NATURAL HARMONIC: Witha

PRE·BEND: Bend the note up ;', (or whole) step, then strike it. 112c(II"Futl)

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as possible.

left-hand finger, lighttytouch the string over the lret indicated,

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SUOE: Same as above, except the second note is s ruck.

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