4 edition of Country guitar licks found in the catalog.
|Statement||Alfred Pub. Co. Inc.|
|Publishers||Alfred Pub. Co. Inc.|
|The Physical Object|
|Pagination||xvi, 130 p. :|
|Number of Pages||93|
nodata File Size: 4MB.
That initial one-bar phrase is typically used to end a bluegrass tune in the key of C and melodically outlines the final C chord right before the whole ensemble plays it together in unison.
After that, he surrounds the low 3rd of the chord, and finally resolves everything by moving up to the open G. Check out that great chicken pickin' from Johnny Hiland!
To get that harplike effect, try to keep as many notes ringing together as you can, at the same volume. After playing open high E, slide down the G string from Bb to A 3rd to 2nd fret and pull-off to the open G note.
Depending on how you spin them, these licks work in rock, blues, country, bluegrass—practically any popular style of music. When you play chromatic scales, you can really build up your speed.
One very simplistic way of looking at it: From any note, a 6th is five letters away. 12, except the Country guitar licks are voiced exclusively on strings 3 and 4, the ghost notes are fully fretted rather than played as mutesand the harmony is a static G major chord.
The initial double-stops contain the notes C and E root and 3followed by G-Bb 5-b7E-G 3-5and C-E root-3respectively. Experiment with blues scales over the major chords in the background.
Guitar Techniques 175 FULL BAND Lick 16 — Albert Lee: Mr Country Boy plays this line very often over a G chord.
5 is a four-measure phrase that outlines an A major harmony with notes from the A composite blues scale A—B—C—C —D—Eb—E—F —G.
The chromaticism starts towards the back side of the lick, moving from the 2 up to the 4.
8 is a descending bluegrass lick that's rooted in the G composite blues scale G—A—Bb—B—C—Db—D—E—F and can be played over major or dominant harmonies.