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PREFACE CHAPTER 1: SCALES Major Pentatonic CountryPentatonic DominantPentatonic Rootless Mixolydian #2 StringSkipping
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CHAPTER 2: BENDING VariousExamples PlayingthroughChord Changes 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 in Harmonizing Fifths Harmonizing Sixths in CombiningThirds and Fourths CombiningMajor and Minor Thirds Double Stopswith SingleNotes Double Stopswith Bends Double Stopswith PedalPoints CHAPTER 5: REPETITIVE SEQUENCES Phrases One-Measure Outlinins I & IV Chords Two-Measure Phrases Variations One-Measure String-Skipping Variations One-Measure over I, IV, and V Chords Two-Measure Phrases over I & IV Chords Variations One-String, One-Measure over I, IV andV Chords Variationsover I, IV and V Chords Two-Measure Double-Stop Licks Repetitive Repetitive Licks Open-String CHAPTER 6: CHROMATIC LICKS GUITAR NOTATION LEGEND

ll t1

t<
I -'

l5 16 l1 l8 19 20 21

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

22 22 22 22 23 23
LJ

14 .+5 46
1'7 +t

-18

21 25

-+9 r 50-5 52 53-60 6r-63

61-65 66-68 69 10 71 t2-74 15 16-ll 18-99

2l 28 29 29 29 30 30

3r
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The term c'hicken pickin'describes styleof playingoften usedin (but not limited a to) countrymusic,and playedmostlyon a Telecaster-type guitar.This style was firsr popularized the flfties and sixtiesby players in suchas JamesBurton,Jimmy Bryant.Roy Nichols (Merle Haggarcl), and Don Rich (Buck owens). In the seventies eighties, and guitarists like Albert Lee, Ray Flacke.ni.ry Skaggs. anclSteve Warinertook it to another level' In the nineties. heardexcitingnew ideasand playingby singer/guitarists we JuniorBrown and Vince Gill, but you can't talk aboutcountrychicken-pickin' itre in nineties without the nameof Brent Mason comingup' Masonhasredeflned possibilities raisedthe standards the and to which otherplayersare compared'It will be excitingto seewhat this nextdecade wilt hold for the chicken-pickin, community. This book touches the basictechniques definethe chicken-pickin' on that style.Included somescales are thatcanhelp to inspiresomenew ideas. Bendingis alsovery irnportant nailingthe chicken-pickin, in style. (Think aboutemulating soundof a pedalsteelguitar.; the 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 repetitive seqLlenccs greatwarm-upexercises, are are but alsoparticularly eff'ective outliningchorcl in changes. The purpose this book is to give you ideason which voLr of cr.rn expand. Taketheseideasand change them to create your own licks.I hopethis book inspires you 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 Here are the five basic patterns: from which countryguitar is built and expanded. foundation
F ig. I
1

/-:\
I

/-\
/1

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

,,:\
J

\:./ /:\

Here are somelicks derivedfrom thesebasicpatterns:

Fi g. 2
C

Thesepatterns be combinedto extendthe rangeof your lines.Play throughtheseexamples: can

Fig.4
1

/-\
/'f

/-\ \:./

/-\
2

\:/
/1

\:./
5

\:./
/a\

/'t

Here are somelicks incorporating combinedpatterns: the

PENTATONIC COUNTRY
le This next sca 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:

FiB^8

OFige

ROOTLESS DOMINANT PENTATONIC

For thoseof you with inquiringminds,hereis an interesting scale thatwill jazz up your countrylinesa bit. Try this one on a western swing or evena quick train-beat typ. tune.It works greatlrhe pitchesare as follows:3. 5, 6. b1.9. Herearethe f-ive basicpatterns:
Fig.l0 1
/7

/:\

/:\
v

\:/

\:./ \:/

/.\ \:./

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 basicpatterns: pitchesare: I , #2,3, 4, 5, 6,b7. Hereare the seven
F ig. 13 1

/-\

\_/
5

\:./
2

\:-/
6
/1

\:./ \:./
4

Try out somelicks derivedfrom the Mixolydian #2 scale:

Fi g. 15
A

STRING KIPPING S
If you are looking for someexciting new soundsthat will challengeyou technically, this is the sectionfor you. Play throughtheseexamples and see.
Fig.l6
1
/l

/:\ \./
/a\

/-\ \:/

\:./

5
/a\

\:-/
?

/:\ \_-/

\:-/

Hereare somelicks basedon this concept:

Fig. l8

10

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

i&':
hold bend

rll

tl
ll

Try grabbing the fourth before the fifih, with the second bent up to the third: Fi g. 20 A hold bend

,.-f ll

n=t--^\

a |

I1 I.

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

gFig2r

hold bcnd

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

hold bend

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

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

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

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

With the samenote bent, substitute sixth for the Fis.26

A

the flat seventh:

Again, with the samenote bend,grab the flat seventh first, 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

to herecan be playedwith harmonics soundevenmore like a pedalsteel All of the bendinglicks covered and work your way horiideayou can try is to link someof theselicks together guitar. Anotherinteresting idea: zontallyup and down the neck.Here'sa descending Fig.30
A

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

6
strings: Try this idea using non-adjacent

hold bend

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

r'iI-)
.{ -j

PLAYING THROUGH CHORD CHANGES

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

hold bend

hold bcnd

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

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

Fig.37
c o n td )

You can expandon that idea too!

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Here are someascendins runs in E:

( cont. d)

Fig.40 E

Thesedescending ideassoundgood in the key'of A.

Fis4r

( cont d)

Fig. 42 A

16

licks in A: Tn these ascending

,13 Fi_s.
A

OFig44
[utdt

E2ztt
]rY
t f

I l

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 :

Fig47

(cont d)

Fig.48 D

Here are someinteresting descending licks in G...

( cont d)

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licks in G: ..andsomeascendins

F i g .5 2
G

conl d)

i&'t

licks in C... Plav throushthesedescending

Fig. 53

,ITT\r v.

Fig. 54
, c o n td ) C

19

...and these ascendins ones:

F i g .5 6
(contd)a

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

Hereis an ascendins lick:

(cont d)

20

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

OFiB5e,

alsoin the key of E in the that incorporates ideaswe've beendiscussing this chapter, Here is an exercise over the I and IV chords.

21

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

Now let's harmonize fourths: in

Fig.62
C

Now let's harmonize in

Fig. 63

And last,we'll harmonize sixths: in

Fig.64

22

usedirl anythin,g solos.As we all know, however, you can createsomevery interesting \\'ith theseintervals, variousdifferentintervals' can excess becomeboring.So what I like to do is developlicks that incorporate licks (in the key of D) madeup of thirdsand fourths: The frrsttwo figuresare ascending

ttut

dt

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

F i s .6 7
A

,'-,----

This first one is in the notes. one A lot of my licks incorporate or more singlenotesalongwith double-stop key of A:

Fig.68
A

23

Here'sone in G:

g[soo

Hereare somelicks that incorporate bendswith double-stop licks:

eFisTo

(cont d)

trirr ' 7 I ^'b.' D

al,t/ - - -

(cont d)

Fig.72 G

24

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

Fig.74 C

F ig. 75 G=-_ rl

25

Theselicks are all in the key ofA:

OFig78

26

REPETITIVE SEQUENCES
that repeatand outlinethe chordsover phrases we ln this section, will focuson short,one- or two-measure tunes. well over quick train-groove q.hichyou are playing.Theseideaswork especially outline the I and IV chordsin the key of G: The flrst two examples
F i g .8 l c

fl

on are The next two examples variations the first two. Thereare many possibilities...

Fi g. 82 G

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

Fi g. 83

27

Here are sometwo-measure phrases. 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

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

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

29

You can play somepretty interesting repeating figureson 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-stringrepeating figuresthat outlinethe I. IV andV chordsin the key of A:

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

OFiee3,

E t r t -- - - - -

30

Here are some variations:

Fis e4,

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

OFiBe5u

If you like the soundof cascading open-string runs, 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
t . s the c containchromati passingtones(notesbetween conventional c a l e o n c s )T r r The licks in this chapter of the examples. all of theselicks in keysotherthan those lick The first exampleis a descending that beginson the fifth in the key of E:

OFige*

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

O'';

run: Hereis an examplein the key of E that beginswith a chromatic

@o'*

33

This lick, also in E, beginswith an ascending chromaticrun off the fifth and quickly descends to the third:

Try this ascending beginning the root. This lick is lesschromatic, still very effective. lick on yet

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

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

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

ir t t
I I

--+

winds its chromaticallyfrom the third' then The next exampleascends of D:

ker way back down to the root in thc-

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

with very few chromaticpassing and ascends

9u',

in the fifth and descends the ke1 lt highly challenging. beginson exampleis highry chromaticand 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 incorporate somewider intervals. The frrstone beginson the root and ascends the in key of A.

The second lick begins the root anddescends. in A. on arso

Fig.ll I
A
d I,(I

t-\\

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

G

36

wide intervallicleaps. They all incorporate tunes. soundgreatover swing-type Thesenext threeexamples rhythmicallymadeup of triplets. The first lick, in the key of G, is

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 second lick, alsoin E. besinson the third:

Fisrr'

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

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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