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Page
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 Fifths Harmonizing Harmonizing in Sixths 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
32 33 39

The term c'hicken pickin'describes a styleof playingoften usedin (but not limited to) countrymusic,and playedmostlyon a Telecaster-type guitar.This style was firsr popularized in the flfties and sixtiesby players suchas JamesBurton,Jimmy Bryant.Roy Nichols (Merle Haggarcl), and Don Rich (Buck owens). In the seventies and eighties, guitarists like Albert Lee, Ray Flacke.ni.ry Skaggs. anclSteve Warinertook it to another level' In the nineties. we heardexcitingnew ideasand playingby singer/guitarists JuniorBrown and Vince Gill, but you can't talk aboutcountrychicken-pickin' in itre nineties without the nameof Brent Mason comingup' Masonhasredeflned the possibilities and raisedthe standards to which otherplayersare compared'It will be excitingto seewhat this nextdecade wilt hold for the chicken-pickin, community. This book touches on the basictechniques thatdefinethe chicken-pickin' style.Included are somescales thatcanhelp to inspiresomenew ideas. Bendingis alsovery irnportant in nailingthe chicken-pickin, style. (Think aboutemulating the 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 repetitive seqLlenccs are greatwarm-upexercises, but are alsoparticularly eff'ective in outliningchorcl changes. The purpose of this book is to give you ideason which voLr 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 can be combinedto extendthe rangeof your lines.Play throughtheseexamples:

Fig.4
1

/-\
/'f

/-\ \:./

/-\
2

\:/
/1

\:./
5

\:./
/a\

/'t

Here are somelicks incorporating the combinedpatterns:

PENTATONIC COUNTRY
le is derived from the major pentatonicscale.I changedone note to make it sounda little hipThis next sca per. 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 SKIPPING
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 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 to the third. Then. degree 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

11

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 to the third on the third string. Then grab the root and then the flat seventh on the first string: Fig.25
A

With the samenote bent, substitute the sixth for 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 soundevenmore like a pedalsteel herecan be playedwith harmonics 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

13

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 to testyour bendingprecision. We are going to outlinethreedifferentchords: E. A, and B. Over the E,chord,bendthe Ff to G# (second to 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

hold bend

hold bcnd

14

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 play thesetypesof runs,you needto play in keysthat containthe notesof the openstrings. Obviously, 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!

15

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)

18

licks in G: ..andsomeascendins

F i g .5 2
G

conl d)

i&'t

licks in C... Plav throushthesedescending

Fig. 53

,ITT v. \r

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 this chapter, the ideaswe've beendiscussing that incorporates Here is an exercise 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 harmonizing the major scale in thirds:

Now let's harmonize in fourths:

Fig.62
C

Now let's harmonize in

Fig. 63

And last,we'll harmonize in sixths:

Fig.64

22

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

ttut

dt

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

F i s .6 7
A

,'-,----

This first one is in the notes. one or more singlenotesalongwith double-stop A lot of my licks incorporate 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 ^'b.'' 7 I 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 will focuson short,one- or two-measure ln this section, 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 the first two. Thereare many possibilities... are variations The next two examples

Fi g. 82 G

in which I've addedthe sixth to spiceit up If you want to take this a stepfurther,here are a coupleexamples 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 key of E, and are very challengingto The next threelicks outline the I, IV and V chords(respectively) 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 and stringskipping, 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 o n c s )T . rr scale the conventional c passingtones(notesbetween containchromati The licks in this chapter all of theselicks in keysotherthan thoseof the examples. lick that beginson the fifth in the key of E: The first exampleis a descending

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 lick beginning on 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 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

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:

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

The second lick begins on the root anddescends. arsoin A.

Fig.ll I
A
d I,(I

t-\\

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

G

36

wide intervallicleaps. They all incorporate tunes. soundgreatover swing-type Thesenext threeexamples made up of triplets. rhythmically 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 on 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