May19 DigitalPress TwangTownVol1 PDF

Twang Town
VOL. 1
Radically Re-Voice Your Tele with a Quartet of
DIY Projects, and Get a Hold on Western Swing,
Blues-Infused Twang, and the Styles of Three
All-Time Genre Greats
Digital Press
The Telecaster Mod Guide
BY DIRK WACKER
N ew electric guitars with distressed

finishes have been around for decades.
In fact, aged reproductions of the iconic
�� sunburst Les Paul Standard were being
crafted before the original examples were even
East" quality. This
can also cure a dull
sounding guitar and
the virtual "blanket
over my amp"
�� years old. But new acoustic guitars with pick syndrome. A fresh
scratches, belt-buckle dents, and artificially and matched set of
produced lacquer checking? Acoustic purists high quality CTS
scoffed, “No way!” But new acoustic guitars pots, a good CRL
with distressed finishes are far more common 3-way switch, a new Switchcraft or Neutrik
now, and not all of them are high-end models. output jack, all connected with good cable and
I hope you all had a great holidays and that solder plus a top-notch tone cap can do magic
Santa brought you some nice new gear toys to your tone.
… maybe a Telecaster? If so, heat up your Having said that, let''s look at the standard
soldering iron, because this month, we will take Telecaster wiring that is used in almost all
a closer look into the Telecaster circuit and the Telecaster guitars today. Through the years, the
possibilities to expand its tonal palette. values of the pots and the tone cap changed
To start, I would like to ask you a question: several times, so I didn´t name it in the
how many things can you name that are drawings. We will talk about this subject later.
still built today exactly the same way as 60
years before? The Telecaster is one of them!
Without any doubt, Leo Fender was one of the
great masterminds in musical history. Almost
60 years ago, he constructed an electrical
guitar that remains a landmark today. The
Telecaster is a guitar with very complex
primary-tone physics, but on the other hand,
is electronically very simple. If your Telecaster
has a good primary tone, it will benefit from
the following mods and you can maximize Changing Pot and Cap Values
your tonal possibilities. As a guideline you can say the higher the
resistance, the warmer the tone. This is valid
A General Electrical Update for both the pots and the tone cap. For a very
Many guitars suffer from poor components bright sounding guitar, I recommend 250k pots
that can turn into trouble within a short time; to get rid of the penetrating highs; vice versa,
following Murphy´s Law, your troubles will you can use 500k or even 1Meg pots on guitars
most likely happen in the middle of a solo, live with not so sparkling high-end sizzle to bring
on stage. To make your guitar road-worthy, I out more of the top-end. Of course, this all
highly recommend completely replacing all is personal choice, and is dependent on the
external components with a "made in the Far pickups you use.
2 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

The standard value of the tone cap is pickup. A pickup like this can give you the best
0.047uF, but for most of us this is almost of both worlds: a hot and punchy humbucker
overkill, because when you use your tone tone and a classic, twangy singlecoil sound in
control the tone will get clinically dull and the split mode. One problem with this is that
liveless. If you don´t want darker tones like all the pickup manufacturers use different color
this, I recommend changing the tone cap to a codes, so there is no general guideline how to
much smaller value (e.g. 3300pF, up to 6800pF). wire all the coil splitting options, as it depends
This will guarantee that your tone will always on the pickup you have installed. If you can´t
be defined and full of life and color, even when download this information directly from the
you completely close the tone control. You can factory homepage, here is a link for you that
dial in numerous different tone colors with this could be helpful.
simple and inexpensive mod, and it´s a good
field to experiment on your own. Personally 50s Vintage Wiring
I use selected 3300pF Orange Drop caps and I´m sure you''ve heard about this magical
250k pots for a classic, vintage Telecaster tone. wiring that Gibson used inside late 50s Les Paul
guitars and that was almost forgotten for a long
Pickup Swapping time. Electronically there is nothing special
I bet the number of good replacement pickups about this wiring, it simply connects the tone
available for Teles has never been bigger pot to the output of the volume pot (middle
than today. An often discussed subject is the lug), instead of with the input. This changes the
Telecaster neck pickup, as it seems to divide way the volume pot reacts, and the overall tone
players into two different parties: you either gets stronger and more transparent - more "in
love it or hate it. For full disclosure, I´m lean the face," you could say. There is much less of
more towards the "I hate it" camp and usually the typical treble loss that occurs when rolling
replace this pickup in all of my Telecaster back the volume and the tone control reacts
guitars because the standard pickup is too smoother and more linear without the typical
"boxy" sounding for my tastes. If you are willing hot spots.
to reroute the pickup cavity (or better yet, let It´s possible to rewire all guitars this way,
an experienced luthier do it), here are some not just Les Pauls. With a Telecaster it´s
suggestions that sound incredibly good on a simple, because you only have to change one
Telecaster: wire, marked red in the drawing. You can also
• a Stratocaster neck pickup consider using an additional switch to have
• a P-90 soapbar pickup (especially on a both wiring variants available: the classic
Thinline Telecaster) Fender wiring, as well as the 50s Gibson
• a Gibson or Gibson-style Mini Humbucker vintage wiring.
Coil Splitting
If your guitar is equipped with a 4-conductor
cable humbucker, you can perform all kinds of
coil splitting to enlarge the number of possible
sounds … singlecoil mode, parallel mode, in
phase, out of phase, etc. A prime example of
a good sounding bridge pickup humbucker
for Telecasters is the DiMarzio "The Chopper"
PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 3

The "Strato-tone" Mod hum-cancelling combination, but it gives the
(aka "Nashville" Modification) increased power of a series link. So, in short, all
Many of the top Nashville studio players, like you do is change the #2 position of your 3-way
Brent Mason or Reggie Young, are playing switch, so that the bridge and neck pickups are
Telecasters with an additional third pickup in series instead of parallel.
in the middle position to get those popular If you want to be more flexible, you can
"in-between" Strat sounds (bridge plus middle install the Fender 4-way Tele switch, as shown
and middle plus neck together in parallel). in the circuit below. This will give you both
If you want to modify your Tele this way, I sounds when you dial in the two pickups
recommend giving it to an experienced luthier together - wired in parallel (standard wiring)
and letting him do the necessary woodwork
(routing the additional pickup cavity, rerouting
the pickguard, etc.).
Any Stratocaster pickup is a good mate
for the standard Telecaster pickups and will
expand your tonal palette drastically. You
will also have to change the 3-way switch and
install a standard Stratocaster 5-way switch and
eventually a third pot if needed. Basically, this
is a standard Strat configuration and naturally and the wired in series sound.
you can perform any Stratocaster mod you like If, for any reason, you don´t want to install a
(the 7-tone mod, blending options, etc.), but 4-way switch, you can also use a push/pull pot
we will talk about all this Strat stuff in a later or a small toggle switch to manually add the
column. If one day you decide to switch back to neck pickup in series when the Telecaster 3-way
the classic two-pickup Tele configuration, you switch is in position #1 (bridge pickup alone).
can simply take out the middle pickup, switch Here is what you have to do:
back to a 3-way Telecaster switch and reinstall Attention! If you have a standard
a standard Telecaster pickguard that will cover Telecaster neck pickup with installed metal
the third pickup cavity; suddenly, the former cover: For this alteration to work correctly,
modification is invisible again. isolate the metal cover of the neck pickup (if
present) from its ground lead. Run a separate
4-Way Wiring ground wire for the cover to the back of the
Position 2 of the Telecaster selector switch volume control! You can find a good pictured
gives you both pickups wired in parallel; this
is a standard wiring, and one of the classic
Telecaster tones. But what if you need a fatter
sound out of your Tele? The two outside switch
positions on the Tele - which select the bridge
or neck pickup individually - stay basically the
same. But the middle position (both pickups
together) wires the pickups in series rather
than parallel. This produces a thicker, meatier
sound, while still retaining the recognizable
characteristics of a Tele. This is not a

“best pickups on the planet”
...Danny Gatton
4 way, S1 and Push/Pull

series/parallel wiring
diagrams available on the
JBE website.
step by step guide for this here - it´s in
Spanish, but the pictures are international…
"Direct Through" Switch

If you really want to hear the sound of your
guitar together with the pickup, there is only one
way: soldering the pickup directly to the output
jack. Depending on the guitar, the result can be
stunning; with a Tele, your tone will be louder,
stronger and more direct, a highly recommended volume creates a far greater loss in your guitar´s
mod for all the country guys, as well as anyone treble response. The best solution would be to
who wants the maximum twang and spank replace the complete system for an active one,
a Tele has to offer. The control pots always but there is a simple method to get rid of this
add a little load to the circuit and, depending problem.
on the pots, the tone will get a bit softer and As you may know, for some time Fender
sometimes dull, losing the shimmering highs installed a so-called "bleeding cap" on the
and the organic vibe. As you may recognize, volume pot to get rid of this problem. Leo was on
the suggested method works well, but is not the right track for sure, but he choose a 1000pF
practicable in any way. However, there are cap that was much too big for this purpose and
different ways to get rid of the control load in you can´t use one value for all configurations;
your guitar system: it depends a lot on the pickups, the pots, the
1. You can replace all your pots with so-called cables and, of course, the amp you use. The
"no-load" pots from Fender. This is a very theory behind this is much more complex than
cool, albeit an expensive, way to enhance it seems, so maybe we will take a closer look into
the sound of your guitar. Electrically this this in a later column. But for now, please take
pots are great; when you open them 100%, my word and desolder the 1000pF cap if you
a circuit will shorten this pot and erase it have one installed. The Telecaster Mod Guide
from the circuit, so it''s as if it never was When rolling back the volume, this cap
there. And you can hear it! will pronounce the highs much more than
2. Another way to do this is to use a DPDT necessary and you can get some really cool,
switch or a push/pull pot and to perfrom funky sounds with that, but for most of us,
my "direct-through" mod. You can see 1000pF is not a helpful value in any way. For a
how to wire the switch on the circuit standard Telecaster with two singlecoil pickups,
below. Activating the switch will bypass all connected to two 250k pots, install a 470pF cap
controls and all pickups connected to the and experiment from there. The higher the
pickup selector switch are wired directly to value, the more treble you''ll receive when rolling
the output jack. back the volume. For other pot values, you
unfortunately can´t use the "cap only" method
Combating Volume vs. Tone because it would kill the mid frequencies. For
I´m sure you know the idiosyncracies inherent this, you will need a treble bleeding network
in passive single coil pickup systems like the with caps and resistors in parallel or in series,
Telecaster - when you turn down the volume depending on the configuration.
(even just a bit), the high end or treble loss is Well, I hope you enjoyed this one and good
not proportionate. In other words, a small cut in luck pimping your Tele-Babies!

MOD GARAGE
’50s Les Paul Wiring in a Telecaster

BY DIRK WACKER
A fter pestering you with switching theory

for a full three months [“Inside the 3-way
Telecaster Pickup Switch,” October 2013,
“How to Wire a Stock Tele Pickup Switch,”
November 2013, and “How to Wire Alternative
your guitar volume a bit, you can clean
up an overdriven amp without getting
lost in the mix.
3. The tone and the volume controls interact
with each other—something you might
Tele 3-Way Switches,” December 2013], it’s time be familiar with from certain tweed-era
to start exploring Telecaster mods. Fender tube amps. When you change the
Let’s begin with a simple but great mod that’s volume, the tone changes a little bit as
typically called “the ’50s Les Paul wiring.” (This well, and vice-versa. This may be strange
wiring is also known as “vintage wiring” or at first, but you only need a few minutes
“’50s vintage wiring.”) This is the way Gibson to get used to it.
wired up their electric guitars in the late 1950s,
including the famous “burst” Les Pauls, as well As always, mods that affect tone are matters
as SGs and ES-335s. of personal taste, but this one is really worth
This wiring has been one of the hot topics trying. It’s simple and invisible, and you can
in guitar forums in recent years, and there easily revert to standard wiring if you don’t like
are many myths and urban legends about it. it. Before we heat up the soldering iron, let’s
After it was forgotten for a very long time, take a closer look at what to expect.
today it seems to be more popular than ever. I’m sure you’ve heard about the magical
Electronically, there’s nothing too special about tone of late-’50s sunburst Les Pauls. Perhaps
this wiring—it simply connects the tone pot you’ve been lucky enough to play one—we’re
to the output of the volume pot (middle lug) all jealous—but we know this tone from our
instead of the input lug. All late-’50s Gibson old records. Part of this magic is attributable
guitars were wired this way, but here’s the good to the ’50s wiring, which makes the tone very
news: You can do this with any guitar that has transparent and more “direct.” The guitar
at least one volume and one tone pot ... just like responds much better and without this wiring,
our Telecasters! it’s difficult to get that bloom—the way notes
What’s so special about this ’50s wiring? It open up after you’ve played them. It’s always
affects your tone in three major ways: difficult to describe sound with words, so your
best bet is to give it a try and compare it to
1. The overall tone gets stronger, tighter, and standard wiring.
more transparent. It’s difficult to describe, Let’s think about the treble-loss issue for
but you might say it’s more “in your face.” a moment. I’m sure you know the inherent
2. The typical treble loss that occurs idiosyncrasies of passive single-coil pickups and
when rolling back the volume is much volume controls. On a Telecaster, for example,
less than with standard wiring. Both when you turn down the volume—even just a
the volume and tone controls become bit—you lose highs disproportionately to the
more responsive, and they react more amount of volume reduction. In other words, a
smoothly without the usual hot spots. small cut in volume creates a far greater loss in
Another bonus: By simply rolling back treble response.

Fig. 1
Gibson’s ’50s wiring, shown

on a Les Paul circuit.
This wiring has been one of the hot topics in

guitar forums in recent years, and there are
many myths and urban legends about it."
You can get rid of this problem by installing Please note: If you currently have a Telecaster
a “treble-bleed network”—a combination of a with standard wiring and a treble-bleed
capacitor and resistor wired in parallel or series network, you need to remove the latter when
on your volume pots. But another alternative is switching to ’50s wiring. (Using a treble-bleed
Photo courtesy of Seymour Duncan (seymourduncan.com)

the ’50s wiring scheme, which may be all you network with the ’50s wiring negatively impacts
need to deal with this treble-loss issue. the natural evenness of the controls’ response.)
Here’s why: The ’50s wiring exhibits much Okay, let’s begin. First go to seymourduncan.
less treble loss that standard wiring because it com and download the standard (aka “modern”)
follows a completely different curve, depending Telecaster wiring schematic (http://www.
on the ratio of your pot. It works best with audio seymourduncan.com/support/wiring-diagrams/
taper pots, preferably those with a 60:40 or 70:30 schematics.php?schematic=standard_tele). Print
ratio. Smaller ratios like 80:20 or 90:10 limit this out and pin it up at your workbench. This
this benefit and result in the typical “on/off” or will be our reference for all future mods—and
“bright/dull” problem when using the controls. you can bet there will be a lot of them.

Fig. 2
Gibson’s ’50s wiring applied

to a Telecaster. The tone pot
connects to the volume pot’s
output (middle lug) instead
of the input lug.
Photo courtesy of Seymour Duncan (seymourduncan.com)
Next, check out Fig. 1, which is the Gibson the volume pot (middle lug) instead of the
’50s wiring, shown in a Les Paul circuit. Most input lug used in standard Tele wiring.
Les Paul, SG, and ES-335 players with PAF- See? It’s not so hard to apply this to a
style humbuckers prefer this wiring because Telecaster and it’s as effective as on a Les
it’s one of the key ingredients of old-school Paul. Next month we’ll dig even deeper into
Les Paul tone. ’50s wiring on a Telecaster, and I’ll show you
When you alter the standard Telecaster an even simpler way to convert your guitar
wiring to match the ’50s Gibson wiring, to these specs. We’ll even make it switchable,
you get the schematic in Fig. 2. To reiterate: so you can have both wirings in one guitar.
Simply connect the tone pot to the output of Yeah, life is good!

MOD GARAGE
Telecaster Series Wiring

BY DIRK WACKER
L et’s explore a common mod for Fig. 1

Telecasters and other two-pickup guitars,
but with a little twist: wiring two pickups
in series rather than in parallel to get louder,
meatier sounds. This mod is also known as
Telecaster 4-way wiring.
A Telecaster with a standard 3-way switch
and traditional wiring provides the classic
How to wire your Tele for an added series sound.
pickup combinations we all know and love:
lows and midrange of series-wired pickups.
• Position #1: bridge pickup alone Compared to parallel wiring, the signal must
• Position #2: both pickups in parallel travel through twice as much pickup wire to
• Position #3: neck pickup alone reach the output jack.
The resulting tone increases a Telecaster’s
But many players (myself included) like versatility, so it wasn’t long before someone came
having an additional option with more balls, up with a nice solution: the 4-way switch. Simply
perfect for solos that easily drive your amp into replace the standard 3-way switch with a special
saturation. This sound is also cool for playing 4-way switch and follow the Fender wiring
jazz. Hitting this goal is as easy as wiring the diagram in Fig. 1. The mod is invisible from the
two pickups in series rather than in parallel. outside, and it provides this switching matrix:
In parallel mode, the pickup inputs are
connected, as are the outputs. This is one of the • Position #1: bridge pickup alone
main reasons a Telecaster usually sounds very • Position #2: both pickups in parallel
bright. The signal from each pickup reaches • Position #3: neck pickup alone
the output jack via the shortest possible route. • Position #4: both pickups in series
High frequencies reach the output jack almost
unchecked, giving your Tele its signature We’ll revisit the 4-way switch and its physics in
sparkling quality. a later column. But all you really need is a 4-way
The sound of series. In series mode, however, replacement switch and the wiring diagram.
the ground wire of one pickup is connected to Important: Before performing this mod, you
Photo courtesy of Fender Musical Instrument Corporation

the hot wire of the other. They become a kind need to check whether your neck pickup sports
of “compound pickup,” sharing one ground the usual metal cover. If so, you must separate
and one hot output. When pickups are wired the cover from ground, as explained in my May
in series, their impedance is summed, and 2013 Premier Guitar column, “Preparing Your
the output is very high. However, some treble Tele for Future Mods.”
frequencies are lost because the long pickup An alternative arrangement. Some players
wire acts as a resistor, and any resistor in the don’t want to change the standard 3-way switch,
signal path suppresses the signal. Additionally, or don’t like the order of settings in the 4-way
resistors attenuate higher frequencies more switch mod. (The order can be changed, as we’ll
than low ones, which explains the prominent see in an upcoming column.)

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Fig. 2
Getting a series
sound with an
added switch
rather than a
replacement
pickup selector.
It’s possible to use a 2PDT switch to activate “rhythm preset.” We usually use this wiring in
series wiring. You can do this using a mini-toggle our shop if the customer doesn’t want to fumble
switch mounted on the metal control plate with a 4-way switch.
between the two controls (there’s plenty of space), Not just for Teles. Naturally, this arrangement
or you can replace one of the standard control works with any two-pickup guitar, not just
pots with a push-pull or push-push pot. Either Telecasters. The wiring shown in Fig. 2 employs
option works as long as you use a 2PDT switch. a push-pull pot with a 2PDT switch, but you
The basic idea is to have standard 3-way can also use a DPDT mini-toggle on the control
switch operation, plus the option of jumping plate—just move the relevant wires to the new
to the series sound simply by hitting a switch, switch. Please keep in mind, though, that you
overriding the pickup selector regardless of must convert your neck pickup to three-conductor
its setting. Hit the switch again, and the 3-way wiring as mentioned above, assuming it has a
Photo courtesy of singlecoil.com
switch is re-engaged at its current position. metal cover connected to common ground.
This wiring can work as a kind of preset That’s it! Next month we’ll cover another cool
switch: Dial in a neck pickup alone for rhythm mod for acoustic guitars, in keeping with that
work, hit the switch for a series solo sound, and issue’s unplugged theme. Until then, stay in tune
then flick the switch again to return to your and keep on modding!

MOD GARAGE
Lean, Mean Series Wiring for Telecasters

BY DIRK WACKER
T ele players often ask about adding series

wiring to their instruments—a mod that
lets you access a powerful tone when
you engage both pickups. On a stock Tele,
the pickups are connected in parallel when
pickup by itself, yet be merely one click away
from a hot series tone. It’s like having a solo
preset sound in the switch’s middle position.
So let’s investigate this lean, mean series-
wiring scheme. The new switching matrix for
you use them together, but if you run them in the 3-way switch looks like this:
series instead, the resulting output is hotter and
louder, and this makes it much easier to drive • Position #1: bridge pickup alone
your amp into saturation. If you’re craving burly • Position #2: both pickups in series
Tele tones, series wiring will deliver. • Position #3: neck pickup alone
There are several ways to mod your
Telecaster for series wiring. The most To begin this mod, you must first check if
common approach is to replace the standard the neck pickup’s metal cover is connected
3-way pickup selector with a 4-way switch. to ground—which is the case for almost all
This keeps the three familiar switching standard Telecaster neck pickups. If so, you’ll
positions untouched and simply adds a new have to break this connection and solder a
sound in switching position #4. This is my third, new ground wire to the metal cover.
preferred method, and I think it’s the most How do you do this? How do you do this?
useful Telecaster mod ever. I explained how to Glad you asked: We covered this before in
do this mod in a previous column, “Telecaster “Preparing Your Tele for Future Mods.”
Series Wiring.” In that same column, I also If you have a Strat pickup, a P-90, or some
describe an alternative scheme that uses a similar single-coil in the neck position, you
second 2PDT switch to connect both pickups can skip this step. For all other pickups
together in series, while overriding the setting sporting a metal cover that’s connected to
of the stock 3-way switch. But not everyone the pickup’s ground, you’ll need to break this
wants to swap their 3-way selector for a 4-way connection before you proceed.
unit or add that extra 2PDT switch. The Fig. 1 shows the wiring, which looks
order of settings on the 4-way selector isn’t familiar but is a little bit more complex than
everyone’s cup of tea, and, similarly, adding a standard Telecaster’s wiring. The important
second switch to a Tele strikes some guitarists detail here is to connect the hot wire from
as unnecessarily fussy. the neck pickup to the volume pot’s input lug,
But wait: If you crave that powerful dual- rather than directly to the switch, which is
pickup tone, yet want to maintain the Tele’s the usual approach. There are other ways to
glorious simplicity, why not simply configure accomplish the mod, but this is my favorite
the 3-way switch’s middle position to connect method because it’s simple to wire and you
the bridge and neck pickups in series? Yes, can easily reverse the mod or upgrade to a
you’ll lose the old middle position with both 4-way switching system at a later date. And
pickups in parallel, but if the series connection the beauty of this is we still have the familiar
is all you need, this wiring is for you. You’ll operation of a standard Telecaster 3-way
still have access to either the neck or bridge selector. The only change is the new sound for

Fig. 1
the middle position; the other two settings are case, and then soldering the string-grounding
not affected. Also, you can incorporate other wire that’s installed underneath the bridge
mods into this wiring, such as the ’50s wiring to the case of one of the two pots. When you
that I’ve covered before. use a standard Telecaster control plate made Diagram courtesy of singlecoil.com
While we’re discussing Tele wiring, I’d from conductive metal, you already have a
like to make a point about grounding— kind of natural grounding and you can skip
something that comes up quite a bit with the wire connecting one pot to the other.
modders. Typically, you’ll see the two pots Just connect the string-grounding wire to
being connected to ground by running a wire the case of one of the pots and you’re done.
from the volume pot’s case to the tone pot’s Why? When the pots and switch are installed

If you’re craving burly Tele tones,
series wiring will deliver."
on the control plate with their metal parts This series wiring offers another benefit when
touching the metal control plate, they create you use a conductive control plate: The lug on
a perfect grounding system. This applies not the 3-way switch that’s connected to ground
only to Telecasters, but all pickguards and only needs a short bare jumper wire soldered
control plates made of conductive metal. To to it. Simply clamp the other end of the jumper
confirm this, simply set a digital multimeter between the 3-way switch’s metal frame and the
to continuity and place both probes on the control plate, and you’re good to go.
metal pieces you want to check. If the DMM Okay, we’re done for now. Next time I’ll
shows continuity, you’ve won. If not, then share a cool shop tip with you—an easy
ground your pots or glue a piece of copper way to maintain your frets and extend their
foil underneath the pickguard or control lifespan while changing strings. Until then,
plate to add conductivity. keep on modding!
the Straight Truth About Pickups by Jason Lollar

The “magic” found in some (but not all) classic vintage pickups
was created by accident. Don’t let anyone tell you different. And
over time, some pretty stellar accidents happened. The only way
to recreate that magic is to study more than a few exceptional
examples of all the classic pickup types, while acquiring a
thorough understanding of exactly what materials were used
and precisely how each pickup was constructed and wound. Only
then is the “magic” repeatable, if you are willing to spend the time
and money required to chase the dragon. I am.
I personally design and wind over 30 different pickup models,

including all the vintage classics, many obscure works of art
known only to lap and pedal steel players like Robert Randolph,
and even a few of my own designs that never existed in the past.
I invite you to visit our website for sound clips, videos and
current product information, or feel free to give us a call.
Lollar Pickups,Tacoma, WA. (206) 463-9838 www.lollarguitars.com

Play Like Paisley!
BY JIM LILL
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Discover backward pick scrapes.
• Create blistering pull-off licks.
• Develop faux G-bender phrases.
W hen you listen to Brad Paisley play

guitar, you feel two things. The first
is unmitigated joy at the creativity
and expression in his playing. But then the
second creeps in, which is frustration over not
on some of Brad’s signature techniques that we
can adapt to our own playing right away.
Backward Pick Rakes

LA pick rake is when you strum through
understanding what he does. dead strings to reach the note you’re targeting.
I’ve felt those things, and over years of The traditional way to do this is to power
hacking away at solo after solo I’ve noticed across the completely muted low strings to
some of Brad’s patterns and habits. Some are as attack a note on the 2nd string. Brad goes the
difficult as they sound, but many of them are traditional route all the time, but in addition
actually within reach of us mortals. Let’s focus to the standard pick rake, he also likes to

accent important notes on the low strings with I’ve seen people miss when trying to sound like
backward pick rakes. Brad is his mastery of staccato playing.
The rules for a backward pick rake are the Staccato notes are cut short. They don’t
same, but instead of strumming down to get to ring out. They’re punchy little pops that
your note, you strum upward starting at the 1st are intended to contrast with normal guitar
string and stopping at the note you want. Use soloing. Without them, a solo can sound like
this technique on low notes that need a little a run-on sentence. But with them, a solo can
more explosiveness and thickness than standard sound like a melody driven right into your soul.
picking can provide (Ex. 1). Throw some short notes into your playing, and
feel the space they open up (Ex. 2).
Staccato Notes
Brad is in control of the exact length of each note
he plays. I don’t just mean “This is a quarter-note, Triplets, Triplets, Triplets
and this is an eighth-note.” I’m talking about the When I used to listen to Brad Paisley songs, all
specific amount of time he lets his notes ring. his fast playing just sounded hard. Now, about
He makes great use of legato playing (letting the 90 percent of his fast playing sounds hard, and
notes ring right up until the start of the next note the rest I can recognize as him playing triplets
for maximum smoothness), but something that with pull-offs.
Play Like Paisley!

By Jim Lill
premierguitar.com
Ex. 1 Play Like Paisley!
By Jim Lill
Ex. 1
premierguitar.com
ÍÍÍÍÍ
Moderately slow q = 80
E A B E
4¿
œ ‰¿¿ #œœ ≈ ¿ ¿#¿ Œ Ó
Ex. 1
4 ¿ slow q = 80
& Moderately œœ
œ #œ œ œ œ œ
œE œ œ œ # œ nœ #œ n œ # œ ˙E
ÍÍÍÍÍ
¿
& 4 ¿rake¿ ¿¿ ¿ ¿
A B
4
œ ‰ rake
≤ ¿ n œ¿ #1/2œ
œœ #œœ ≈rake
≤ #¿ n œ¿ #1/2œ ˙
Œ Ó
mf
¿
¿
#œ œ œ œ
¿ œ
ÍÍÍÍÍ
≤ ¿ œ œ œ œ #œ œ
¿¿ rake ¿
¿¿
≤ 3 ¿ 1/2
mf
˙ ≤
ÍÍÍÍÍ
≤
X
rake 2 4 X
rake
X 2 X 2 4 X
X X 0 1 2 2 2 X
0 0 0 3 4 3 1/2 0 10
˙Ex. 2
X 2 4 X
X 2 X 2 4 X
X X 0 1 2 2 2 X
Ex. 2Moderately slow 0 0 0 3 4 3 3 0 10
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
q = 80
Ex. 2
4
&4 œ #œ. œ œ. œ. Œ Ó
> œ #œ > œ. œ. œ # œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ > œ œ œ
4
& 4 mf œ #œ. œ œ. œ f Œ Ó
> > P.M. #œ >. œ. œ. œ # œÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ
œ œ œ
w/ pick & nger
P.M. P.M.
mf f
˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
w/ pick & nger
6 4 2
7 5 4
P.M.
0 P.M.
0 P.M.
0 0 2 3 4 4
˙
6 4 2
< q__q = aq eb >

7 5 4
Ex. 3 0 0 0 0 2 3 4 4
3
ÍÍÍÍÍÍÍÍÍÍÍÍ
Fast q = 155
& 4Fast¿ ¿ q¿ = 155 < q__‰q = aq jeb >

4 ‰œj #œj œ œ œ œ œ œ œ œ3
3
œœ œœ
3
‰
Ex. 3 3
œ œ œ œ œ œ œ
#œ œ œ > > œ > œ > œ # œ œ n œ œ™
3
¿œ
4 ¿ ¿ w/ ¿pick &‰ fingerj ‰œj #œj œ œ œ œ œ œ œ œ3
3
œ œ
mf 3
- DIGITAL‰PRESS
3
≤ ¿ ¿ œ¿
& 4 rake œ œ œ œ œ œ œ > œ > œ > œ > œ
œ
PREMIER
# œ œ n ÍÍÍÍÍÍÍÍÍÍÍÍ
GUITAR TWANG TOWN VOL. � 17
#œ œ œ œ œ™
X mf
X 5 5 7 0 5 0 4 0 2 0 0
w/ pick & finger
Play Like Paisley!
By Jim Lill
premierguitar.com
Ex. 1
ÍÍÍÍÍ
E A B E
Brad 4 ¿ to play two harmonized
& 4likes notes back C) #there
œœ ≈ ¿ ¿ are two “money notes”Œ on each string,
œ ‰¿¿ œœ Ó
œ
¿
to back—usually ¿
œ œ thirds
œ œ # œor sixths—then pull# œ œ œ
n œ # œ œ œ #¿
n
that when combinedœ # œ ˙ with an open string can
off to an open¿ string from the higher
rake ¿
of the two lead you up¿ or down the open position in a fury.
¿ ¿ ¿
mf
ÍÍÍÍÍ string doesn’t

≤
notes. The pull-off to the open ≤ When ≤ descending, the picking hand should
rake rake
1/2 1/2
require extra energy, so he can increase2 his speed use4 the following pattern: down, up, pull-off.
by 33 ˙percent0 without any added work. 0For the The ascending version of10the pattern would
X X
X 2 2 X 4 X
X 1 2 2 X 2 X
0 0 3 4 3 3 0
right hand, always pick the bottom note, pluck be down, hammer-on, up, with the “up” being
the topEx.note
2 with your middle finger, and pull off the first note on the next string. In the next five
to theModerately
open note. slow q You’ll find your rhythm (Ex. 3). examples, I’ll demonstrate this concept in our
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
= 80
guitar-friendly keys.
4
& 4 Runsœ #œ. œ œ. Œ Ó
Open-String
> > #œ >œ. œ œ # œ œ œ
œ œ œ œ
For his speediest licks, Brad relies heavily on . . Okay, Let’s Talk About the G-Bender
open stringsmf and familiar positions. In each of f Brad has his electric guitars equipped with a
the main “guitar-friendly” keys (E,P.M.A, D, G, and deviceÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
called a G-bender. Instead of securing his
w/ pick & nger
P.M. P.M.
Ex. 3 ˙
6 4 2
7 5 4
0 0 0 0 2 3 4 4
< q__q = aq eb >

Ex. 3
3
Fast q = 155
4 ‰œj #œj œ
3
œ œ œ
3
‰ œ œ œ œ >œ œ œ œ œ ‰
3 3
&4 ¿¿ j œ œ œ œ œ œ œ œ
¿
¿ œ #œ œ œ > > > œ # œ œ n œ œ™
¿¿
mf
w/ pick & finger
≤
rake
Play Like Paisley!

˙
X
X 5 5 7 0 5 0 4 0 2 0 0
X 0 5 5
X
3 2 3
2 2 3 5 7 By
7
Jim
9 Lill 7 5 3 2 1 2
3
premierguitar.com
Ex. 4
Ex. 4
Moderately q = 110
E
4 w œ #œ œ œ #œ
& 4 #w
w
w œ #œ nœ nœ #œ œ
œ #œ œ œ œ
∏∏∏∏∏∏∏∏∏
w
w w
mf
≥ ≤ ≥ ≤ sim.
∏∏∏∏∏∏∏∏∏∏∏
0 3 2 0
˙
0 3 2 0
1 3 2 0
2 4 2 0
2 4 2 0
0 3 0
œ œ œ w
& œ œ #œ œ #œ
œ œ #œ œ œ #œ
#œ #œ
0 3 0
0 2 3
0 2 3
0 2 4
0 2 4
2 4
Ex. 5
Moderately q = 110
A
4
18 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � œ #œ œ œ #œ
&4 w
w œ œ œ œ #œ œ
w œ #œ œ œ w
∏∏∏∏
œ œ œ w
& œ #œ œ œ #œ œ #œ
œ œ #œ œ
#œ #œ
0 3 0
0 2 3
0 2 3
0 2 4
0 2 4
Ex. 5 2 4
Ex. 5
Moderately q = 110
A
4 œ #œ œ œ #œ
&4 w
w œ œ œ œ #œ œ
w œ #œ œ œ w
#œ
∏∏∏∏∏
mf
≥ ≤ ≥ ≤ sim.
3 2 0
˙
3 2 0
2 4 2 0
∏∏∏∏∏
2 4 2 0
0 4 2 0 0
4
œ œ #œ w
& œ #œ œ œ œ œ #œ
œ œ #œ œ
#œ #œ
0 4 5
0 2 4
Play
0 Like
2 4Paisley!
0 2 3
0 2 4 By Jim Lill
2 4
premierguitar.com
Ex. 6
Ex. 6
Moderately q = 110
D
4 w œ #œ œ œ
&4 w
w
#œ œ œ œ œ #œ
œ œ #œ œ œ w
∏∏∏∏∏
#œ
mf
≥ ≤ ≥ ≤ sim.
3 2 0
˙
3 3 2 0
∏∏∏∏∏
2 4 2 0
0 4 2 0 0
4 2 0
2
œ œ œ #œ œ œ #œ w
& œ œ #œ œ
#œ #œ œ œ #œ
0 2
0 2 3 3
0 2 4
0 2 4
0 2 4
2 4
Ex. 7
strap conventionally, he only fastens one end of it and ultimately ends up under the bridge at the G
Moderately q = 110
G
to the guitar’s w
4 bottom œ #œ The
strap button. œ œother
œ œendœ string. When Brad yanks the guitar neck toward
w
& 4attaches
w œ the
œ floor,
#œ œ the
∏∏∏∏∏∏∏∏∏
of the strap w to a lever connected to the œ lever

œ œpulls
œ # œup, causing the bender
w w
neck plate. That lever is linked to an apparatus mechanism to precisely raise the pitch of the
mf
that runs through the inside of≥ the≤ guitar
≥ body
≤ sim. G string one whole-step. Whoa! Armed with a
∏∏∏∏∏∏∏∏∏∏∏
3 3 2 0
˙
0 3 1 0
0 4 2 0
0 4 2 0
X 3 2 0
3 2 3
œ œ œ #œ w
& œ œ œ œ
œ œ œ #œ
& œ œ œ œ
œ œ #œ œ œ #œ
#œ #œ
0 2
0 2 3 3
0 2 4
0 2 4
0 2 4
2 4
Ex. 7
Ex. 7
Moderately q = 110
G
4 w œ #œ œ œ
œ œ œ œ œ #œ
&4 w
w
∏∏∏∏∏∏∏∏∏
w œ œ œ œ
w œ #œ w
mf
≥ ≤ ≥ ≤ sim.
∏∏∏∏∏∏∏∏∏∏∏
3 3 2 0
˙
0 3 1 0
0 4 2 0
0 4 2 0
X 3 2 0
3 2 3
œ œ œ #œ w
& œ œ œ œ
œ œ œ œ #œ
#œ œ œ
0 2 3
0 1 3
0 2 3
0 2 4 Play Like Paisley!
0 2 4
2 3 By Jim Lill
premierguitar.com
Ex. 8
Ex. 8
Moderately q = 110
C
4 œ œ œ œ œ
&4 w
w œ bœ œ œ œ œ
w
w œ œ œ œ w
∏∏∏∏∏
œ
mf
≥ ≤ ≥ ≤ sim.
3 1 0
˙
∏∏∏∏∏∏∏
1 3 1 0
0 3 2 0
2 3 2 0
3 3 2 0 3
3
œ #œ œ œ
& œ œ œ bœ œ w
œ œ œ œ œ
œ œ
0 3
1 3 4 1
0 2 3
0 2 3
0 2 3
1 3
Ex. 9
G-bender,Slow
Brad can hold triads or full chords and
q = 65
The key to sounding like you have a bender is
bend notes on the G stringC
inside the voicing.D7 to bend notes a Gwhole-step on the G string while
4 œ œ ≈in our guitars,
& 4 œ allœhaveœ G-benders
œ
#œ œ
Alas, we don’t œfretting
≈ sustained œ lower
œ œnotesœ on the‰4th and/or
œ
and that can make it tough to sound like Brad … œ It’s
5th strings. œ an uncommon enough technique
¿ that¿ listeners ¿ a G-bender!”
mf
but tough doesn’t
let ring
mean impossible. let ring let ring
think “That sounds like
1 1 1
*
˙
7 7 5 5 0 0
10 4 0
10 5 2
20 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � *behind the nut
In this 2013 video,
Brad explains
how Diamond
CLICK HERE
Rio’s Jimmy
TO LISTEN Olander inspired
Play Like Paisley! him to check out
a G-bender and
By Jim Lill
walks us through
premierguitar.com exactly how and
why he uses one.
Ex. 8
Moderately q = 110
C
4 œ œ œ œ œ
&4 w
w œ bœ œ œ œ œ
w
w œ œ œ œ œ w
∏∏∏∏∏
mf
≥ ≤ ≥ ≤ sim.
3 1 0
˙
∏∏∏∏∏∏∏
1 3 1 0
0 3 2 0
2 3 2 0
3 3 2 0 3
3
œ œ #œ œ œ w
& œ œ œ œ œ bœ
œ œ œ œ œ
0 3
1 3 4 1
0 2 3
0 2 3
0 2 3
1 3
Ex. 9
Ex. 9
Slow q = 65
C D7 G
4 œ œ œ œ œ œ
&4 œ œ ≈
œ #œ
≈ œ œ œ œ ‰
œ œ
¿ ¿ ¿
mf
let ring let ring let ring
1 1 1
*
˙
7 7 5 5 0 0
10 4 0
10 5 2
*behind the nut
Ex. 9 has a few chord shapes where you It’ll hurt at first, but your callouses will get thicker.
can fool the world into believing you have a Now you’re equipped with a new set of tools
G-bender like Brad. Note: You have to press down you can use to make your playing expressive and
on the 3rd string behind the nut for the last one. creative in a very Paisley-approved way.

Jerry Reed’s Red-Hot Picking
BY KIRBY JANE
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Understand how to play multiple parts at once.
• Add syncopated chord fragments to a bass line.
• Learn how to approach practicing difficult pieces.
T he basic concept of modern fingerstyle

guitar—playing multiple parts at once—
was deeply influenced by the work of
guitarist, vocalist, producer, composer, and
actor, Jerry Reed. The strongest elements
CLICK HERE
TO LISTEN
of Reed’s style came out of American blues,

gospel, and country music. He combined
those traits with an intuitive prowess on the
instrument and a rambunctious sense of
humor. Throughout this lesson I’ll be focusing
on some of the techniques Jerry used in his
instrumental fingerstyle pieces, deconstructing
Bill Evans is one of the most influential pianists in jazz. Filmed in Berlin
elements of the riffs that are so characteristic in 1965, this video reveals his buoyant, propulsive style as he plays a
of his style, and remixing them into playable classic standard, “Beautiful Love.”
exercises to help you absorb his ideas and apply I’m presenting are derived from three Jerry
them to your own playing. Reed tunes: “Struttin’,” Jiffy Jam,” and “The
Claw.” I developed these exercises from my
Practice Notes own practice habits and routines.
Reed’s guitar style was so uncommon and In his Harvard Norton Lecture Series, Leonard
unique that finding an entry point can be Bernstein stated that “the best way to ‘know’ a
intimidating. I was once a newbie to fingerstyle thing is in the context of another discipline.”
guitar as well, so I’m hoping this lesson is an We can apply this idea to the fretboard. For
antidote to that woe. If anything, learning some example, to learn hard licks and develop
of these exercises should also, incidentally, more clarity and authority with a passage,
provide a foundation for playing gospel I’ll break down each difficult phrase into
voicings, syncopations, and blues-influenced micro-routines that are more manageable. I’ll
counterpoint, since these influences were also explore specific techniques in different
integral to the “Jerry Reed” sound. settings to understand them outside of their
Much of Jerry’s other work can be original context. Later down the road, as I’m
understood simply by tackling his performing these pieces live, this approach
instrumental fingerstyle songs, so the exercises allows me to understand what I’m doing well

enough that if I ever lose focus mid-song, I used in his tunes because when he was writing,
can prevent more mistakes, and I can recover he’d typically start by creating a complex
more smoothly from the mistakes I do make. melody and a similarly complex bass line. After
This is useful when performing virtuoso having done all that, he would fill in between
pieces from any genre. with contrapuntal harmonies. The result was
Creating exercises like these prevents me multiple riffs and fragments of chord shapes,
from over-emotionalizing the learning process, combined and played in competition with one
and allows me to practice more easily and more another. Even today this is still a rarely used
productively even when I don’t feel inspired to approach to guitar composition, even among
sit down and be creative. It reduces the process fingerstyle players who have been directly
to just developing manageable exercises and influenced by him.
putting in the practice time. To add to this, Jerry used open notes
wherever possible, and he was almost always
Right-Hand Technique playing passing chords under the melody line,
When Jerry picked he usually kept his index so his left hand was constantly in motion on the
finger tucked back and out of the way. He neck and the fingerings changed continuously.
still used his index finger to pick, just not All this gives Jerry’s compositions an unfamiliar
constantly. Other than that, when picking he feel, even though they fit into conventional
used all his right-hand fingers and thumb. Jerry songwriting structures. It made the songs
didn’t anchor his pinky on the pickguard— memorable, but difficult to comprehend at first
common practice in fingerstyle guitar. He did, listen. However, these songs become easier
however, keep his wrist anchored on the upper to decode if you pay attention to the top and
part of the guitar’s bridge, above the 6th string, the bottom of the score. In other words, first
so he had a physical point of reference for his follow what the melody and the bass line are
picking hand. And unlike most thumbpickers doing, and how they interact with one another.
today, he didn’t really bring his left-hand thumb After you’ve familiarized yourself with how
over the top of the neck to fret bass notes. This that sounds, then try looking at how the
may have been because he was playing nylon- harmonies and passing chords fit in between
stringed guitars, which usually have wider neck the bass line and melody.
dimensions than steel-string guitars. Jerry didn’t play a song the same way
each time, but he kept many of the passing
Left-Hand Technique chords the same. To get you accustomed to
Jerry’s left-hand technique involved the types of counterpoint Jerry wrote into his
tremendous finger independence akin to that of compositions, in these examples I’ll focus
a classical guitarist. What is most notable about on fundamental fingerstyle syncopations
Jerry’s left-hand fretting technique, though, and incorporate some typical Jerry-approved
is that it’s incredibly non-linear. Here’s what I hammer-on and pull-off maneuvers.
mean: If you watch someone like Chet Atkins Most of the examples will be in dropped-D
or Tommy Emmanuel, it can be easy to see the tuning with no capo, and include passing
underlying shapes of the chords from which chords modeled after those found in Jerry’s
notes are being played. It’s possible to see the song “Struttin’.” The final example is in
CAGED system put to use in Chet and Tommy’s standard tuning, inspired by riffs Jerry used in
arrangements, generally speaking. But it’s far “The Claw,” “Jiffy Jam,” and “Mr. Lucky.” I’ve
more difficult to find the chord shapes Jerry designed these exercises to be played using

just bare fingers and a thumbpick. If you really strengthen your fourth finger and increase
want to learn to play these accurately, I suggest its flexibility. The exercise involves barring
practicing with a metronome. The way to multiple notes at one time with the fourth
know you’re really on time is if you can play so finger, while also stretching it a great deal.
accurately that the sound of the metronome This particular musical phrase is unstable and
seems to disappear. circular, so it helps to count it out differently.
Ex. 1 , which is composed of double- As you’re counting the beat for this in your
stops fretted between the 4th and 7th frets, head and body, accent every beat instead of
uses intervals and chord shapes similar to only the 1 and 3.
“Struttin’.” This will get you used to the weird Ex. 2 uses the same chord shapes, but with
harmonic movements in that intro, and also different, and more stable, musical phrasing.
Jerry Reed’s Red-Hot
By Kirby Jane Picking
premierguitar.com
By Kirby Jane
Ex. 1 premierguitar.com
Ex. 1
Dropped-D tuning:
Ex.
(low1to high) D-A-D-G-B-E
Dropped-D tuning:
Moderately
(low to q = 100
high) D-A-D-G-B-E
œœ #œœ nœœ #œœ nœœ #œœ nœœ œ œ #œ nœœ #œœ nœœ #œœ nœœ œœ #œœ nœœ #œœ nœœ #œœ nœœ
µ[D]
Moderately q = 100
4 œ œœ
& 4µ[D] œ œœ œœ œ œ œ œœ œ œœ œœ œ œœ w
w
#œ œ #
œœ #œœ nœœ #œ nœœ #œœ nœœ œ œ œ œœ #œœ nœœ #œ nœœ #œœ nœœ #œ œœ #œœ nœœ #œœ nœœ #œœ nœœ #œ
4 œœ œœ
& 4 #mf œ #œ œ œœ œ œœ œœ œ œœ ww
#œ #œ
w/ thumbpick & fingers
mf
5 7 5 5 7 5 5 7 5
˙
6 &7fingers
w/ thumbpick 6 7 6 7 6 6 7 6 7 6 7 6 6 7 6 7 6 7 6
4 7 4 7 7 4 7 4 7 4 7 7 4 7 4 7 4 7 7 4 7 4 7
4 7 5 7 5 7 4 7 5 7 5 7 4 7 5 7 5 7 4 7
˙
6 7 6 7 6 7 6 6 7 6 7 6 7 6 6 7 6 7 6 7 6
4 7 4 7 7 4 7 4 7 4 7 7 4 7 4 7 4 7 7 4 7 4 7
4 7 7 4 7 7 4 7 7 4 7
Ex. 2Ex. 2
Dropped-D tuning:
Ex.
(low2to high) D-A-D-G-B-E
Dropped-D tuning:
Moderately
(low to q = 100
high) D-A-D-G-B-E
œœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ

µ[D]
Moderately q = 100
4
& 4µ[D] ∑
4 ∑œ œœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ
&4 œ œ œ œ œ œ œ
œ
mf
œ œ œ œ œ œ œ œ œ œ œ
mf 5 7 5 7 5 7 5 7
˙
6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
w/ thumbpick & fingers 4 7 4 7 4 7 4 7
5 7 5 7 5 7 5 7
˙
6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
0 0 0 0 40 7 0 40 7 0 40 7 0 40 7 0
0 0 0 0 0 0 0 0 0 0 0 0
nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ w

w
&
nœ #œ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ w
w
& œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
5 7 5 7 5 7 5 7
6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
4 7 4 7 4 7 4 7
5 7 5 7 5 7 5 7
6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
40 7 0 40 7 0 40 7 0 40 7 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0

By Kirby Jane
premierguitar.com
Ex. 3
Ex. 3
Dropped-D tuning:
(low to high) D-A-D-G-B-E
œ #œœ n œœ # œœ nœ #œœ n œœ # œœ nœ #œœ n œœ # œœ nœ #œœ n œœ # œœ

µ[D]
4
&4
∑ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ
¿ let ring ¿
mf
w/ thumbpick & fingers *slight P.M.
let ring
5 7 5 7 5 7 5 7
˙
6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
4 7 4 7 4 7 4 7
0 0 0 0 0 0
0 0 0
0 0 0
*Refers to downstemmed notes only, next 4 meas.
nœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ w

w
& œ œ œ œ œ
œ œ
œ œ w
let ring ¿
5 7 5 7 5 7 5 7
6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
4 7 4 7 4 7 4 7
0 0 0 0
0 0
0 0 0
Ex. 4
I’ve also added a steady quarter-note bass A quick note about picking-hand
Dropped-D tuning:
line thisModerately
time. slow Asq with
= 80
playing double Dutch technique: When playing syncopations, it can
on the playground, I’ve used the first and #œ œ be helpful to bring your thumb out in front
E7 D G D E7 D G D E7 D G D
4 # œ œ #œ œ
& 4 #œœ #œœ ofœœœ the
last measures
œœ œœ œœ nœœ œ #œ œ œœ œœ œœ œœ nœœ œ #œ œ œœ œœ œœ œœ nœœ œ
œ provide
exercise to œ #œ œsome of theœ fingers
œ #œ on
œ your pickingœ hand,
#w rather
w
momentum mf
and a rhythm before you jump in than tucking your thumb level w or behind
with
to add thew/let melody
thumbpick & fingers
ring throughout
line over the top. Jerry was your index finger (your hand should look less
incredibly conscious 2 of
3 where the beat was
2 3 like a lute player’s2 hand,
3 and more like Chet
˙
in a song, 0especially while he 4was0singing or Atkins’ hand). 4Adjusting your 4 wrist angle like
3 3 3 3 0 3 3 3 3 0 3 3 3 3 0
1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2
4 4 4 4 4 0 4 4
talking over his guitar playing, so the purpose this to create this posture will allow you to
0
0
of this exercise is to give you a solid sense of pick with smaller, more efficient movements,
where the beat is in a phrase. so your picking speed and string attack will
Next, we keep the exact same rhythmic be stronger. I see the lute-style hand position
notation as Ex. 2, except now the bass notes used more by women than men, and I also find
alternate in a 1–8–5–8 pattern (Ex. 3). It’s tricky I tend to use that posture, too. That technique
to play this one cleanly, so practice it at lower can be advantageous for playing very delicate
speeds and get it clean before you speed up passages, but for alternating bass lines the
the exercise. If you’re struggling to get the Chet-style hand position is most ergonomic and
syncopations on time, practice playing the gets a louder tone.
alternating bass line by itself until it doesn’t Now, let’s focus on some passing chords.
require much thought, then gradually add I’ll let you decide on your own fingerings for
the chord changes over it. Keep repeating the this because people fret chords differently,
exercise on a loop until you get it right and it but whatever you decide, at least be somewhat
feels comfortable. consistent with your fingerings when you play.

nœ #œœ nœ #œ nœ #œœ nœ #œ nœ #œœ nœ #œ nœ #œœ nœ #œ w
& œ œ
œ
œ
œ
œ
œ
œ
œ œ
œ œ w
let ring ¿
5 7 5 7 5 7 5 7
6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
4 7 4 7 4 7 4 7
0 0 0 0
0 0
Ex. 4 0 0 0
Ex. 4
Dropped-D tuning:
4 œ #œœ œœ œ #œœ œœ œ
#œœ #œœ œœœ œ œ œ nœœ œœ
#œœ œœ œ
#œœ #œœ œœœ œ œ œ nœœ œœ
& 4 #œœ #œœ œœ œ œ œ nœœ œœ #w
w
mf
w
let ring throughout
2 3 2 3 2 3
˙
3 3 3 3 0 3 3 3 3 0 3 3 3 3 0
1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2
0 4 4 4 0 4 4 4 0 4 4 4 4
By Kirby Jane 0
0
premierguitar.com
Ex. 5
Ex. 5
Dropped-D tuning:
4 #œ œœ œ œ #œœ œœ œ œ #œœ œœ œ
& 4 #œœ #œœ œœœ œœ œ œ nœœ œœ #œœ #œœ œœ œ œ œ nœœ œœ #œœ #œœ œœ œ œ œ nœœ œœ #w
˙ ˙ ˙ ˙ ˙ ˙ w
w
mf
let ring throughout
2 3 2 3 2 3
˙
3 3 3 3 0 3 3 3 3 0 3 3 3 3 0
1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2
0 4 4 4 0 4 4 4 0 4 4 4 4
0 0 0 0
0 0 0 0
Ex. 6
Dropped-D tuning:
In my Moderately
experience,
slow q = 80 the movements in Ex. 4 are With its cool groove, Ex. 6 is a lot of fun. It
easier to E7play ifDyouC#keepD your E7 second finger also yieldsC#appealing E7 counterpoint without
#œœ ™™
j j j j j œ #nœœj much
j j j
D C# D E7 D D D C# D
j j j j jdemanding j j
œ atœ the œ™
on the42nd string œ #3rd
œœ fret forœmost nœ ofœ #œœ œ #œ œœ ##nyour
œœ œœ fretting
& 4 #œœœ œœœ #œœ ##œœ œœ̇ œ œœœ œœœ #œœ ##œœ œœ̇ œ œœ œœ #œœ #œ œœ̇ œœ work œœ œœfrom# œ œ œ̇
the exercise, while using your first finger to œhand.
œ I promise it’s œeasier œ than it looks on
˙ ˙ ˙ ˙
reach all the notes fretted on the 1st and 2nd paper. The bass line is syncopated, but all I
frets. If you’re mf
fumbling to find the notes, did to create that was introduce the melody
it means you’re not looking ahead enough
let ring throughout half a beat before I introduced the bass line.
to figure0out0 what to
1
do
1
next,
2
0 or 0you3 don’t
1 1 2
0The 0 phrase 2 in
1
2 the
1 2
melody 3is played
1 1
3two times
2
˙
3 2 2 3 2 2 3 3 3 0 0 2 2
know your fingerings well enough, or you throughout the exercise, and each melodic
1 1 2 1 1 2 1 1 2 1 1 2 1 1 2 1 1 2 1 1 2 1 1 2
0 0 4 0 0 4 0 0 4 0 0 4
0 0 0 0
don’t know the notes well enough. Again, it’s phrase can be cut in half. Just remember that
0 0 0 0
important to play this slowly at first, so you in the first half, you’re simultaneously sliding
understand the exercise more clearly. This up one note, while hammering on two others.
will help you develop a better foundation to In the second half, you’re sliding the whole
play it well. chord up one fret.
Ex. 5 replicates Ex. 4, except it has alternating Let’s focus on clean fretting and picking
half-notes in the bass line. Again, let the notes in Ex. 7. Make sure the open-D drone notes
ring, play clearly, and spend as little time in are clearly audible, and that they don’t get
between chords as possible. muddled with the fretted shapes you insert

˙ ˙ ˙ w
˙ ˙ ˙ w
mf
let ring throughout
2 3 2 3 2 3
Ex.6˙
3 3 3 3 0 3 3 3 3 0 3 3 3 3 0
1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2 1 2 2 2 4 4 0 2
0 4 4 4 0 4 4 4 0 4 4 4 4
0 0 0 0
0 0 0 0
Ex. 6
Dropped-D tuning:
œœ #œœ ™™
j j j j j j j j
E7 D C# D E7 D C# D E7 D C# D E7 D C# D
4 j
& 4 #œœœ
j
œœ #œœœ ##œœœ œœ #œœ
œ̇ œ œœ
j j
œœ #œœœ ##nœœœ œœ #œœ
œ̇ œ œœ
j j
œœ #œœœ ##nœœœ œœ #œœ
œ̇ œ œœ
j j
œœ #œœœ ##nœœœ œ̇ œ ™
œ œ œ œ œ œ œ
˙ ˙ ˙ ˙
mf
let ring throughout
1 1 2
1 1 2 1 1 2 1 1 2
˙
0 0 3 2 2 3 0 0 3 2 2 3 0 0 3 2 2 3 0 0 3 2 2 3
1 1 2 1 1 2 1
Jerry Reed’s
1 2 1 1 2
Red-Hot
1 1 2
Picking
1 1 2 1 1 2 1 1 2
0 0 4
0
0 0 By Kirby
4 Jane 0
0 0 4
0
0 0 4
0
0 0
premierguitar.com
By Kirby Jane
0 0
Ex. 7
Dropped-D tuning:
Ex.
(low 7
to high) D-A-D-G-B-E
Dropped-D tuning:
(low Moderately q = 110
Moderately q = 110
4 œ #œ œ œ œ #œ œ œ
& 4 #œ
4 œ œœ œ
œ œ #œ
œ œ œœ œ #œœ œœ nœ
œ œ #œ
œ œ œœ œ œœ œ œ œ b œœ œ œœ œ œœ œ œ œ b œœ œ œœ œ
& 4 #œ œœ #œœ #œ nœ #n œœ œœ # œ #œ #œ
œœ œœ œ
œœ œœ œœ œ œœ #œ œœ œœ œœ œœ œœ œœ œœ œ œ
b œœ œ œœ œ œœ œœ œœ œœ œ
bœ
œœ œœ œœ
mf œ œ #œ œ œœ œœ œ n œœ œ # œœ œ œ œ œ œ œ œ œ œ
mf
let ring throughout
˙
let ring throughout
4 6 7 9 4 6 7 9
4 0 5 0 6 0 7 0 4 0 5 0 6 0 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
˙
0 0 0 0 0 0 0 0 0 0
0 2 0 3 0 4 0 0 2 0 3 0 4 0 5
4 0 5
6 0 8
7 0 8
9 0 5
4 0 5
6 0 8
7 0 8
9 0
4 0 5 0 6 0 7 0 4 0 5 0 6 0 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
Ex. 8 Ex. 8 0 2 0 3 0 4 0 0 2 0 3 0 4 0 5 0 5 0 8 0 8 0 5 0 5 0 8 0 8 0
Dropped-D tuning:
Ex.
(low 8
Dropped-D tuning:
(low Moderately q = 110
Moderately q = 110
4
& 4 #œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ
œœ œ #œœ
œœ œœ œœ œœ œ œ œ œ b œœ œ œœ œ œœ œœ œœ œ œ œ œ b œœ œ
4 œ œœ œ œ œ œ œ œ œ œ œ œœ œ
& 4 #œ
œœ œœœ œœ œœœ œ
œœ
œœ
œœ
œ
œœ œœœ œ
œ œœ œ
œ œœ b œœ œœ œœ œœ #œœ œœœ œ
œœ œœœ œ
œœ œœœ œ
œœ œœœ œ
œ œœ œ
œ œœ b œœ œœ œœ œœ
mf œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
let ring throughout
˙
let ring throughout
4 4 7 7 4 4 7 7
4 0 4 0 5 0 5 0 0 0 0 0 0 0 0 0 4 0 4 0 5 0 5 0 0 0 0 0 0 0 0 0
˙
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 2 0 2 0 45 0 45 0 8
7 0 8
7 0 0 0 0 0 2 0 2 0 5
4 0 5
4 0 8
7 0 8
7 0
4 0 4 0 5 0 5 0 0 0 0 0 0 0 0 0 4 0 4 0 5 0 5 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 2 0 2 0 5 0 5 0 8 0 8 0 0 0 0 0 2 0 2 0 5 0 5 0 8 0 8 0
Ex. 9
Ex. 9Moderately q = 100
µ[G]
œœ œ There œ œareœno œhammer-ons
q = 100
œ œœ inœthis exercise.
Moderately
& 4 œ #œœ nœœ #œœ œœ œ œ œ œ #œ nœ

between4µ[G]
them. jœ j œ the dynamics Practice allowing
œ œ œ œ #œœ œœ
4 œ #œ so
in this&exercise, fret the œ
notes œat the 
j œ
exact œ œœ œ line
the lower melody to be at the forefront by
nœ œ œ œ œ #œœ œœ ˙™
j
4 mf #œ œ œ #œ nœ œ œ œ
moment when you would also pick them. This making it louder, then reverse course
˙™ and allow
will develop fretting strength and dexterity the higher melody line to stand out by making it
mf
let ring throughout
in the fourth 3 ring and 1first fingers.

5 Mentally, your louder than 7the 0bass.
w/3 thumbpick
3 & fingers
3 3 3 0
˙ is divided between
let throughout
2 3 3
3 4 5 4 0 2 0 3 3 0 3 4
attention two different We’ll use Ex. 8

0 as a complement to Ex. 7. It has
3 3 3 3 3 3 0 0 7 2 3
˙ lines that use strange intervals. Play with

3 2 1 5 3 3
3 4 5 4 0 2 0 3 3 7 0 3 4 3
melody the same harmonic characteristics, but focuses

3 0 7 2 3
3

œœ œœœ œœ œœœ œœ œœœ œœ œœœ œ œ œ œ b œœ œ œœ œ
œ œ œ œ œ œ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œ œ œ œ b œœ œ œœ œ
œ œ œ œ œ œ
mf
let ring throughout
˙
4 4 7 7 4 4 7 7
4 0 4 0 5 0 5 0 0 0 0 0 0 0 0 0 4 0 4 0 5 0 5 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Ex. 9 0 0 0 0 2 0 2 0 5 0 5 0 8 0 8 0 0 0 0 0 2 0 2 0 5 0 5 0 8 0 8 0
Ex. 9
Moderately q = 100
µ[G]
4 œœ #œœ nœœ #œœ

&4
œ
œ œœ œ œ
jœ
œ #œ
j
nœœ œ
œ œœ œ œ #œœ œœ
œ œ ˙™
mf
let ring throughout
3 3 3 3 3 0
˙
3 2 1 5 3 3 0
3 4 5 3 4 0 3 2 0 7 0 3 4
3 0 7 2 3
3
CLICK HERE
TO LISTEN
more on familiarizing you with the underlying nature to your brain and hands. Some pieces
passing chords on the lower strings. The chords or exercises won’t make much sense until after
are based on the riff Jerry uses to transition you have them under your fingers for a while,
between verse and chorus in “Struttin’.” and I feel that could apply here.
This example is the only one in this lesson Here is a video where Jerry uses some of these
that’s in standard tuning (Ex. 9), and it’s based techniques we’ve discussed, and they’ll help
on the riffs you’d hear in songs like “Jiffy Jam,” you understand how he integrates them into his
“The Claw,” “Mr. Lucky,” and many others. unique style.
There are a lot of contrapuntal double-note I hope this lesson gives you a solid starting
combinations, hammer-ons, and pull-offs. point for understanding Jerry Reed’s material, and
My best advice is to repeat and memorize provides you the tools to learn to play in his style …
this riff until it becomes completely second while maintaining your sanity in the process!

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Keith Urban’s Country-Rock Wizardry
BY JIM LILL
Chops: Immediate
Theory: Beginner
Lesson Overview:
• Learn the basics of chicken picking.
• Understand how to phrase rapid-fire licks with pull-offs.
• Improve your hybrid-picking technique.
I f you haven’t heard, Keith Urban can play

guitar. He can play really, really well. This
fact is lost on many because aside from
his ability to deliver hit after hit, the focus is
always on him being an American Idol judge,
Keith started his journey playing bars
in New Zealand and Australia doing the
countriest of country things on guitar. In
interviews, he’s said that he tried getting a
rock gig in the ’90s but got fired because all he
his marriage to Walk-of-Fame actress Nicole could do was chicken pick. Ex. 1 is an example
Kidman, and his still-perfect hair at age 49. But of his style of chicken picking. Tuck the pick
as guitar players, we aren’t distracted by the by holding it in your index finger, and use
many things that make Keith a perennial award- your thumb and middle finger to pluck at
winning vocalist and magazine cover boy, we’re the string. The flesh of your finger will mute
here for the licks. Let’s discover some of Keith’s the string a split second before the new note
playing secrets and make them our own. sounds, giving it a staccato, choppy feel.

Keith Urban’s Country-Rock
By Jim Lill Wizardry
premierguitar.com
By Jim Lill
Ex. 1 Keith Urban’spremierguitar.com
Country-Rock Wizardry
By Jim Lill
Ex. 1
premierguitar.com
Ex. 1 Moderately q = 120
ÍÍÍÍÍÍÍÍÍÍ
œ ¿ œ µœ
. . >
¿ œ nœ œ œ ¿ œ œ.
µ[Bm] q = 120
Ex. 1## 4 µ[Bm]
œ ¿ œ œ ¿œœ œ œ œ
Moderately
œ œ œ œ Ó
4 ¿. qœ= 120 ¿. µœ
& # Moderately >
¿ œ nœ œ œ ¿ œ œ. ¿œœ œ œ
4 œ mf œ œ œ
& # 4 µ[Bm]
œ œ
œ œ œ Ó
œ œ œ ¿ œ µœ
>
¿. release
## 4 œgrad. . ¿ œ nœ œ œ ¿ œ œ. ¿œœ œ œ
œ œ
w/ ngers
œ œ
œ Ó
mf
& 4 w/grad.
1 ngers 3/4 1/2
release
1 mf
˙
3/4 1/2
X 9 X 9 X 9 X 9 X 9 9 7 7 7
w/ ngers 9
˙
grad. release
X
1
9 X
3/4
9 X 9
1/2
X 9 X 9 9 7 7 7
9
Ex. 2
˙Moderately
Ex. 2 X 9 X 9 X 9 X 9 X 9 9 7 7 7
9
q = 120
Ex. 2
Moderately q = 120
Ex. 24
œ œ #œ. œ nœ œ œ
& 4 œ q = 120
#œ œ œ œ
— —
4 œ #œ. nœ
œ œ ¿ œ œ œ
¿
Moderately
& 4 mfœ #œ œ œlet ring
œ ¿ ¿
4 œ.
œ #1/2 nœ 1/4
let ring
& 4 mfœ #œ œ œ œ œ œ œ
let ring
— let ring
˙ ¿ ¿
1/2 1/4
2 5 2 5 2 2
mf
2 4 2 5 2
˙
let ring let ring
2 5
1/2 2 5 1/4 2 2
2 4 2 5 2
˙
Ex. 3 2 5 2 5 2 2
2 4 2 5 2
Ex. 3 Ex. 3 Moderately q = 120

œ œ œ œ
œ œ œ œ œ œ œ œ œ
µ[D]
œ œ œ
Moderately q = 120
Ex. 3#
4 œ œ
# œ œ Jœ
4 œ œ q =œ120 œ œ œ œ œ ‰ Œ Ó
µ[D]
& # Moderately œ œ œ œ œ
# 4
& 4 mf
J ‰ Œ Ó
œ œ œ œ œ œ œ œ œ œ œ œ
µ[D]
œ œ
## 4 letmfœringœthroughout œ J
& 4 let10ring12throughout
10 12 10 10 14 10 15 10 14 10 10 ‰ Œ Ó
˙
10 10 10
mf 10 12 10 10 14 10 15 10 14 10 10
˙
10 12 10 10 10
let ring throughout
10 12 10 10 14 10 15 10 14 10 10
˙
10 12 10 10 10
Ex. 4
µ[D]
Moderately q = 120
Ex. 4#
4 œ œuse œtheir first,
& ##Moderately
œ œ
œ œœ œ œsounds nœ œ other ¿ œ guitarists
œ ¿ can’t
µ[D]
Most guitarists4 œ œ qœ= 120 œ œ œ œ second,
œ œ œ œ œ that œ œ œ œ œ œœ œ make,œœ it also
# 4 œ œ œ œ œ nœ œ ¿ œ œ ¿
and third&fingers 4 œ toœfret œœ œ œœ
œ œfancyœ œ lines. œ œ œ œ gives
œ œ Keith, œ you œ aœworkout. œ œ œ œ
µ[D]
however, is##not 4 œ P.M. P.M. ¿ œ P.M. œ P.M. œ œ P.M. œ nœ P.M. œ P.M. ¿ œ P.M. œ P.M. ¿ œ P.M.is œMark
œ
shy œ
about making his fourth One of Keith’s main influences
mf
&
finger do a lot 4 mfœof heavy
œ œ P.M.œ œ¿ œ For
lifting. œ œ P.M.
œ
P.M. example,
œ P.M.
œ Knopfler,
œ P.M.œ who œ isœknown œ œ P.M.
œfor making
œ P.M.
œ œthe most
˙
P.M. P.M. P.M.
0¿ 0
when playing an A minor pentatonic (A–C– out of hammer-ons and pull-offs 0on0 the high
9 11 11 9 9 0 7 7 5 5 X 4 4 X 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D–E–G) ˙lick in0 theP.M.

mf
02nd position, 0 he’ll 0 use 0hisP.M. frets. Keith 0takes0 that
0 idea 0 even 0 further in
9 11 11 9 9 0 7 7 5 5 X 4 4 X 2 2
0 P.M.
0 P.M. 0 P.M. 0 0 P.M.
0 P.M. P.M. 0 P.M. P.M.
0 0
first finger to handle notes on9 the 2nd fret7 of 7 some of his most
X 4 epic 4moments, by 2unleashing
˙ 4th strings, while his fourth takes a flurry of notes while keeping his hand in
9 11 11 9 0 5 5 X 2
the 3rd and

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
care of notes on the 5th fret. He’ll even bend one spot on the fretboard. In Ex. 3, your 1st
those fourth-finger notes—and that’s with an finger grabs the 10th-fret notes, your 2nd
.011 set! Not only does this give you access to finger handles the 12th-fret notes, and your 4th

#4 œ œ œ œ œ
J
& #4 ‰ Œ Ó
mf
let ring throughout
10 12 10 10 14 10 15 10 14 10 10
˙
10 12 10 10 10
Ex. 4
Ex. 4
Moderately q = 120
µ[D]
#4 œ œ œ œ œ œ œ nœ
& #4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
¿ œ œ
œ œ œ œ
¿ œ œ
œ œ œ
mf
P.M. P.M. ¿ P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M.
˙
9 11 11 9 9 0 7 7 5 5 X 4 4 X 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
finger takes care of the 14th and 15th frets. By and play it back-to-back in two different
the time Keith was doing stuff like this, any octaves. Beyond that, treat the two parts
questions of him “only being able to chicken independently when it comes to articulation,
pick” were out the window. so both feel as natural as possible. In Ex. 5, the
Not everything in country music is about first two measures use double-stops. When
lead guitar, though. Most of Keith’s success is we shift down to the lower strings, it doesn’t
due to his ability to combine relatable lyrics make sense to keep the double-stops—the low
with catchy melodies, and to sell those songs strings sound thick enough on their own. Also,
he needs to be great at creating rhythm guitar make the bend a little shallower because lower
parts that sit comfortably underneath the strings can sound hokey when you quickly
vocals. One way he takes this concept and bend them all the way up to a whole-step. It’s
makes it interesting is by using a drone string important to make informed decisions about
and playing something directional or melodic how you want to play the melodies you come
along with it. In Ex. 4 we use the open 4th up with. Nashville pros like Keith typically
string paired with notes on the 3rd string to place a melody somewhere on the fretboard
create a Mixolydian sound. that feels natural and comfortable, in a
Many guitarists have a tough time with location that allows them to inject the most
phrasing, but Keith has that down. One way emotion into each phrase.
to avoid the “running-up-and-down-through- Grab your acoustic guitar and capo it on
scales” sound is to create aKeith
snippet of a melody the 5th fret.
Urban’s Country-Rock This is a tried-and-true trick to
Wizardry
By Jim Lill
premierguitar.com
Ex. 5
Ex. 5
Moderately q = 120
#### 4 œ œœ œ œ œ œœ ¿ œ
µ[E]
œ™
& 4 œ nœ œ œ œ œ ¿ œ Œ Ó
nœ
¿
mf
w/ ngers
let ring
1 1/2
˙
12 12
11 11 9 11 9
11 X 4 4 2 4 2 2 0
4 X
Ex. 6
Capo V
Moderately q = 120
32 PREMIER GUITAR - DIGITAL PRESS TWANG
G
TOWN VOL. �
Fadd9 G Fadd9 Fsus2
*[D] [Cadd9] [D] [Cadd9] [Csus2]
3
make things sound cool and Keith uses it all hand do the talking (Ex. 7). Softer dynamics
the time. If you’re stacking a bunch of guitars and warm tones become available to you when
in a recording or playing with other guitarists, you use your fingers, but be careful. If you
it can be advantageous to capo an acoustic aren’t controlled, you might hit the strings too
guitar up high and play outKeith of an Urban’s
easy openCountry-Rock
hard and end up sounding clucky.
Wizardry
key. Ex. 6 is in the key of D and we’re capoingBy Jim LillWhen Keith really lets loose on his
at the 5th fret, so we’re treating it like the premierguitar.com
keyBy Jiminstrumental
Lill tunes, he doesn’t shy away from
of G. Plant your third finger on the 3rd fret of chromaticism. Many guitarists think that
premierguitar.com
the 2nd string
Ex. 5 (relative to the capo) and never playing chromatics involves hitting a bunch
move it. Let
Ex. 5 your second
Moderately q = 120
finger handle the root of notes that are one fret away from each
notes, and use your œ first œœ
and fourth to make other, but you can make an endless string of
µ[E]
œ œ œ œ
#### Moderately œ
œ ™ bynœputting your 1st finger on
4
q = 120
the melody& happen. 4 œ œ ¿ œ nœ œ œ chromatic
Œ Ó
µ[E]
œœ œ œ ¿ œnotes
# # œ œ œguitar ¿ œKeith
™ nœ Œ
For the&more # # 44 delicate
œ
œ parts, the 2nd string, and your 3rd Ófinger on the 3rd
¿ and lets his picking string three frets up from it, then sliding that
œ nœ œ œ
mf
œ œ ¿ œ œ
ditches the pick letaltogether
w/ ngers
¿
ring
mf
1 1/2
w/ ngers
let ring
˙
12 1
12 1/2
11 11 9 11 9
11 X 4 4 2 4 2 2 0
4 X
˙
12 12
Ex. 6 11 11 9
11
11
X
9
4 4 2 4 2 2 0
4 X
Ex. 6
Capo V
Ex. 6
Moderately q = 120
Capo V G Fadd9 G Fadd9 Fsus2
*[D]
Moderately q = 120 [Cadd9] [D] [Cadd9] [Csus2]
° 4 *[D]
G Fadd9 G 3 Fadd9 Fsus2
œ ¿ œœ œ œœ œœ ¿¿ œœ œœ œœ œ ¿¿ œœ œ œœ œ3 œ œœ ¿¿ œœ ˙˙
& 4 œœ œ ¿¿
[Cadd9] [D] [Cadd9] [Csus2]
° 4 mfœ œ ¿. œ œ œ œœ œ ¿¿ œœ œ œœ œ œ ¿ œ œ œ œœ œ ¿¿ œœ ˙˙
œœ œ œœ œ ¿. œ œ œœ œ ¿¿. œœ œ œœ œ œ œ ¿¿. œ ˙
& 4 œœ ¿¿ œ œ œœœ œ ¿¿ œœœ œ œœœ œ œ œ œœœ œ œœœ ˙˙˙
let ring ¿ ¿ let ring ¿ ¿¿. ¿ let ring ¿ let ring ¿. let ring ¿ let ring ¿ ¿¿.
w/ fingers. œ œ ¿ œ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿XXX
let ring let ring let ring let ring
mf
¢⁄
3 fingersX
w/ 3 3 3 X 3 3 3 X 3 3 3 3
2 ring
let 4 X 2 ring
let 4 2 ring
let
let0
0 ring X let 0 ring 0 ring
let 2 ring
let 4 X 2 ring
let 4 2 ring
let 4 2 0 0 ring
let 0
0 X 0 0 0 2 X 0 2 2 0 0 X 0 0 0 2 0
¢⁄
3 X 3 3 3 X 3
3 X 3 3 3 X 3 3 3 X 3 3 3 X 3
2 4 X 2 4 2 0 0 X 0 0 2 4 X 2 4 2 4 2 0 0 X 0
0 X 0 0 0 2 X 0 2 2 0
*Symbols in parentheses represent chord names respective to capoed guitar. 0 X 0 0 0 2 X 0
3
Symbols above reect actual sounding chords. X 3fret is “0” in3tab.
Capoed 3 X 3
Chord symbols reect basic harmony.
*Symbols in parentheses represent chord names respective to capoed guitar.
Symbols above reect actual sounding chords. Capoed fret is “0” in tab.
Chord symbols reect basic harmony.
Ex. 7 Ex. 7
Moderately h = 65
Ex. 7
Fmaj7/A G%/A Fmaj7 G%/A
œœ™™
Moderately h = 65
jG%/A œœ œ œ œ œ œœœ œ œ œ œ™ œ œ œ œ œJ œ™
&C j œœ œ œ œœ œœ J œ œ œ
Fmaj7/A Fmaj7 G%/A
œ J
&C œœ™™ œ œ
jœ œ
œ œj œ
œœ œ
œœ œ œ œ œ
J œ œœœ œ œ œ œ™ œ œ
œ œ œ œ œJ œ™
mf
w/ ngersœ œ œ J 1/2
1 *
let ring throughout
mf
0 0 1/2
˙
w/
1 ngers 1 1 3 3 3 1 1
*7
2 ring throughout
let 0 2 0 2 4 4 4 4 0 2 7 1 5
0 3 3 5
0 0 0 0
˙
1 1 1 3 3 3 1 1
2 0 2 0 2 4 4 4 4 0 2 7 7 release
*Simultaneously 5
0 3 3 5
0 0 bend while sliding down
fretboard.
*Simultaneously release
bend while sliding down
fretboard.

position up and down. Ex. 8 does a descending that Keith uses all the time, and then we swoop
version of that and culminates in an arpeggio up to the 12th fret to start a descending pull-
that under normal circumstances would off run on the 3rd string (something else Keith
require sweep picking, but Keith would seek has been known to do). Pulling-off like this
aid by hammering-on from an open string and allows speed to come more easily. Keith isn’t a
attacking the rest with a banjo roll. He is a traditional machine-gun-picking shredder. To
country picker, after all. keep his picking hand from having to do all
Switching between areas of the neck is the work, he figures out ways to let the fretting
another technique to explore when you’re hand contribute note attacks.
chopping away at a solo. In Ex. 9, we start with Now that you have a bunch of Urban-
something comfortable in the open position inspired notes under your fingers, we’ll do

By Jim Lill
premierguitar.com
Ex. 8
Ex. 8
By Jim Lill
Moderately q = 120
premierguitar.com
µ[G]
# œ œ nœ #œ nœ œ œ œ #œ œ œ nœ
4 œ œ j
&8 4
Ex. œ œ œ ‰ Œ Ó
Moderately q = 120
mf
µ[G]
# 4 œ œ nœ #œ nœ œ œ œ œ3
w/ fingers
œ j
& 4 8 7 10 7 6 9 6 5 #œ8 5 œ4 nœ7 œ0 œ4 œ3 œ0 ‰ Œ Ó
˙ mf
w/ fingers
3
˙Moderately q = 120
Ex. 9 8 7
10
7 6
9
6 5
8
5 4
7 0 4
3
0
Ex. 9 µ[G]
#4 œ œ œ j
&9 4 œ œ œœ. œ œœ œ œœ œ œœ
Ex. œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó
Moderately q = 120
mf
µ[G]
# 4 w/ pick & ngers œ œ œ j
& 4 œ œ œœ3. œ3 œ œ œœ œ œœ3
œ1 œ
œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Ó
˙
0 220 0 12 0 11 0 9 0 7 0 5 0 4 0 0
0 2 2 5 2 0
mf
w/ pick & ngers
1
˙
Ex. 10 3 3
0 2 2 0
3
0 12 0 11 0 9 0 7 0 5 0 4 0 0
0 2
Moderately q = 120 2 5 2 0
œœ œœ œœ
µ[E]
##4 #œ œ œ œ
&10# # 4 ‚
œ ¿ nœ nœ nœ J ‰ Œ
œ œ q = 120 œ. n œ œ œ
Ex.
Moderately
nœ P.M. ¿ #œ œ1 œ œ
œœ œœ1 œœ
µ[E]
# ## 4
mf
&# 4 ‚
Harm.
P.M.
œ ¿ nœ J ‰ Œ
œ œ œ. n œ nœ œ œ0 11
˙
12 12
11 9 11 11
¿
0 3 10
9 0 3 11 X 0
mf
5 9 Harm.
P.M. P.M. 1 1
˙
12 12
11 11 9 11 11
0 3 10 0
9 0 3 11 X 0
34 PREMIER GUITAR - DIGITAL PRESS TWANG
5 9 TOWN VOL. �
& 4 œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
w/ pick & ngers
1
˙
3 3 3
0 2 2 0 0 12 0 11 0 9 0 7 0 5 0 4 0 0
0 2 2 5 2 0
Ex. 10
Ex. 10
Moderately q = 120
œœ œœ œœ
µ[E]
##4 #œ œ œ œ
& # #4 ‚ œ ¿ nœ nœ nœ J ‰ Œ
œ œ œ. n œ œ œ
¿
mf Harm.
P.M. P.M. 1 1
˙
12 12
11 11 9 11 11
0 3 10 0
9 0 3 11 X 0
5 9
one last move that isn’t about notes at all. The natural, don’t over-think where you start and
end goal of playing guitar is to make music where you finish when you’re shooting up the
that sounds cool, and sometimes sounding string, and then land the bit by finishing off
cool can’t be notated on paper. Keith does on some good, rock-solid notes. Tension only
a move where he picks a note, shoots it up works when it is resolved.
the fretboard, hits a couple dead notes, and Now we can see beyond the stardom
repeats the pattern on the next string and and $500 jeans, and realize that every bit
the next string. It’s like Michael Jackson’s of Keith’s fame has been earned with his
vocal ad-libs in guitar form. Make Ex. 10 feel musical talent.

Western Swing 101
BY LIZ LAWRENCE
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Add jazz phrasing to your country solos.
• Understand how to work intervallic double-stops into your licks.
• Develop a solo over the changes to a Western swing standard.
W estern swing is a unique fusion

of musical styles and cultures,
primarily encompassing country,
jazz, blues, swing, and big band. The
genre developed in Oklahoma, Texas,
Even a cursory listen makes it obvious that
the musicians in the Western swing scene
are extremely proficient and play with a
fun, relaxed attitude. Infectious and quirky
humor plays a big role in Western swing,
and California, and thrived in dance halls and its practitioners favor technically risky
throughout the Southwest during the ’30s and entertaining improvisation and complex
and ’40s. Though it’s no longer heard on chord substitutions, and often borrow
mainstream radio, this distinctive and lively phrasing from instruments not found in
music still has a dedicated following and traditional country music.
presence in small pockets of the country, Like jazz, Western swing has a handful of
where some fans would say the bands are “standards”—tunes that form the bedrock of
swinging harder and hotter than ever. the style. Many of these tunes were written and

Western Swing 101
By Liz Lawrence
premierguitar.com
Ex. 1
Ex. 1
& ™™ u u u u u u u u u u u u u u u u
A G6 C9 A7 D7 G6
& u u u u u u u u u u u u u u u u ™™
G6 C9 A7 D7 G6
1. 2.
& ™™ u u u u u u u u ™™ u u u u
B
u u u u u u u u
D A7 D D D7
u u u u u u u u u u u u u u u u
A G6 C9 A7 D7 G6
&
& u u u u u u u u u u u u u u u u
G6 C9 A7 D7 G6
performed during the earlier days of the genre, all arranged in easy-to-decipher A and
most notably by Bob Wills. Songs like “Roly B sections. The progression also uses a
Poly,” “Take Me Back to Tulsa,” and “Corrine, secondary dominant chord (A7) in both
Corrina” are great examples of the genre. Today, sections. In this case, the A7 serves as the V
we’re going to use the chord progression from of V. Let me break that down: We’re in the
one of these classic tunes, “San Antonio Rose.” key of G major, which makes the V chord D7.
The changes to “San Antonio Rose” in Now, the V of that is A7. You can also think of
Ex. 1 are characteristically simple with a this non-diatonic chord as a II7.
few dominant chords and a major 6 chord, As you can hear in the audio example
below, the strum pattern is a little closer to
Freddie Green (the legendary guitarist in the
Count Basie Orchestra) than Chet Atkins.
CLICK HERE
TO LISTEN Strive for a solid, swinging four-to-the-
measure feel and you’ll get really close.
Once you have the chords and rhythms
down, it’s time to move on to the solo. Offering
playful and interesting improvisational ideas,
In this clip from The Ernest Tubb Show, guitarist Leon Rhodes and steel
guitarist Buddy Charleton tear through “Honey Fingers,” an up-tempo
tune full of intricate, harmonized lines.

Western Swing 101
By Liz Lawrence
premierguitar.com
Ex. 2
Ex. 2
œ œ œ œ
œ œ
G6 C9 A7
#4
& 4 œ œ œ œ œ œ œ œ œ œ œ jœ jœ œœ œ œ œœ
œ œ
j #œ œ œ œ œ œ
œ
œ œ œ
mf
w/ fingers
3 3 3 3 3 5
˙
3 5 3 5 3 3 5 3 5 3 5 3 5 3 3 5 5
2 5 4 4 6 4 4
4
2 5
3
œ œ
D7 G6
œ œ
# œ
œ œ nœ œ œ bœ œ œ œ œ œ nœœ œ œœ œ œ œ œœ œ œœ œ œ œ œœ œ
3
j œ bœ nœ
&
10 8 7 5 3 3 3 3 3
3 3 3 3 3
4 11 11 10 9 9 8 7 7 6 5 5 4 2 4 4 4 2 4 4 4 2 4 4
j œœ. œœ.
G6 C9 A7
.
# ## œœ œ œ œ n¿ nœ œœ œ œœ œ #œœ œœ œœ œ nœœ œ œœ ¿ bœ nœ ¿ ¿ œœ. œœ. œ
5
œ
œ n¿ œ
#œ
&
let ring ¿
11 12 12 11 8 8 8 8 8 8 8 6 5 5 5
11 12 12 X 9 9 8 10 8 7 7 5 X
11 12 12 11 10 10 10 9 9 X 8 X X 7 4 0
ú‚
D7 G6
b œœ ™™ n ‚‚ ‚‚
_ 1/2
#œ ‚‚
& b#œœœ ™™™ œ™
# nœœœ œœ #œœœ œœ b œœ n ‚‚ ‚‚
7
‚
∏∏∏∏∏∏
œ nœ œ
j
œ
¿
Harm.
ú
let ring
_**
1/2
∏∏∏∏∏∏∏
12 12
2 5 8 8 11 14 12 12
2 5 8 8 11 14 12 12
1 4 7 7 10 13 12 12
13 15
**Push on neck of gtr. to reduce tension on strings.
this technically challenging solo (Ex. 2) is written that’s fairly common in country and jazz.
with Western swing in mind. But before we The easiest way to replicate this is to use the
dive into the notation, we need to touch on the thumb, index, middle, ring, and sometimes
required right-hand technique. When playing pinky fingers on your right hand to get that
this excerpt, I used a fingerstyle technique punchy, plucked attack.

Another method is to use a thumbpick or Go Your Own Way
adopt a hybrid-picking technique combining a Improvising gives you freedom to compose
flatpick and fingers. For the latter, grip the pick some new changes too! Before you get very far
between your thumb and index fingers while into the solo, you will hear some crazy chordal
using your remaining fingers to pluck the strings stuff that I overlay to spice up the progression
independently of the pick. Many great players and catch the listener’s ear. This technique is
prefer hybrid picking because it gives them the used fairly often in country, jazz, and Western
option to throw in the clear, articulated sound of swing. The soloist either plays arpeggios or
a flatpick at any moment, and switch to alternate block-style chords with a rhythmic delivery to
and economy picking as the music demands. build on the simple harmonic structure that the
From here, I’m going to break down a few band is playing. You can find an example of this
choice excerpts of this solo and talk about some starting in the fifth measure over the G6. Here
of my favorite devices and techniques. I’m outlining a totally different progression:
G–Gdim7–C–Cm–G–Bbm–Am–F#7b5.
1–3–5–7–9 Arpeggios You have to be careful when and how
At the very beginning of the solo, I go straight to apply this, and generally you want to
into a 1–3–5–7–9 (G–B–D–F#–A) arpeggio that superimpose progressions that will add that
adds a cool extended-chord sound over the sweet tension over very simple changes. You
G6. Extended arpeggios are a great vehicle for also always want to be able to bring it home.
bridging the gap between chord changes and
scales, and they give you an easy way to build Heavenly Harmonics & Singing Steel
lines that include more than simple chord The sound of the harmonic G6 chord implies
tones. I’d recommend working on all the major a steel guitar tuning and really adds a great
possibilities for 1–3–5–7–9 arpeggios. When you Western-swing element to the solo. I used these
have those down, try adapting the ideas you 12th-fret harmonics twice in the first A section—
discover to work in minor situations. check out measures eight and 16. In the first
The Time Jumpers

keep the flame
of Western swing
alive with their
weekly Monday-
night gig at
Nashville’s 3rd
and Lindsley Bar
and Grill. Here’s
the band tackling
the classic “My
Window Faces the
South.” Be sure
to check out the
solos starting
at 1:30.
CLICK HERE
TO LISTEN

instance, I did a slight neck bend. You’ve of each slide you get a cool, funky sound
probably heard this technique before in that plays with the time a bit. This technique
many circumstances, maybe most notably pops up again in measure 31.
Heart’s “Barracuda.”
For the second harmonic chord, I added Fourths Away!
a behind-the-nut bend. It’s a playful trick: One of my favorite ideas in this solo happens
After you strike the harmonics, push down in measure 29. I play a quick phrase using
on the 2nd string behind the nut to raise a series of perfect fourth intervals (and one
the note up a half-step, and then release the naturally occurring tritone). Personally, I
pressure to return the string to its original love the unresolved sound and blocky effect
pitch.Used sparingly, such techniques of the fourths, but you could really choose
provide a great way to add a new texture, any interval here. Though it’s a very simple
create some space, and collect your thoughts concept, it sounds super hip.
for the next phrase. The entirety of this solo features some more
interesting devices and techniques hidden
Slip, Slidin’ Sequences within, and I hope you can get a chance to
In measure 25 there’s a nice sliding lick that’s spend some time with it, add some awesome
based in G Mixolydian (G–A–B–C–D–E–F). It new licks to your vocabulary, and maybe even
connects a series of three-note motifs over the gain some new conceptual understanding of
16th-note rhythm. If you accent the first note chords, scales, and theory.
NEW!
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Twang 101: Swampy Blues
BY JIM LILL
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Combine modal sounds with pentatonics and blues scales.
• Understand how to work through rhythmic subdivisions.
• Learn how to add attitude to stock phrases.
W e all love the blues—it’s a style

that goes hand-in-hand with guitar
playing. Blues is so versatile you can
work it into many other types of music. Think
about it: Brad Paisley, Guthrie Govan, and Joe
by blues, and draw on it for their own rock
and country riffage.
There’s a style of blues I like to call “swampy.”
If you’re in the key of D and play blues or
minor pentatonic licks with some country-rock
Bonamassa are among the diverse 6-string attitude, you end up in a real sweet spot. It’s
heroes who have been inspired and influenced almost like you can do no wrong—just get in

By Jim Lill
premierguitar.com
Ex. 1 Twang 101: Swampy Blues
Ex. 1 By Jim Lill
premierguitar.com
µ[Dm]
Ex. 1 4 œœ bœœ œœ
& bModerately
4 œ
œslow œq = 75œ
œœ ≈ œœ œ . œ œ œ œ w
œ
¿
—
µ[Dm]
4 œœ bœœ œœ
let ring
& b4 ≈
mf
œœ œœ œœ . œ œ œ
P.M. P.M.
œ œ œ w
w/ pick & fingers 1/4
œ œ
¿3
˙ —
3 3 3
2 2 2 2 1 0 0
0 3 0 0 let ring 3 0
mf
0 3 0
P.M. P.M.
w/ pick & fingers 1/4
˙
3 3 3
Ex. 2 2 2 2 2 1 0 0
0 3 0 0 3 3 0
0 3
Moderately slow q 0= 75
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
Ex. 2
Ex. 2 4 œ œ œ
3
& b4
3 3
œ bœ œ œ œ
œ™
¿
¿ œ œ œ œ œ nœ œ
slow q = 75
œ
Moderately
œ¿
mf
4 œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍ
3
& b4
3 3
œ bœ œ œ œ
œ™
¿
rake
¿ œ œ œ œ œ nœ
œ œ
˙
6
¿
X 7 5
mf
X 7 6 5 3 0 3 0
5 5 3 0
rake 0 3 1
˙
6
Ex. 3 X 7 5
X 7 6 5 3 0 3 0
Moderately slow q = 75 5 5 3 0
ÍÍÍÍÍ
0 3 1
µ[D]
œ nœ œ œ œ nœ œœ ## œœ nn œœ œœ œ œœ œ œœ œœ œœ
##Moderately
Ex. 3
4
& 4µ[D] Ó
.œ ¿œ
slow q = 75
n œ it through ÍÍÍÍÍ œœ œ œœ œœ œœ
## 4and
that groove œride œ œ œ then œœ ## œ
œ song. nn œœ
œ Let’s œœ œ the blue note for too long it sounds terrible, but
ÍÍÍÍÍarea.
Ó
explore&this4swampy, ¿
mf
œ. œ country-blues if you use it to get to the note just above or just

1 1
1/2 1/2
We’ll start out12X on acoustic, although these below, it adds an awesome dash of spice.
10 10 10
˙
12 10 12 12 10
12 13 13 13
ÍÍÍÍÍ frets
10 12 12 10
licks work great
mf
0
0
on electric as well. Acoustic 1
Now1 we’ll move up the fretboard a bit and
guitars love to be played on the lower 10into10another sweet spot 10 for the key of D. Ex.
1/2 1/2
with lots of open X strings, so let’s 10start

12 there. 2 rakes up to an F and bends it a little before
˙
12 12 10 12 12 12 10 13 13 13
12 10
0
Ex. 1 is an open-string lick where you flatpick
0
descending through the D blues scale (D–F–G–
the notes on the 5th string and pluck any notes Ab–A–C). Then we’ll switch things up and go
that fall on the 4th or 3rd strings with your from straight 16th-notes to sextuplets. If you
middle and ring fingers, respectively. This can fluidly switch between straight 16ths and
hybrid approach lets you keep your picking sextuplets, your control over timing will be
hand in one position throughout. through the roof.
Then in the second half of the lick, we move Let’s switch to the electric guitar and the
this concept over to the 4th, 3rd, and 2nd bridge pickup for the next set of examples.
strings. We’ll add an Ab in there, which in the The bridge pickup delivers a really aggressive,
key of D is the b5 or “blue note.” If you hang on in-your-face sound that cuts through a mix.

&4 œ bœ œ œ œ
œ™
¿
¿ œ œ œ œ œ nœ
œ œ
¿
mf
rake ÍÍÍÍÍÍÍÍÍÍÍÍÍ
˙
6
X 7 5
X 7 6 5 3 0 3 0
5 5 3 0
0 3 1
Ex. 3
Ex. 3
ÍÍÍÍÍ
µ[D]
œ nœ œ œ œ nœ œœ ## œœ nn œœ œœ œ œœ œ œœ œœ œœ
#4
& #4 ¿œ Ó
œ.
ÍÍÍÍÍ
mf 1 1
1/2 1/2
10 10 10
˙
12 12 10 12 12 12 10 13 13 13
X 10 12 12 10
0
0
By Jim Lill
premierguitar.com
Ex. 4
Ex. 4
µ[Dm]
4
3
œ œ œ œ 3 3
& b 4 ≈ bœ nœ nœ œ bœ œ œ
œ œ œ ˙ w
3 3
mf
1 0
˙
3 1 0
1 2 2 1 0
3 2 0 0
3
Blues,
Ex. 5
and guitar in general, isn’t just about In Ex. 4, we use triplets to pick up the speed
œœ 3 ÍÍÍ
the notes you choose to play. It’s also about the again. Here we descend through the D Dorian
n œœ µµ œ
œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
µ[Dm]
notes you chooseœto mute. œ Ex.
n œ
starts œ. œ with
b œ n œout
œœ. œ œœ. mode œ
œ n œ (D–E–F–G–A–B–C) with an added blue
4 œœ œ œ which œ œ œ œ œ
& b 4upstroke,
a muted adds character to the note (Ab). The cool takeaway Ó from this lick is
lick. Then it gets much, much more interesting its special picking pattern. We start by picking
3
¿ ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
with a raked mf downstroke 3/4 into a 12th-fret, half- a note on the 3rd string, then plucking a note
step bendletand ring
release (bending 1/4
a 610to a b7, 10 if 10 on
10 the 1st string with the middle finger, and
you’re keeping track of12the numbers), followed following that with a 12pull-off. Then we get into
by a ˙
12 12 10 X X X X
10 12 10 13 12 13 12 13 12 13 12 10
10 10 12 12
pull-off10 12
to the 10th fret. Execute the latter the triplet rhythm of down-up-pull-off, which
with one fluid motion. lets us descend or ascend strings with plenty
Bending
Ex. 6 strings is one of my favorite things, of articulation without having to pick every
as evidenced by a YouTube video I recorded single note.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
called 45 Ways to Bend aœ Guitar String.

µ[Dm]
œ œThe œtail œ Now let’s flip that pickup to the neck
œ œ œ #œ œ œ ˙
end of this example R has a bluesy double-string position. The neck pickup offers a smoother,
b 44 ‰
bend,&followed by a unison bend, which means more civilized sound than the aggressive
3 3 3 3
you hold one note mf and bend another note up to bridge pickup. Its hollow tones have been used
the same pitch. It’s a great way to15know if you’re in blues for over ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
half a century, so let’s make
17 13
bending the string 14 the right amount because the the most of it.
other˙string is right there for a pitch reference.
13 15 13 15 15
13 14
Hendrix was known for using this area of
This move is nicknamed a “smear” because it the neck for hammering-on double-stops. You
sounds like you’re smearing notes together. can hear this sound in “The Wind Cries Mary,”

and the idea has been passed down to many Ex. 6 dips into fusion territory. It’s all
guitarists since. Start Ex. 5 by hitting a double- triplets and the first note is a pickup note—a
stop with your first finger and hammer-on to note that precedes the downbeat. It starts out
the lower of the two notes two frets up with your with an A octave before alternating between
third finger. Instant awesome. And as a bonus, D minor pentatonic scales that cross each
the lick uses a double-string bend. other. Once the scales pass each other you
Also, as I mentioned previously, the blue note wrap it up with a non-linear series of notes in
(Ab) works well to approach the note directly the blues scale. Tasty!
above or below it, and this phrase illustratesTwang 101: Swampy Now we’re
Bluesgoing to dig out the slide and
the process. Simultaneously pluck a D on the By Jimconquer Lill the final frontier of swamp-blues
10th fret of the 1st string and pick an Ab at the soloing. Like Derek Trucks, Duane Allman,
premierguitar.com
Twang
13th fret of the 3rd string. Then, while holding 101: Swampy
and Sonny Blues
Landreth before us, let’s bid
the DEx.steady,
4 slide from the 13th to the 12th fret. By Jim Lill
farewell to frets and glide across the strings
premierguitar.com
You should onlyslow
Moderately be qon
= 75the Ab for a fraction of a on brass, chrome, or clay. For this example,
beat. Called a “grace note,” the quick initial pitch we’ll stay in standard tuning. Although open
µ[Dm]
4 have aœduration
œ œ œlikenœan eighth-
3 3
doesn’t bactually tunings offer more options, there’s a practical
Ex. 4 3
& 4 ≈ b œ nœ œ b œ œ œ
note or sixteenth-note.
Instead it serves as a œ
benefitœ to˙playing slidewon the guitar you’re
œ
µ[Dm] 3
springboard into the target note (G). Very bluesy.
3
already holding.
œ œ œ œ nœ
mf
4
3 3 3
& b 4 ≈ bœ nœ 1 0 œ bœ œ œ œ
œ œ ˙ w
˙
3 1 0
1 2 3 2 1 0
3 3 2 0 0
mf 3
Ex. 5
1 0
˙
3 1 0
1 2 2 1 0
Ex. 5 3 2 0 0
3
ÍÍÍ
œœ œ n œœ µµ œœ n œœ œœ b œ
n œœ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
. œœ. œœ.
n œœ
µ[Dm]
Ex. 5 4 œ œ œ
b œ œ œ œ Ó
4 œ œ slow q = 75
& Moderately
n œœ µµ œ œœ ÍÍÍ n œœ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
. œœ. œœ.
3
œœ b œ n œœ
µ[Dm]
œ n
¿
œ
ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ œ
b 4 œ
mf
& 4 letœring œ œ œ 3/4
1/4
œ œ œ Ó
10 10 3 10 10
˙
12 12 10 X X X X
¿ ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
10 12 12 10 13 12 13 12 13 12 13 12 10
mf
10
10 12
10 12
3/4
12 12
let ring 1/4

10 10 10 10
˙
12 12 10 X X X X
10 12 12 10 13 12 13 12 13 12 13 12 10
Ex. 6 10 10 12 12 12
10 12
Ex. 6
µ[Dm]
œ œ œ
œ œ œ œ œ #œ œ œ ˙
4 ‰ slow
Ex. 6
& bModerately
4 R q = 75
µ[Dm]3
œ 3
œ œ3 3 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ œ ˙
œ
mf œ œ #œ œ
4
& b4 ‰ R 17 15 13
˙
13 15 13 15 15
3 3 3 3
14 13 14
mf
17 15 13
˙
13 15 13 15 15
14 13 14

By Jim Lill
premierguitar.com
Ex. 7 Twang 101: Swampy Blues
By Jim Lill
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Ex. 7 µ
œ
œœ™™
j slow q = 75
œ #œ œ œ œ nœ
4 ≈ œ
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍœJ
œ
Moderately
& b4 µ ˙˙ Ó
œ
œ œ œœ™™
4
j #œ œ œ œ nœ
& b4 ≈ ˙˙ œœ Ó
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍJ
steady gliss.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
10 steady gliss.
˙
10 9 10 10
10 10 12 5 7 7
5 7 7
10
˙8
10 9 10 10
10 10 12 5 7 7
5 7 7
Ex.
µ
nœ q = 75
œ #œ œ nœ n œ œ # œ œ œœ œœ œœ œœ
#œ œ n œ nœ. œJ
j
#œ
Ex. 8
4
& b4 ‰ R
Moderately
µ Ó
nœ #mf
3j
œ œ #œ3 œ nœ n œ3 œ # œ #œ3 œ n œ 3 nœ. œœ 3 œœ œœ œœ œœ
&4b 4 ‰ R J Ó
3 3 3 3 3 8 3 10 10
˙
13 13 12 11 11 10 8 10 10
12 mf
13 13 12 12 11 10
8 10 10
˙
13 13 12 11 11 10 8 10 10
12 13 13 12 12 11 10
You pick a note, move a half-step below it, and then

slide back into the original note. It’s a unique sound
you probably wouldn’t think of if you picked up a
slide for the first time and just winged it. Then it
culminates in the classic, basic slide sound: Hitting
a double-stop on two adjacent strings and then
A couple of tips: Tuck your pick into your hand sliding up two frets into the target chord.
with your index finger, and use your thumb, The coolest thing about slide is not having to
middle, and ring fingers for picking. Also, make obey theory rules. Ex. 8 starts on C and G#, then
sure you press the slide down enough for the slides down to A and F. Pick the triplets throughout
notes to sound cleanly, but not so hard you’re with your thumb and middle finger.
bumping into the frets. Sweet! Now that you’ve got all of those down,
Sonny Landreth is one of the greatest blues slide here is a backing track below so you can jam to
guitarists ever, and Ex. 7 is inspired by his playing. this yourself.

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Twang Town

N ew electric guitars with distressed

2 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 3

4 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

4 way, S1 and Push/Pull

"Direct Through" Switch

6 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

’50s Les Paul Wiring in a Telecaster

A fter pestering you with switching theory

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 7

Gibson’s ’50s wiring, shown

This wiring has been one of the hot topics in

Photo courtesy of Seymour Duncan (seymourduncan.com)

8 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

Gibson’s ’50s wiring applied

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 9

Telecaster Series Wiring

L et’s explore a common mod for Fig. 1

Photo courtesy of Fender Musical Instrument Corporation

10 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

Designed and crafted in Japan to be the ideal

12 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

Lean, Mean Series Wiring for Telecasters

T ele players often ask about adding series

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 13

14 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

the Straight Truth About Pickups by Jason Lollar

I personally design and wind over 30 different pickup models,

Lollar Pickups,Tacoma, WA. (206) 463-9838 www.lollarguitars.com

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 15

W hen you listen to Brad Paisley play

Backward Pick Rakes

16 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

Play Like Paisley!

Ex. 2Moderately slow 0 0 0 3 4 3 3 0 10

< q__q = aq eb >

& 4Fast¿ ¿ q¿ = 155 < q__‰q = aq jeb >

ÍÍÍÍÍ string doesn’t

< q__q = aq eb >

Play Like Paisley!

of the strap w to a lever connected to the œ lever

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 19

*behind the nut

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 21

T he basic concept of modern fingerstyle

of Reed’s style came out of American blues,

22 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 23

œœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ

nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ w

24 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

œ #œœ n œœ # œœ nœ #œœ n œœ # œœ nœ #œœ n œœ # œœ nœ #œœ n œœ # œœ

nœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ nœœ #œœ n œœ # œœ w

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 25

26 PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. �

& 4 œ #œœ nœœ #œœ œœ œ œ œ œ #œ nœ

in the fourth 3 ring and 1first fingers.

attention two different We’ll use Ex. 8

˙ lines that use strange intervals. Play with

melody the same harmonic characteristics, but focuses

PREMIER GUITAR - DIGITAL PRESS TWANG TOWN VOL. � 27

4 œœ #œœ nœœ #œœ