ultimate play-along country

8/8/2019 Ultimate Play-Along Country

http://slidepdf.com/reader/full/ultimate-play-along-country 1/82

with A lbe rt Lee , Je rry D onahue and S teve T rova to

IH lo t Count ry PI1av-,Along l rax

v e Rh ry t:hm S e ctio :n ,F ea tu rin gI lnstl t lJt 'El Staf f Ail1i lsts

m o so los by Mons te r 'GUii tar ists

om plle 'te IR 'h yth m C h arts a ndl rSlnscr i ipt iorns w/falb



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w ith A lbe rt lee . Je rry D onahue and S teve T rova to

Pro jec t Managler: Aa ron Stang

Mixing b o a rd c o ur te s y 01 ' So l ld l S t a t e ' L o g icArt Design: Joseph IK luca r

e 1 994, 1 91

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An y d u pH c a tio rr l, a e a pt at ro n O r , ar ra llg em e nt o f t lh ,e , e om I P o slt io ,lI lsc on ta in ed in th is co lle ct io n re qu ke s the w ritte n c on se nto t th e iP u tlli~ S he r.

No oallit o f tnts book : m a . y b e P i h o to c o pi ea or rep fOCl l l ced in ,anyway withOut lpe,rmissio l l .u na etn ortze d u se s a re a n infringement of th e us, Co p yr ig h t A c t a n d a t1 e p un i'S lla b le lO y l aw .



'TheAuthors

S teve T r-ovato is one o f the p rem ier educators a t the Mus ic ia n s I ns ti tu te in Hol lywood,

CA . He has au tho red and produced severa l in s tru c tiona l books and videos. Steve

perfo rm s regu la rly a t n ight, dubs , a lso do ing c lin ic s , s em inars and. TV da tes . H e is

cu rren tly wo rking on a so lo a lbum . S teve cu rren tly ho lds a pos itio n as lec tu rer a t. t heU niv ers ity o f S o uth ern C alifo rn ia .

Paul Farnen has been 0[1 the B IT fac u lty s in c e 1981 and has held the D epartm eat

Chai rman pos i t ion s in ce 1986. H is a lbum credits in c lude bo th jazz and R& B and he has

w rittenand perfo rm ed on severa l docum en tary film s elmO) and commerc ia ls , H e has

a lso b ee n in vo lv ed i l l c lin ic s in the U .S .; Japan . (Y am aha and T .e .A . ) a nd E uro pe .

The Players

A lber t Lee ~ Guitar

Albert is one of the most influential gui tar i s ts ever to grace the c oun try MU s i c scene .

Albert def ines "hot guitar" and his playing has se t the standard. for the "new"

genera t ion of country pickers .. Albert has pe r f o rmed with Emmy Lou Harris' "HotBand" and spent five years l ou r i ng with. Eric Clapton. He currently to urs w ith the

"Everly Brothers" and has two solo albums to his credit, Speechless and G agge d, B ut

N ot B ou n d, available onMeA Master Series.

Jerry D o nahue - G uita r

Gui ta r Player M agaZ I : ne ran ts h im among the elite , and their recent po ll p lac ed r u msec ond in the B es t C oun try Gu ita r P layer in the W orld ca tego ry (Janua ry , ]994), A s a

m em ber o f the H elleca s ters , Jerry w as hono red when the sam e po ll nam ed The Re tu rn O fThe He li ec a st ers Bes t O vera ll A lbum and Bes t C oun try A lbum . Guita r ShfJ p M a ga zin e

(S pring , 1 994) a lso nam ed it "Gu ita r A lbum O f The Year;' desc rib ing Jerry D onahue as a

"freak o f na tu re ,'; Gu ita r grea t [lanny Ga tton ca lled him "the s tring-bending king o f the

plane t , ' O ne m on iker f its Jerry D onahue bes t o f a ll "M a ster o f the Teleeas ten"

Eric Paschal- GuiJtar

O rig in ally fro m P ort W o rth , T e x a s " Eric now makes his hom e in S a n t a , C l a rit a, C a lif o rn ia ,

w here he has a rigo rou s schedu le in c luding c lub and ses s ion w ork . H e is no t only anin s tru c to r and program leader a t the M us ic ian s In s titu te bu t is abo co -au tho r o f O IT 's

"Rhy thm Guita r" program . Eric c u rren tly is a t w ork on severa l reco rding pro jec ts

in ciu din g a collection c fo rig ln al e tu de s.'



Gary H ess - D rum s

Gary is w idely recogn izedas an excep tiona lly g ifted s ty lis t and is as "a t ho rne" p lay ing :

Jazz Fu s ion as he is p lay ing C oun try W es te rn . B ecau se o f h is vers a tility he is m uch in

demand il l widely diverse sett ings. He has perfo rm ed in concert wi th R obben Fo rd, Jef f

B erlin , Jo e Pas s and A lbert Lee. H e is n ot o nly the au tho r o f P IT ;s reading cu rric u lum bu t

is a c la ss room in s tru c to r. H is c la ss es in c lude M o tow n (R &B )) S igh t-readm g, L ive P lay ing

Workshops : and he man ages to te ac h p riv ate ly a ls o.

Todd Johnson ~ B as s

Todd is a tru e p ioneer of the s ix s tr ing bas s a s he has inven ted a tru ly unique tec hn iq ue o f

playing s im u ltaneou schoed and ba ss ac com pan im en t. H e ha s spen t the Las t fou r years

rec ordin g an d perfo rm in g i l l concert w ith jazz gu ita ris t R on E sche te . H e bas rec en tly

re leased a co llabo ra tion a lbum w ith Ron en titled Mo Strings Attached w ith m o re

reco rdings schedu led to be re leased soon . Todd jo in ed the B IT facu lty in 1 992 and teac hes

cou rses in B as s Im prov isa tion . M r. John son is a IDso endo rsed b y GHS and Poly t one

Amplif iers .

Travis Parker - Fiddle

Trav is P arker is no t only an ac tive ses s ion p layer (fiddle and vio lin ) in tile L.A . a rea bu t

also plays in the groups "The P O l l Y Expres s" and "The C ra ig C o lley B and" who have

opened fo r "B rooks and D unn '; and "S teve W arin er." '

Brett Garsed- Huitar

A ustra lian hom B rett G arsed s ta rted p lay ing a t age 12 ,. and is basically sel f taught H is first

break carne w hen be jo in ed John Farnham . In 1 986 he came t o . the U .S . to jo in "N elson ,"

with whom he reco rded the Afte r The R ain a lbum tha t w en t doub le p la tinum . Shortly

fo llow ing be released his f irs t c o llabo ra tion a lbum with T . J. H elm erich titled Q uid P ro

Qu,o. In 1 992 be jo in ed the G IT teach ing s ta ff and pu t ou t tw o more a lbum s. H is la tes t

endeavo rs in c luded an REH video titled "R ock Fu s ion " and c o llabo ra ting w ith fu s ion

g uita ris t F ra nk Gambale .



A LBERT LEE

GUITA R: M us ic M an "A lbert Lee" model

A M PLIFIER : G roove Tubes S ou l-0 S eries 150 W att head w ith two Celes tion 12" speakers

STEVE TROVATO

GU ITA R: Telec as ter w ith S eym oar D uncan cus tom pickups

AMPL I F I ER : Groove Tubes S ou l-O S eries 150 W att head with tw o C eles tio n 1 2'" s peakers

JE RR Y D O NA H UE

GUITA R: Fender Jerry D onahue S igna tu re Telec as ter w ith spec ia l f ive-w ay sw itch that

em ulates three cu sto m ary so un ds and tw o "bes t sounds o f a Stratocaster , "

A M PLIFIER : A n A ward D esign JD -l 0 sound expander/speaker em ulates direc t

ERIC P A S C A L

GU ITA R: 1952 Reissue Fender Telecaster

AM PLI FlER :F en de r "B lu es -D e ville ' with fo u r 1 0 " Blue Aln i co speakers

BRETT GARSED

GUITAR: Fen der S tra to cas ter

A M PLIFIER : Groove Tubes S ou l-O S eries 150 W an head w ith two Celes tion 12" speakers

W e wou ld like to extend a spec ia lthanks to ou r engineer, T J He lm e ri ch .



Page # CD Prog :r.am #

Tuning Note , , , ' , " ' ' ' , 1

Concrete Skies

Perfo rm an c e N o te s , . , , . " , . , . , .. , , . , , . , , . " .6 . , , . , . . , , , , . , . , , , . " .. " :2Lead Sheet, .,' , , .. , . , .,' , . , .,' , . , ". , , ... '. '. ,9

Guitar Solo "' ,.' .. , , .. , , , , , . , " .11

Been There, D one That

Performance Notes .' .. ,", .. " .. ,',.,', 14 " .. ,.,.,.,',', .. ,.,.', ' .3Lead Sheet " .. , '. , , a - •• • • • • ' • • • , . ' • • , • , .16Guitar Solo ' , .. , , , . " " 19

I .W . PearsonPerformance Notes , , .. 23 " , ,' A

Lead Sheet , , 25

Guitar Solo ' , . , 27

Bucket O"R ocks

Performance Notes ."., " .30 "., 5Lead Sheet ,.. " .. , , , .32

Guitar Solo ," , .' , . " ' " 34

Crazy ...Not Broken

Performance Notes ., , , .38 , 6

Lead Sheet , , Al

Guitar Solo ' , .43

Make It Easy

Performance Notes "., ' ,.47 .. , , .. , , 7Lead Sheet ' ' , ' .49

Guitar Solo .. ' ' ' .50

April M ae Jiune

Performance N ales " .. ,.,',.".,', .. ', .. , .. ,,54 ...••.. . • " ,., . .• " , ••. 8Lead Sheet " .. , ,.' .. ".'. ' , .. , ,56Gu ita r S o lo , , , .5 7

Boardner's TimePerformance Notes .. , ".' '.', ". ,60 ., .. , ,.,', .. ,., 9Lead Sheet .. ,', ' , " 62Guitar Solo .,' , .' ' " , 63

Don't Be LatePerformance Noses . ' , .. ' , , , .66 .. , , , .. ,', .. 10

Lead Sheet , 68Guitar Solo , , , , ,.., ,69

M ile H igh C afePerformance Notes 72 , , , 1m

Lead Sheet , , . , , " ,.. 74Guitar Sola .. ' , , , , .76



"Concrete Skies" is a thirty-two measure, straight-eighth note COUTItl)' rock groove. It is,

divided into two sections, each of which is sixteen measures in length and features 8! solo

by GH's Steve Trovato. Virtually every measure of this solo offers the player all interesting

new technique to add to their repertoire. SIeve uses a hybrid right-hand aeehnique

combining his pick with his middle and ring fingers to create the classic percussive chicken

piekin' sound.

In measure nine, Steve plays double stops (two notes slmnltaneously) with his middle and

ring fingers on the second and thlrd strings. Muting the strings just a f te r playing creates the

staccato effe.ct. The sweep at the end of measure ~en is done by rating the pick upwards

across strings three, four and f~ve with a third finger barre at the seventh fret. The effect in

measures fifteen and sixteen is created by playing the firs~ double stop, in each series of

t hr e e , .s t ac c a to ,

In measures seventeen and eighteen, the bend is on the third string; a unison note is played

staccato Oil ! string two followed by two muted pick attacks, also on the second string, All of

the double stops in bats twenty-one through twenty-four are played by using either your

ring and middle fiagers or your ring finger and pick simultaneously.

On the third beat of measure twenty-five the double stop is pre-bent before befungplayed.

After it is played t ine bend is lowered to the original pitch creating a pedal steel-like sound.

The bend in beat three of measure twenty-seven is accompjished by bending the ojJeml

fourth string down. This will raise the pitch of the fourth string from D to E. This, of

course, will not work on a guitar with a locking nut, substitute a hammer-on fo r the bend.

In measure thirty. beats three & four, the four-note figure is played 011 four separate strings.

Use your pick on strings four & three, your middle finger on string two and your ring finger

on string one, Measures thirty-one and thirty-two feature the third (G~) and the flatted

seventh (D) of the E chord down the neck on different sets of strings.

In measure thirty-three, theopen G is played r o y pulling off alternately from C and D on the

trurd string, Use your first finger on the C and your finger on the D. The remainder (If the

solo is composed of funky double-stops,

The A major pentatonic scale is a great place to begin when soloing over "Concrete

Skies." This scale will work over the entire progression but be sure to listen because some

notes willt'fit" certain chords better than others.

For a more contemporary approach 1r]P using the A minor pentatonic scale or A blues

s ca le o ver th e progression. Dial in a "clean" sound on your amp for that "twang." lncluding

a compressor willadd sustain and a percussive attack which will cause the double stops to

jump out.



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oncrete Skies: GuitalrSoloSolo by STEVE TROVATO

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'Ibis progression is played with a . typical two-beat "train" feel The key is A major with a

couple of non-diatonic twists, Scale choices are the A major pentatonic or the A blues

scale. This track features a solo by Alben Lee, The actual solo section is preceded by a four

mea su r e introduction known as a " tu r n ar o u nd." A t u rna round usual ly ends ona V7 chordand typicaUy is located at the last two or four measures of a song. The turnaround sets up a

rerum to the beginning of the progression. In this ease a slight varisticn of the turnaround is

played at the top of the song and this is where Albert begins to play.

The rhythm gui ta r style used in this song is a well known sound that should be in every

guitarist's repertoire. The style is ca l led "Travis" picking and in Ihis case requires a hybrid!

right-hood iPicking techaique, The ~erm "hybrid" refers to using your middle and r~ng

fingers in conjunction with the pick. The pick plays altemating bass notes on the low

strings white the fingers playchords on the high strings. This can be tricky at first because

you must develop independence between YOU I : pick and fingers .. Pay dose attention to the

tab la tu se Io r the exact no te s being playedand p ra ctic e s lo w ly unt i l . you achieve an even

rhythm. It's best to mute the bass strings with the heel of your right hand by keeping it back

nea r the. b ridg e. T h is will en su re . th e. p ro per p erc us siv e s ou nd that is so charac te r i s t i c of this

s~yleof rhythm guitar.

The rhythm gnltar part for the first eight measures of the solo section (A7) is played with a

first f inger barre ac ros s the second.third a nd fourth strings a t the fifth f re t On beat one play

the open fifth string A On beat two play tile A 7 chord with yo u r pick, middle and ring

f in gers , O n b ea t tl:!reeplay th e sixth string open, O n the "and" o f th ree p lay the D and ~

and on beat four play the note A (fourth string). The notes on beats three and four are all

played by ba rr in g th e sec on d, th ird an d fo rth strings a t the 7th fret

Albert's solo bums from beginnirrg to end as !lis impeccable sense of time locks. his lines

righ~"in IDepocket" Albert's nautral musicianship and dedication to his:craft enable him to

playa seemingly effortless constant flow of eighth-aote lines and his hybrid right-hand

picking technique aflows him to intersperse random double-stops along with his single-note

playing ,

Albert is a classic example of a guitarist with his own sound. Some, key components iliat

create a musician's SOUI1(; ID are phrasing, tone, note choice and picking s tyle , Albert dials in a

clean, bright sound and then adds quite a bit of bass. This gives him a country "twang'while adding fullness ill the bass strings. His Music Man "Alben. Lee" model guftar bas

three single-coil, custom wound Seymour Duncan pickups. Al.be.1t favors the position

between the middle and ned: pickups, 'This gives him the sound of both pickups and is

almost Stratocaster- like-.

Albert's phrasing is un ique and very ha rd to duplicate. His playing is exciting and unpre-

dic table ,

Albert's cboiee of notes needs to be discussed in detail. He uses primarily the major

and blues scale interchangeably. The major pentatonic scale provides the

ttaditionaloountry sound while the blu es s ca le adds an edge that makes the sound mo r e

contemporary, This progression is in the key of A, so the scales of choice are the A major

pen ta to n ic and the A b lu es s c a le. A I D b e r t . ' s do ub le-s to ps are generally derived f rom chord

tones. In this progressionallthe chords ar-e dominant sevenths, SO there are four chord

tone-s: 1 ,. 3 , 4 , k7. Albert creates most of his double-stop ideas from various double-stop

inversions of these chord tones, For example, over the tonic Albert usually plays a major



he lick in measure twen ty is accomplished by playing the triplet on the fifth string,

with th e hee l o f y o u r r ight hand , and p lay in g the h ighe r n ote , o n the th ird s ir in g,

y o u r middle finger. This part of Albert's h y br id r ig ht hand p ic kin g te ch niq ue is w l1 ere .

u s es n o t o n ly h is m iddle and rin g f in ge rs w ith h is pick but his pinkie as well! The

h ic ken p iek in " so u nd is o b ta in ed by p la y in g the no tes s ta cc ato a nd n ot a 1!lo w in l!:th em ton g fo r a ny du ra tio n.

s with all the solos contained in this book" th is o n e sho u ld be lea rn ed s low ly and

oroughly. Pay dose anention to th e m in u te de ta ils an d n u an c e s a s t hey m ay contain the

th at u nra ve ls th e 'e lu siv e s ou nd o f th e s olo .

A Blues Scale Patterns A Major Pentat.onic S,ca, le PaHerlns

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his is an earthy modal sounding progression in the key ofD played wfuthaeut-time feel,

he low drone SOUI l d ! is produced by tuning the low E siring down a whole step to D and

a al:ternati!l,Q;bass oc t aves between D 0 1 1 the sixth siring and D on the fourth string played

th yo u rthum b, S in c e the re is no third iathe D cho rd being played, a slightly amb iguou s

o on d is created th a t: i s n e it he r major o r m in or , S on gs s imi la r to th is a re c om mon in countryusic and the decision must be made as to whether to approach the solo as D major or D

nor. Generally th is bnot. difficult because, the overall mood and fee l o f tile t une will

ggesta sound.

song feaauresa solo by '"bending wizard" Jerry Donahue ..The feel and mood of this

rogression suggest a minor approach so Jerry went to work. The scale that works best for

is song js the Dminor pentatonic. Tl:!at scale and the C majer and D minor triads

greement me the most common ingredients in Jerry's solo, JeffY Donahee isa master at

ow. de-liberately greasy; bends that remain impeccably in tune. This technique w in need to

e w orked on and p rn c t~ oed diligently.

good exercise for bending practice is unison bending. Play my n o te on the high E s trm g

en playa second note either a haJIf step or a whole step lower on the B string. Practice

ending (he note O il the B string until it sounds in unison with the note being played on the

stdng, Support your bend with ene or more fingers to add strength to your hand.

rry frequently bends two notes simultaneously wMch bas a great sound. In. W<lliy cases,

hen bending double-stops (two notes played simultaneously), each note is bent toa

ifferent pitch. This is demonstrased in measure ten . .On beat ene he is playing C and E on

e secondand third strings, Oil beat two he bends the C and B u p , to DandF. To do U1Js

lace your third finger on the Cand your fourth finger on the E. Keep these two fingers to-

ether es if they weee inseparable.Bend both s t r ings teeping them parallel, !lot consciouslyy in g to bend the th ird s tring u p a w ho le s tep and the sec ond! s tring u p ha lf 's tep . I f yo u keep'

e strings paraUel as you bend, th e desired effect will D e produced. Jerry uses tills technique

veeal times throaghout the solo.

winds interestingly through tbe remainder of his solo using th e [)mimQr pe:n:ta.toni.c

cale and the D natural minor scale. Much of Jerry's sound is produced by position shifts

ndsliding, which says ~at he indeed mows ~1 the scales in every position and how irnpor-

nt it is to practice all patterns.

onahue finishes his solo with finger-breaking index finger bends in measures forty-eight

nd forty-nine, For tffiIe,m chord in bar forty-eight he plays P, In and C on the fif~h, fourthnd third strings respeetivejy, He plucks all three strings simuiraneeusly l Ising the pick,

iddle and ring fingers on his right hand. He then bends the C U ll to D by pulling i~ .down-

ard with his index finger. A Hghter gauge G string (si;)(,been or fifteen) may he required to

o this. Make sure to bend only the third string and !lot the fourth or fifth ..

t h e m moves this same pattern up a . whole step for the C cho rd and the!lagain one more

hole step for IDeD m lno r, T he bend into the Dminor chord requires less effort because the

end is .only a half step (E toF),

s a final note, Jerry uses a hybrid right, haad picking technique. He makes use of his

iddleand ring fwgers along with his pick. This. enables him to achieve the rolling souadross three smngs .



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This is a typica l country progression in the key ef E with a rock edge. It features a solo by

Jerry Donahue. Even though the major pentatonic scale is usually the first choice as a

possible sca le source for impr -ovi s ing over a country song. the rock edge in this progression

suggestsa more bluesy approach featuring the minor pentatonic scale. Jerry's solo

dem on stra tes th e u se o f b oth s ca le s.

Jerry plays classic country licks derived from tile E major pen.tatonic and blends them

with bluesy licks derived from the E blues scale. These scales, together with Jerry's unique

style of bending, create theamazing sound and feel of this tra ck , D u rin g the intra, Jerry

plays the root. of each chord on the fifth string and then bends the fourth and third strings

each a . half step. S p e c i f i c a l I D y , in measu r e one/beet one he p l a y s a B with his f lrs~ finger.

Next he frets IFon the fourth string with his second fingei and A~ Oil th e [M r d. string with

his third finger, Pulling these two nose s downward simultaneously he raises their pisches to

P I ! and B respectively, Take care to bend both notes in tune and keep the strings. parallelwith one an .o t fue r during th e b en d! . S triv e a lw ay s. to bend in tun e. U l~ im ately the bes t gauge

of being ill tune is to listen to yourself v er y c a re fu ll y. Repeat this move fo r each chord in

th e in tra , m o vin g apchrometically to E.

Jerry is a master of bending and uses three techniques. First, he simply bends either single-

notes or double-stops into the desired pitch. Second, he uses the pre-bend or release bend.

This refers to bending a note before it's played, strike the strings and release the bend

allowing the strings to retum to their original pitch. Third and certainly the most elusive

technique, is bending an open string, Pl<1lYthe note and men reach ul' with your left hand

behind the D u m , and push the string down to raise its pitch, Bend.ing on~, two and even HTI i fOO

striags simultaneous m y can create unbelievable effects!

Jerry uses pencil lead in the grooves of his i1U~to free the strings from binding and help

them retarn to pinch. The behind-the-nut bend is, of course, nan-applicable if you have a

guitar with a locking nut. Also, I suggest a set of light or ultra light strings to make bending

a.little easier. To demonstrate this effect for yourself; play an E on the sixth string then play

a D on the fourth string. Witllilyour left hand index. finger, reach behind the nut and push the

fourth string down unti~ you raise the pitch to E, Much practice is required before any real

control over this type of bending is mastered, biu the effect is well worth the effort.

Jerry picks up the pace during the last four measures of his solo by playing ideas thar

combine fretted notes with open strings and his hybrid right hand pickj~gtechnique, Heclimaxes his solo during the last two msasures with < l blii10ifig flurty of open strings and

fret~ed notes. Pay close attention to the notation here to be sure of the exact nates being

played, Enjoy!



Blues Scale Patterlr1l$

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By STEV E TRO VA TOand PAUL FARNEN

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his song in HE" is a 12-bar bIDuesboogie shuffle with a bridge; Ute slide solo is, by

s tra lian bo rn B re tt G arsed, B ec au se the sou nd o f the s lide is so preva len t in country-rock

we thought that it would be important to include a slide guitar. solo. Bands like 'The

B ro th ers , L yn yrd S ky ny rd and others have popularized this style of guitar playing.

lide guitar solos are most frequently played using amp distortion. This gives the solo a

ugher edge to it. Many players also include compression to increase sustaia. Slides

emselves range from spark plug sockets to glass bottle necks. The steel sl ides

availahle work fine for most players. Players who have the luxury of owning

o guitars may lise one for s l ide purposes. The action is usually raised so that the slide

oes not hit the frets. Many times open timings such as "0" or "E"are· used tocreate

fferent sounds.

rest Garsed uses a stock Fender Strate caster, a Groove Tubes Soul-O series 150 W au head

a . "two-twelve" Celesrion cabinet, He even uses a standard tuning. Brett wears the slide

n his midd~e finger and frets notes both behind and in front of the slide with his index, ring

p in k ie f ln g er s.

s olo b eg in s witl : ! B rett f re t tin g th e firs t fo ur n otes (orlbe "pick up") and then using the

to play ~he E. This Hery solo is then off and running. Note the outstanding control

rett has over his slide. All the strings surrounding ibe one being played must be dampened

avoid extraneous noise. BreH Isa mas te r of this. All ~h:enotes in this solo could be

layed using only the slide but Bretauses his fingers in combinat ion much (lif th e time. He

as integnl~ed his fingers into b is s lid e playing so w e ll th at i~is difficul t . to determine whene uses his finger and when he uses the slide.

o play the liet in measures <eighteenand nineteen angle the slide diagonally on the second

nd third strings, The B note on the third string and the D on the second string are played

alternating the: pick and middle finger of your right hand. Play the chromatic passage in

asure twenty by using the slide for the first and last notes and thirdand fourth finger for

he middle ones, The actual f re t ted. notes in this 8 0 1 0 sound more percussive and staccato

uan the notes played with the,slide. This may help you to distinguish which is which,

he lick in measure twenty-two is a masterpiece in its fire and precision. A lick of thiselocity is especially difficult to play in tune due to the rapid movement of the slide.

ractice this one very slowly to be sure it is in tune before increasing the tempo. The lick in

easures twenty-nine and thirty is OODe again played by angling the slide. The high E notes

n the last two measure s are played on the f~rst s tring just beyond the high end of the neck.

ince most guitars do not have a full two octave range, you must l i sten carefully ~ohear

hen the note is ill tune,

ote choices for slide are usually derived from the dominant seventh chord. tones for each

hord, For non-slide players, use theE blues scale for the entire piece. Even though some

il' the notes in this scale are not found in ~be chords they areeonsidered acceptablewithin the blaes tonality.



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ake It Ea s y " is a medley of two essential Country-Rock progressions featuring a solo by

ve Trovato. T he f irs t ha lf o f h is s o lo dem on stra te s a t r iadic app roach and the second I la l f

monstrates the art of the harmonized double-tracked guitar solo that is prevalent ill

untry-Rock music.

he first half of th e pr-ogression (16 measu re s ) is c ompo s e d of major mads. These triads are

, C and D. For this section of the solo Steve uses primarily only the notes of the triads and

m om en tum o f the· steady eighth-note fee l to ' dr iv e h is p la yin g.

no te thet eo mpllm en ts th e basic tr iad is the fo u rtih degree o f tile majo r scale played

ainsteach chord. This is demonstrated in measure five. Here Steve bends the B to C on

e "and" of beat two and then agein in m ea su re s ix where he bendsFII to G over the D

o rd. T h is so u nd repeats, several tim es du rin g : the f irs t h a lf o f the so lo . T h is rec u rrin g

eme keeps the listener's attention more than playing r iff after riff of unrelated ideas...

he s eco nd ha lf o f the s o lo is double-tracked.The second ha lf o f the s o lo is double-tracked

wo guitars in harmony). For this solo Steve recorded the melody track (lower part) flrst

d then experimented with several different ideas for the harmony part Usually, tiletervals of diatonic thirds or fourths seemed to sound the best There is no right or wrong

ay to harmonize a m elo dy .. T h e omlly r e qu i r emen t is tha t it so un ds g oo d ag ain st. th e c ho rds

ing played. Make sure that when youare worldng out the parts that you have a reference

ack of the CbOFd pregression to practice w i th . . Sometimes you may come up with II ! killer

rmonized solo only to find that it does not sound pleasing against the chords.

a re two im po rtan t. fa c to rs to c on side r w hen co ns tru c tin g a ha rm on ized gu ita r so lo .

ne is tone matching and the other is l ime matching. It seems logical! tbat using tileto n e fo r bo th parts wou ld ! sound bes t , but inactuality th e two parts blended better

hen we added a small amount of distortion to the harmony part to soften up the attack.

e m elody tta c t w as p lay ed! fairly c lean .

he second essential element is the phrasing < l i J I Q articulation of both parts played. Bach part

ould be identical except for theactual notes being played. T hey s ho uld! match bend. for

pick-stroke for pick-stroke and slide for slide, The resulring sound will be very

tisfying and is an important part of Country-Rock guitar history,

he best scales to use for this progres s ion are the G Major pentatonic and the G Majo:r

ale. Some notes w in work better than others over certain chords so be sure to listen to thee ra ll so un d, Yo ur e ars a re alw ays the best j udge ,



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ere we have a country shuffle that is as ~imely today as it was 20 , 30 and even 40 years

o. 'This is clearly one of the most recognizable feels 10 country music, both old and new.

is in the key of G major and, as with all the progressions in the book, be sure to practice it

all keys. This is done by referring to the chord chart provided, learning th e rhythm part

d the chord progression and transposing i~.to other keys, Then record the progression in

e new keys with guitar or rhythm section and use the tape to practice.

lbert Lee performs the solo. Immediately the listener is struck by the fact of how "in time"

re laxed Albert plays the guitar. The more " in tim e" a guitarist c an . p lay , the m ore

mfortable and! effortless he or she will make a solo sound. Albert also retains a strong

nse of melody in his playing regardless of the number of notes that he plays. This is partly

e to his grea t sense of p hra sin g. I t 's almost as if he is singing his solo in h~shead as he

and when he runs out of breath l1e pauses, breathes, and begins again. This enables

s solo to take on a. ly r i ca l0 1 : "

vocal quality

he type of phrasing that Albert uses here is very appealing ~othe listener because of its

ural rhythm. Listen. closely to his solo and notice how be plays it in four measure

rases. At the end of each feur measure segment there is a noticeable pause and then a

w ide a b eg in s.

lbert usesa hybrid right hand picking technique combining his middle, ring and pinkie

ngers along witllllis pick. However, most of this solo is played using only a fla~.pick.

A lbert w ill sp ic e lip the so lo by adding doub le-s to ps (tw o no ses

is on e of llilistradem arks. H e play s the lower note with his pick and

e u pp er with o ne o f h is f in ge rs .

otice Albert's use of dia~onic sixths in measures twenty-five-and twenty-six. Diatonic

refer to any scale-tone harmonized with the note six tones above o r b elo w it In . this

se, Albert plays the lower note on the fourth string with his pick and the upper note 011 the

s t r i l1g with his mjddlefinger.

c rea tesa n ic e texture called a "banjo roll" using a comhination o f am open string ami!

o fretted notes in measure twenty-seven. He plays D o m the !.hird string, F on the second!

ring and the high E string is played open. Using the pick to play string three, the middle

nger ~oplay string two and the r ing finger to play the first string he creases acascading

fect similar to holding down ~.hesustain pedal on a piano and playing a scale. The notes

into one another. A great example o f t ll il .istedudquec an be heard on a song called ''T-

rd ~oVegas" from Albert's MeA master series album Speechless .

he key to Albert's modem approach to country guitar is his choice of scales , Alber t . plays

e major pentatonic scale and the blues scale and moves back and forth between the two.

ince this song is in the key of G major, ninety percent of Albers's solo comes fromeither

e G major pentatonic scale or the G blues scale. The remaining ten percent is made up of

from the major triad of each chol:"din the progression.

ry playing G majo!:"pentatonic ideas during the G6 chord and switch to the G blues scaleu rin g th e C 9 chard. U se eithe r the G major penta tonic 0 1 " G blues sca le s for the D9 chord,

great w . a y to connect phrases and add length to yoar Jines is to lise chromaticism,

passing tones m ay be added to both the Gmaj , o r pentatonic and the 0 blues

a le . T he notes of the G major pentatonlc scale are: G~A~B~D~E.. Try playing: G~A-B~-B~



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April Mae June(Lead Sheet)

By STEVE TROVATO

and PAUL FARNEN

Moderate Texas .swiing J = 126

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his is a . fun Country-Rock progression in G major with a solo by Gl'T's Eric Paschal, Eric's

asy listening style offers some different: ideas that appear only in this solo. Eric uses the

tervals of the diatonic third and diatonic sixth. These particular intervals are a necessary

rt.of any aspiring country guitarist's repertoire because of their inherenteonntry sound.

ric uses some great "close" voicings, At the end of the first: measure of the solo he plays-E-Gvoiced on the thlrd, second and first strings. This implies a 06 chord (E is the ,6th

ote of a G scale). Eric again uses this voicing on beat two of measure seven but this time it

in th e e igh th position with C on top and resu lts in a 0 6 chord. In .measure nine, beat three,

is in the fifth position and the notes are A, H, and E. Because the shape is being played

ver D it must be some sort of D chord. In this case, we will call it a Dad.d9 because it

ontains two notes from the triad: D and F~plus an E (the ninth degree of the D major scale).

ric plays a beautiful phrase in measures eleven and twelve using only the notes of each triad

ayed in diatonic sixths and diatonic thirds . The slidesadd a re l axed feel to an already great

ick. He also creates a sfight dissonance in measure thirteen by app roach ing each note of the

riad from a half step below. The three-notechord shape mentioned earlier is repeated on beatwoof measure fifteen this time in the third position with G on top (referred to as a Cadd9).

his chord shape adds a sweeter texture and can be played over a n y triad in two places: played

th e root on top creating a 6th chord or with the f if th on top creating an add9 chord. This

hord voicing may be difficult to . play at first because of the stretch required, but once

it provides another technique for your bag of tricks. The voicing appears severed

ore times, in Eric's solo, Refer to the tablature to find them, During the final two measures

f Eric's solo, he creates a harp-like etfec: by arpeggiating chords using a hybrid right hand

icking technique. He mils across consecutive sets of three strings using his pick, middle and

ng fingers ..The sound of Eric's telecaster includes compression, resulting in longer sustain.

general, use the G major pentatonic scale over the first half of this progression and the

blues scale over the second half. Experiment with Eric's ideas of USing diatonic thirds

s ix th s.

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his is a western swing tune in the key of E The style is reminiscent of "Bob Wills and the

exas Playboys," "Asleep at the Wheel" and many other artists. The solo is by Gl'F's Steve

rovato. This solo was designed by Steve to be, an exercise in country "double stops" (two

tes played simultaneously) ..

s the pickup n otes b eg in , Steve plays them us . ing a hybr id right hand picking technique. In

his case it means using the pick, middle and ring fingers. The double bend on beat one of

easure 5 is executed by bending both notes simultaneously and keeping the strings parallel

one another. This bend might require some practice to ensure that it is played in tune.

nex t bend heard, leading into measure six, is a release bend. The notes are bent before

picked and allowed to return to their original pitch after being played, The double

topsin measures nine and ten are played staccato to achieve a "chicken pickin;';eftlect.

eleven ha s a pleasant cascading effect produced by u s in g open s tr in g s aga in s t

retted ones. Refer to the tablature for details. In beat four of measure twelve, Steve uses a C

ugmentedchord C-E-G~ to lead back (resolve) into the next chord! (F). The "chickenickin'" sound in measure eighteen is created by playing fast triplets on the third string while

it w ith y ou r f re ttin g han d. In m eas ure tw en ty -o ne , the d ou b le s to p 's are four ths from

he harmonized F minor pentatonic scale ..The F minor pentatonic scale, is spelled: F~Ab~B~-

-B. Although both the If major pentatoni.c and F blues scale work equa l ly well for this

ogression, the i F blues scale lends a more blues-like: edge.

he lick in measure ~wen ty - f i ve is perhaps tile most difficult of the entire, solo. The double-

tops are played on strings three and two and are plucked with your middle and!r ing firtgers

espectively ..The pedal woe F is played on the fourth string using youe pick. Agahi, some

ractice may be required to work this one,up to tempo. It is important to note that regardless

f the number of notes played, Steve maintains a strong sense of phrasing and melody.

F Major Pentatonic Patterns

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is song is a twenty-four bar blues in the key of A. Thislonger version of the blues is

mon ill C oun try and C oun try -R ock m usic . Songs sucff i : !a s "W o rk i!1 g M a n's Blues" by

erle Haggardand "They CaIDlMe The Breeze" by ZZ Top are are good examples of songs

use this form. Stylistically, you can treat i~.as a.raucous Country-Rock groove with a

torted rock solo orjust play it with a dean tone. Far this example we let Albert Lee do it

w ay .

is solo is brimming with Albert Lee's trademark solo ideasand should provide

p ira tio n fo r yeers to c om e . W e asked! A lbe rt to just "go fO I:"if'and th e result is <J in

ar ray of blinding speed, funky double stops and ch icken pickin', Albert Lee's

ying is so accomplished that even though this solo is very difficult to play l1e bravely

ves through it with grace and: ease. By tile way, if anyone is wondering, this was a "first

bert begins this solo ratherquiedy but :it doesu's take long to beat up. He plays this solo

fou r measure phrases that give it a lyrical quality, The first four measures are single notes

rived from tile A major pentatonic scale with some occasionat chromaticism added that

actically produces a singabie melody. The next foul:'measures add a few double-stops

notes simultaneously) which give it a funk appeal. Albert's double-stops are played

in g th e pick for the lower note and middle or ring fingers to pick the upper one,

measures thirteen and fourteen Albert explodes wHh a blazing line of triplets. Practice

is s IDowlya nd b e s ur e t h a t .h c an be p layed in tim e befo re speedin g i~up .

bert gets the second chorus off the ground with a series of "machine gun" triplets played

the second and third strings ..Tile first note is played by bendinga 0 note on ~he third!

ng up to A and then playing the, remainder of A notes on the , second string. The t r iplet

ns in measures nineteen through twenty-four <wechallenging in that they traverse most of

e length of [he freeboard, Albert builds the solo further by adding a line of double-tops in

~.wenty-one and twenty-two,

measure 49, a great effect is created by using octaves. Albert plays a run from C~ toE

ng strings five and three. He plays don the fifth string with hls pick then C~ on the

string us ing his midd le f inger and ba ck to C ~ on the fifth s t r i ng , This is th e n m oved up

romatically to E. The so~o then winds down toa somewhat relaxed conclusion.

is solo is particularly no t ewor thy because of its development. II begins rather innocently

d then gradually builds to a climax toward the end of ~.hesecond chorus. Albert then

ings the listener back to tile top as if to the top of the next vocal verse, This is the earmark

a great solo and soloist



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GUITAR TA.B GIL,OSSA,RY ~¥

TABLAT'URiE IEXPLANATIIOIN

REAOING lA13LATUIRE: Tablature illuWales [hesi;.:: sh"ings ,of the guitar. Notes

and chords are indicated by lm e placement ot I ret numbers, on a given stri.ng(s),

~.~~i"W~ @ " jrd t·'~"t:r ~rt,IJF~C D ·12~h r~r'1

. : \ rn :~~,L i '(] " ~ L I ' l I FrC'!

BENIDING NOTES

HAL F STEP: P~ay

the note and

bend slringi one

half sle~L"

WIHOLE STEP:

P~aythe note andb sn d s lw 'irn g o rn e

whole s tep .)

iP

PR,EBENO AND

R EL 'E AS E: Be nd l

trre siring. play it.

then release 10 .

the original note.

~-~~-I-a f6~

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RHYTHiMSL,ASHIES

STRUM

I :NOICA·

liONS:

G C

J ,n-J ) ® ®® e e e511 31, Ijr open . Ir onen

I IND : ICAT ING

ARTII'CULATIONS

±~. 'I--:~----1, ; ; .I~

~11 . ~,

~

- 1 -- 4 . - 7 - ' -5

. . .c'

~-A-7~9--~~j--I nIII

HAIMMERON:

Play ~ower not:e,

then "hammer

on" to higher

notew~lhanotherfinger. Only the

first note is

attacked.

PULL QIFF:

P~ayhigher mote.

then"pul~ott" to

Ilower note with,

ano u n e rli ng,er.

Only In e firsl note

is attacked.

LEGATO

SL IDE ;Pl1aynoteand slide 1 0

the

fQllowinQi

note, (On~y

first note is

a lta c k e d),.

PALM MUTE:

The nate or

notes are muted

by the palm 01

the pick hand

by 'lightly

touching the

string(s) near

the ibridge.

Notes or

ehordsare

to be p'layed

with, 8dded

ultimate play-along country

Documents