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CONTENTSPAGETRACK.4lntoduction.Electric?. . esandChords.84CMajorScale.9ChordsinC. . . 1 0 5-t0l m p r o vi niCs i.n. g.11CarterPickingil.11lWalktheline.1212T hHeammer-0n.1213ThePull-0ff.14. . 13WildwoodFlower."BoomChick"Rhythm. .14(Rhythm). . 1415Lookin'Hey,Good. 16t6T hSe l i d e. . . . . 16 17-rgTheMajorPentatonic(Melody). .1120Hey,Lookin'Good.1821IheStringBend. 1822Vibrato. l823C h a t t a h.o. o c h i e. . . . 2 0 24-25GM a j o r.21BarreChords.A - T y p e B a n e C h o r d . . . . . . 2 1.2226R a m b l i n( 'CMhaon.r.u s )(inG) . 22Exercise2tHammer-0nRhythm. . . .2328inThirdsDoubleStops29. . . . . .24RingofFire.b3rdwithAdded. . . . 26 30-32PentatonicGMajor. . . . . 2 7 33-34a,og. .t. . . r , . . .S u g a rRf o.28DM a j o r. . . . . . 2 9 35-37Licks.29ChordsPAGE TRACK. . 30. .E-TypeBaneChord.1138M e r c u r y B t u e: :s::::::: randEver,b3rd. . 38 44-45DMajorPentatonicw/Added.39 4l-48AMajor.40 49-50TravisPicking. . 40Pickin'inA."51. . 4152FreightTrain.42MovableScales. .42 53-54Majorb3rd. . 43 55-56PentatonicwithAddedMajor.44 57-59ChickenPickin'CountryGentleman .45 60-61.48Iwelve-BarBlues. . 48 62-64TheRhythmShuffle. . . . 49 65,70Movelt0n0ver. . . 50 66-69TheBluesScale11.51SixteenTons. .52 72-73MovablePatternsShuffle.52 74,81TheRacels0n. . . 54 E.J a m e s B u f t o n s " S. u s i e.-.0. ."5R6i f f 8 2.5683MysteryTrain.5684LittleSister.(lntro)Blues. dLincoln .57.58 88-glBlendedLicks.58 g2-g8Sixthsgg.60Rebel'Rouser
INTRODUCTIONe l c o mt oet h eH aLl e o n aCc0r do u n tGr yu i t amr e t h oTdh. er e a l mo fw h aitsc o n s i d e r" er "a sr e a l leyv o l v e cd u n tgr yu i t a hthelastfewdecadesintooneofthemostexcitinqandc h a l l e n gsi nt ygl eosfg u i t aprl a y i nTgo d acy0, u n t rgyu i t ai rn c : ' poratea sb r o arda n goefi nlfu e n c ef rso, mt r a d i t i o sn oa ul n dl isk eT r a v pi si c k i ncgh, i c k epni c k i nb,l u e g r aasns d,W e s t esr n\ ,-,:,gt ot h ec o n t e m p 0 rpahrrya s i no f m o d e rbnl u easn dr o c kInthisbookwell plifiedguitararrangementsof nnyCashto llstoa f:.,tunes"byyourself0r "fireupa moret0 tarsacousticandelectricthatmayhelpyouinfindinga h e r ea r ea f e wt h i n gtso c o n s i d Ae rg u i t awr i t ha s o l i dtop-meanint hgat h ef a c eo ft h eg u i t ai sr m a d opiecesefo fs o l i dw o o d( m o sct0 m m 0 nslpyr u c ei n)s t e aodf p a r t i cbl eo a rodrl a m i n a t e -gi so i n gt o g i v ey 0 ua m 0 r er e s o n asnut ,p e r itoorn eS. o m oe ft h eb i g g ens at m ei snt o p - q u a al i ct yo u s t imc so sct 0 m m 0 nf ol yu n idnthehands0fc0untryartists,bothpastandp r e s e ni nt ,c l u dMea r t i nG,i b s oann, dG u i l dT h es i z eosft h ei n s t r u m evnat sr vb, u :t h e" d r e a d n 0 u igsht ht "em o spt 0 p u l a nr disavailableina varietyof pricesfroma hostof nirywitha stheGretsch6120(inthehandsol witha irabilityto enampsof e,aremorefrequentlyused.Whenpickingouta guitarand/oramplifier,youdcfindsomethingthatis user-lriendlyandthaty0ulookf0rwardto playing.n0thavet0spenda nspirationforvouto0lav.-! :'"1S' i.ffr\\*li .ItYD r e a d n o uagchot u s t i cFenderTel ew i thFenderTwinam p
PICKING,',: ngflatpicking-thatbasicis,playingwitha standardand-::x frnger.playingyou'llEventually,though,if of pickingy0urfingers.you'llhave:'a: :A flatpickinconiunction(particularlyy usedwiththeotherlingersthemiddleandring)s themost\,/ideright-3 i iingersr'/iIhelp'more.younowcomfortab::c otherfingersto partsv playusngpick,y0u'llget.,st umb& Fingers:Anotheroptionisto usea ingersas"partners- ility,andaccuracy.lf youarealreadyextremelyr/thcomforlable c0npicking,.ntionalpick.it canbes0mewhatdi{ficultt0 "jumpship"to usinga thumbHowever,if youarejustdevelopinganap:'oach,to Chetonelistenor Brentwillstatea powerfulfor"thumbin'caseit."f lat pic k i n gbas ich y b r rpdr c k r n gt h u m ba n df i n g e r sVS.STANDINGSITTINGyourselfperformingyouto periodicallyToprepareforeventuallyin publicor inlrontofyourfriends,I encouragestandwhenyoupractice.youneedto standeverytimeyougrabtheguitar,butonceyou'vegota newlickunderyourThisdoesn'tmeanputa straponyourguitarandgetusedto playingyourweight,fingers,it ntwillallmakea bigdiflerencein u'reat it, plugit uninto anamp(andturningupto "10")canbeaneye-openingexperienceif f getstarted!
r guitar-haveasoundthatoftenconjuresuptheimageofa CK2ArrrrnI taaaIox oTIIIn-n-F234G/Cx,G/"8o offiTTTT-Iffi1 3 4G.q.ffi fo o oi .TTT]STTTT'rT TM ! -'nffi23E.r.TTT'].TTTIIffi324DrnTltLta a TTT-1nTll-rI I132W o r das n dM u s i cb y D o nG i b s o nC o p y r i g@h t 1 9 5 5S o n y / A TSVo n g sL L CCopyrighRte n e w e dA l lR t g h tAs d m i n i s t e rbeydS o n y / A TMVu s i cP u b l i s h i nBgM, u s i cS q u a rWe e s tN. a s h v i l lTeN. 3 7 2 0 3g"ffi.TTTTIH F324
Yourrighthandwillgetquitea workoutasyoustrumalongto thissecondnumber,a well-knownbluegrasstune.(lf thepacepermeasurepattern6 YTOPNAfi 3G-.1T: l 1ffit,/,)IEmOOO-r.T1Ttaatlli-r-Trnffin*ffn623g" TlTfit?l .lHl l432,,1er(,6g.rfmlt?1#1ffi&324g,rfiTIt?-r f,lffiA324YaW o r d sa n dl V l u s bi cy B o u d l e a Bu xr y a nat n dF e l i cBeryantC o p y r i gOh t 1 9 6 7b y H O U S0EF B R Y A NPTU B L I C A T OGNaSt t, i n b u Tr gN,C o p y r i gRh te n e w e d
SCALESANDCHORDSA greatwayt0 combineyourcountrya numberguitarplayingof inkedtothem.Let'sstartwithc major.Firstofall,a scafeisa seriesofnotesarrangedina cate.ltisusedtheas olestepsandhalfsteps.(0ntheguitar,a rn:WHOLE WHOLE HALF WHOLE WHOLE WHOLE eitscharacteristics0und.CMAJORSCALETobuilda C C8(l)Thefirst(andeighth)degreeof a majorscaleis calledthekeynoteor ndfret,andso0n.(Thenameof thepositionis earninga asfretboard-alsocalledthecombinationof openandfrettednotesavailableheretendst0 s0undvery"country"allbyitself.
T",thefollowingscaleexercise,lf youplayit asindicated,(n)andupstrokespickingusing(\ )-i.e.,alternatedownstrokes. o u ' lal d dt ot h e" c o u n t rfye"e lPractice.graduallythisslowly,withoutmistakes,ands p e eidt u pa sy o utre c h n i qaulel o w s .oNAfi 4tl1,,: ;ate3'f, 23CHORDSINClVhena pieceof musicis basedona C majorscale,it issaidto be"inthekey0f"C.Thiscouldapplyto a melody,licks,riffs.s0l0s,andevento ordsarec0mmonto thekeyof C becauseallsevencontain(nosharpsonlynotesoftheC ealsosometimesreferredto astriads.Romannumerals(l-ii-iii-lV,etc.)areusedto labelachord'slocationwithinakey,aswellast0 esonthesecondandsixth0fthescale;anda diminishedtriadisbuiltontheseventh(vii")note ofthescale.lt is importantto memorizethissequenceof chordtypes,asit appliesto crfn-ft?ll Ie trillt231lrlI324xool-1.TT5rxG/Boo .--]-- 1---# ?tlrl []-lltltiltr]-r-l231NotethatI didnotusea sasa "leadingtone"-i.e.,a ion.)inatypicalchord
IMPROVISINGINCplayThefollowingexamplesarein thekeyof C;thatis,theyusechordprogressionsderivedfroma C yimprovisingoverthemusingtheC maiorWhenscale.beginningto tesworkoverthechords.Then,mixupthenotes.lt helpsto emphasizechordtones.*TRACK5Pluy I tinrc.sPltty8 titrtc.spickingThefollowinglickssh0uldgiveyoua feelfor howalternatealongwithusingtheopenstringsgivea countryor bluegrassflavort0 .Cuttime,or"two-beat"incountryasit figIRACKTRACKIO-V-V10-v"\ /I\ /3
(andnamedfor)coun'20s'30s.:i' ential olthe andpickingBasically.Carterisasolostylect playing:Themelodyofa songis ddedin rrangement"l WalktheLine"isa goodplaceofJohnnyCash'spicking.to startwithCar
- tue. first popularized by Chet Atkins and Merle Travis and then further developed by modern super-pickers Brent Mason and S:otty Anderson, allows for the greatest speed, flexibility, and accuracy. lf you are already extremely comforlable r/ th c0n-.ntional picking, it can be s0mewhat di{ficult t0 "jump ship" to using a thumb pick. However .
