|
Author
|
Topic: Brisklick E9th
|
Russ Wever
Member From: San Diego, California
|
posted 26 November 2004 06:27 PM
profile
In a previous post, Klaus had asked about raising strings one and seven by a half-tone.Here is 'brisklick' example of using that particular raise on string one. Click here to hear> Brisklick. Playing these 'descending diatonic half-scales' goes like this:
First Measure>
- At fret 20, play strings 3, then 1, then 4 then 2 with the 'F' Knee.
- At fret 18, play strings 3, then 1, then 4 then 2 with the 'F' Knee and the Knee raising the first string a half-tone.
- At fret 17, play strings 3, then 1, then 4 then 2 with no Knee-levers.
- At fret 15, play strings 3, then 1, then 4 then 2 with the 'F' Knee.
Second Measure>
- At fret 13, play strings 3, then 1, then 4 then 2 with the 'F' Knee and the Knee raising the first string a half-tone.
- At fret 12, play strings 3, then 1, then 4 then 2 with the Knee lowering the second string a half-tone.
- At fret 10, play strings 3, then 1, then 4 then 2 with no Knees.
- At fret 8, play strings 3, then 1, then 4 then 2 with the 'F' Knee.
Third Measure>
- At fret 6, play strings 3, then 1, then 4 then 2 with the 'F' Knee and the Knee raising the first string a half-tone.
- At fret 5, play strings 3, then 1, then 4 then 2 with no Knees.
- At fret 3, play strings 3, then 1, then 4 then 2 with the 'F' Knee.
- At fret 1, play strings 3, then 1, then 4 then 2, with the 'F' Knee and the Knee raising the first string a half-tone.
Fourth Measure>
- At fret 1, play string 3. (Finish)
Careful muting and even timing will keep the notes from 'wadding up'.
~Russ
|
Klaus Caprani
Member From: Copenhagen, Denmark
|
posted 27 November 2004 02:36 AM
profile
Thanks a lot. This is definetely one I'll practice in december when I get some more time at hand  ------------------
Klaus Caprani MCI RangeXpander S-10 3x4
www.klauscaprani.com |
John Daugherty
Member From: Rolla, Missouri, USA
|
posted 27 November 2004 04:07 AM
profile
Russ, another example of your helpful contributions to the forum.
I am so glad to see that you are "healing and helping".
I was injured last week when my ATV turned over on me on a mountainside. I can't play guitar now but I know I will whip these injuries and soon slide up to my lovable Marlen.
At least I can learn and help on the forum while I am recovering.
Keep on keepin on......JD |
Joey Ace
Sysop From: Southern Ontario, Canada
|
posted 27 November 2004 08:31 AM
profile
Thanks Russ! Quite a hot lick. Reminds me of Doug J's scale work,
or (dare I say) Bobby Thompson's cash-cow banjo lick.Why the name "Brisklick"? I've transcribed your words into the following notation. I'd call it "Connected Descending Fourths".
A study of the notes shows why that name is descriptive of what's happening. The adventorus student should take this idea and change it to "Connected Descending Thirds", with a Triplet Feel. Also try "Un-connected Descending Fourths" and "Un-connected Descending Thirdhs". 
 |
Peter
Member From: Cape Town, South Africa
|
posted 27 November 2004 09:14 AM
profile
Why the name "Brisklick"?Ask Jimbeaux, he knows what a Bris is. [This message was edited by Peter on 27 November 2004 at 09:15 AM.] |
Joey Ace
Sysop From: Southern Ontario, Canada
|
posted 28 November 2004 01:35 PM
profile
This is a great intonation exersize, too.Play it with a drone A note coming from another source. For me it'm my V-SAM. Moving to TABLATURE.... |
Jim Cohen
Member From: Philadelphia, PA
|
posted 28 November 2004 01:46 PM
profile
quote:
Why the name "Brisklick"?
Ask Jimbeaux, he knows what a Bris is
You mean if you play this fast enough, you could...? Naaah! I don' believe it!  |
Michael Dene
Member From: Gippsland,Vic, Australia
|
posted 28 November 2004 03:47 PM
profile
Thanks Russ... and the variations are endless!!It'll keep me busy for a while. Joey... what program are you using to do your Tab/Notation? It looks really good and I love the rythm notation on the Tab. ------------------
Michael
Emmons LeGrande II D10
Peavey Session 500
|
Joey Ace
Sysop From: Southern Ontario, Canada
|
posted 28 November 2004 03:53 PM
profile
Tabledit, Michael.It also plays the music. Do a search in this section for Tabledit and you find out more about it. The designer asked for our advice on the Pedal Steel Features. The up/down arrows were a feature I requested.
It also does letters. www.tabledit.com |
Michael Dene
Member From: Gippsland,Vic, Australia
|
posted 28 November 2004 04:01 PM
profile
Joey...thanks for your prompt reply !!  It sure looks good. ------------------
Michael
Emmons LeGrande II D10
Peavey Session 500
|
HowardR
Member From: N.Y.C.,N.Y.
|
posted 28 November 2004 04:01 PM
profile
So it's true,....Jimbeaux does play for tips!  |
Drew Howard
Member From: Mason, MI, U.S.A.
|
posted 02 December 2004 06:41 AM
profile
In the words of Del McCoury "That's hard!"My right hand blocking is terrible for speedpicking, so I play those notes on the 5th, 4th and 2nd strings, though it sounds more legato.
2--------12L------------10--------------8------
3----------------------------------------------
4-----12-------------10----10--------8F---8F---
5-12A--------12A^10A----------10A^8A---------8A
etc., etc. Drew ------------------
Fessenden D-10 8+8 / Magnatone S-8 (E13)
|
Russ Wever
Member From: San Diego, California
|
posted 05 December 2004 02:52 AM
profile
quote:
Why the name "Brisklick"?
Somehow, 'Snailpace' didn't feel appropo  quote:
I'd call it "Connected Descending Fourths"
"Descending Diatonic Half-scales" ~Russ |
Russ Wever
Member From: San Diego, California
|
posted 11 December 2004 01:43 AM
profile
In a message dated . . . . , james.***@***.net writes:Hi Russ, Greetings from Watford UK.
Thanks for the great lick.
Do you use two or three fingers for this run??
Thanks in advance.
Merry Xmas, James. -------------------------------------- Hi James - One finger and thumb - I use thumb on string 3, then 2nd-finger on string 1 then thumb on string 4 then 2nd-finger on string 2. I keep my righthand somewhat 'fixed' (in a 'stance') so that the distance between thumb and 2nd finger is maintained, and use the 'twist-of-the-wrist' more than flexing-the-knuckles to move the picks. By using thumb-and-finger (rather than thumb and two fingers) the picking becomes 'alternating in (finger) and out' (thumb) strokes - like a guitarist using the flat-pick with 'alternating up and down' strokes to maximize efficiency. Thanks,
~Russ --------------------------------------- In a message dated . . . . , james.***@***.net writes: Hello Russ, Many thanks for the finger explanation, it was as I figured.
The "stance" of the finger positioning you advocate is enlightening and is something that I'm sure would be of great interest to all forum members.
I'm indebted to you. . . . . .
Kindest regards.
James (UK) |
The Steel Guitar Forum
