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My Site - Instruction | Doug's Free Tab | Steels and Accessories

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"where would I pick up the D scale once I get to the 3rd fret?"

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You can finish the entire phrase in D by using the other lower strings.

You start at the 10th fret, play the lick down the neck, at the 2nd fret you've "run out of frets" so you depart from the written lick but play the needed notes on the next lower strings.

It can all be done using frets 2 and 3, no pedals, on strings 6 thru 10.

Of course you could reverse the lick and go back up the neck when you run out of frets, probably ending on the 5th fret AB pedals.

[This message was edited by Joey Ace on 14 October 2002 at 10:08 AM.]

As illustrated it starts, as Jim points out, in the no pedals position. For G this is the 15th fret. If you're comfortable starting as high as the 20th fret, you can play it from start to finish from F# (14th) up to C or D (20th-22nd).

The BEAUTY of the lesson is that it's actually going through the no pedals position, down through the A+B position (in G on the 10th fret) and the A+F (6th) and down to the octave lower no pedals at the 3rd. Figure out how to use the pattern to navigate between all of these positions. That's where the real value is in this concept.

When you've done that, start looking for other patterns that join the 3 main E9 positions -- remember there's another one too -- the Eb lever two frets below the A+B. A lot of speedpicking is built on these ideas.

And, (almost) needless to say, find a way to go UP or DOWN and practice both.

The other thing is to think about using the pattern to navigate between a I and IV chord or I and V chord.

Just some ideas.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

[This message was edited by Larry Bell on 14 October 2002 at 10:57 AM.]

Once you learn the pattern as written, play short sections of it up, down, mix it up. It all blends with the relative chords in a given key.

Also... 3 frets up is the minor scale. If a song is in the key of G minor, start the pattern on fret 18 and wind it down to fret 6. You won't believe the sound over chord changes in the key of G minor!

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My Site - Instruction | Doug's Free Tab | Steels and Accessories

Didn't you cover this in one of your articles in one of the magazines years ago? I have the Weldon record, can't find the tab, can't find your article, and am going crazy trying to fill in a few of the missing holes? What mag was that in?

thx

I covered speedpicking in a couple of articles in SGW magazine, but I never reproduced the riff in question note for note in any of my writings. I teach similar patterns and parts of the riff in my Advanced Speedpicking tablature/CD.

I didn't mean to imply that you had published the lick. It was "in the style of"

I went through all my SGW mags and found speed picking Pt.1, but that's not it. You don't remember what issue do you?

thx

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"It's nice to know that I can complete the lick on those strings in the event that I'm in C or D "

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I sometimes use that pattern to complete the lick when there are lower frets available. For example, in the key of G when I want my next notes to come out of the C (8th fret) chord.

Jeff, it's an E9 speedpicking pattern on strings 5,6, and 7 using only pedal B, running down the fretboard through 14 frets. It's based on the major scale and blends with the relative chords in a given key. The tab/cassette came out about 25 years ago under the name "Amazing 3 string, 2 finger, 1 pedal lick", or something like that. Tab and cassette are still available from Scotty's Music for only $12: The Amazing Speed Picking
Course / Weldon Myrick & Hal Rugg

Playing the lick note for note is not as important as learning this style and using parts of the pattern in your solos.

[This message was edited by Doug Beaumier on 15 October 2002 at 09:39 PM.]

Basically, this lick is an example of a tool of improvisation (or 'speed picking' if you wish) to be able to navigate among the three or four primary pockets on E9. In G, there's one at the no pedals position (fret 3), at the A+F (6), Eb lever (8) and A+B (10). The 'game' is to connect the positions in as musical and interesting a way as possible.
For example, dissect it into two measure sections and see where the bar is.

1-2 hang out on 15
3-4 take you from the NP(Fret 15) positions to the AB (Fret 10) position
NOTE: M3-4 (including the 3 8th note pickup notes) represent a great way to go from the No Pedals position DOWN to the A+B position.

Then, look at how it navigates from the A+B down to the octave lower NP position. The beauty of doing it yourself is that you instill some of your own personality into what you come up with. It's called GETTING YOUR OWN STYLE. All good players have one.

Finish the other measures with a similar analysis (where did you start? where did you go? what positions did you go through? can you 'get off' at one of those positions for a little 'excursion' and hop back on?)

Anyone who approaches steel guitar by only copying someone else's work note for note will never get a style. This is one way to begin: Take a brilliant player's idea and figure out how he used it and then don't use it that way. Use it YOUR way.

IF YOU BUY THIS LITTLE COURSE AND ONLY PLAY THE NOTES ON THE PAGE, YOU WILL GET ABOUT 1% OF THE LESSON THAT'S THERE TO BE LEARNED.

Jeff,
Musically, 'the lick' is a pattern that includes only / primarily the notes of the GMajor scale, illustrating that the pattern can be used over any chord composed of those notes (e.g., GMaj Ami Bmi CMaj D7 Emi F#dim). Theoretically very simple, but very relevant for someone who is looking for positions for single note phrases.

Mechanically, it illustrates how right hand picking patterns, pedal slurs, and bar movement can be used to play uptempo phrases more easily. It restricts itself to strings 7,6,5 (THREE string), one finger and the thumb (TWO finger), and the B pedal (ONE pedal). If you hear it, you will say, "Oh, THAT". Anyone who has heard Weldon, Hal, or just about anyone who was influenced by them can hear the little 'gems' that dance from one E9 position to another.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

[This message was edited by Larry Bell on 16 October 2002 at 11:25 AM.]

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a major scale running down through the frets on strings 5, 6, and 7

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It restricts itself to strings 8,7,6

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Is it strings 5,6,7 or 6,7,8. Thanks.

That type of logical analysis should be put to all the standard licks/runs.

[This message was edited by Joey Ace on 16 October 2002 at 10:01 AM.]

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A 25 year old lick?! Isn't this "public domain" by now!

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The pattern plays 2 times on the mp3... over 2 different chord progressions in the key of G. There are a couple seconds of silence between the 2 samples. This comes from my Advanced Speedpicking tablature/CD. In the course I play the pattern over 6 different chord progressions, but I edited out just 2 for this mp3.

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My Site - Instruction | Doug's Free Tab | Steels and Accessories

If you want to hear more "in the style of", just listen to Bruce Bouton's solo on Ricky Skaggs' "Highway 40 Blues". Measures 4-8 of the solo use the no pedals descending to the A+B position from the pattern, customized to become Bruce's lick. Been one of my favorite solos for years. you can hear it here.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro

[This message was edited by Larry Bell on 17 October 2002 at 07:31 AM.]

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Pick blocking seems to work best for this type of pattern

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It's one case where I will almost always pickblock -- particularly with the adjacent string orientation. I do still palmblock the forward rolls, however (like the 7,6,5 patterns that happen a couple of times in the lick).

FWIW

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tripling the tempo

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I dare you to do that. BTW, the clip is at 95 bpm. Three times that is 285 bpm.

[This message was edited by Jeff Lampert on 18 October 2002 at 04:11 PM.]