Bluegrass guitar hot lick








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Common Bluegrass Flatpicking Licks

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No track listing given on labels. In the second measure, the open G string provides an Fsus2 sound, whereas both the C and the G rolls are derived from triads. But rather than being scale-oriented, as in jazz, the bluegrass versions usually involve some means of chord-tone targeting. Edit Release Sell This Item. Guitar, Narrator — Orrin Star. The D7 contains four chord tones. So grab your guitar—an acoustic is traditional, but these licks sound great on electric guitar too—and sharpen your flat-pick. The outro letter C is a recapitulation of bars 13—20, except that for the final four bars the band again goes into stop time. All three are examples of forward ascending rolls. The solo kicks off with a pair of banjo-roll phrases on the top three strings. Many bluegrass players use legato techniques such as these in their solos. Side B continues with selected licks numbered through

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Description: Before you go any farther, practice this phrase over and over again, making sure the notes ring together. The first part of the phrase travels chromatically from the root D to the 3rd F. Finally, this one-bar phrase ends with an open G middle finger. So grab your guitar—an acoustic is traditional, but these licks sound great on electric guitar too—and sharpen your flat-pick. As in bar 1, each of the subsequent banjo rolls is based on a chord tone. Educational , Bluegrass. Many bluegrass players use legato techniques such as these in their solos. The first roll is structured around a C triad. the second relies on an open D7 voicing. A steady stream of banjo rolls—peppered liberally with pull-offs and hammer-ons—follows close in tow and sets up the outro section of the solo. Now, for the first time, every lick in this exhaustive survey has been compiled, in order, on two Compact Disks. Notice that the moves are variations of the phrases established in measures 5— Measure 21 letter B marks the top of the bridge, which is made from an eight-bar sequence dominant chords that modulate in 4ths VIV [A7-D7-G7-C7]. Guitar, Narrator — Orrin Star. A fancy double pull-off occurs at the top of bar 10, followed by a C bluegrass run and a C Mixolydian banjo roll that together negotiate the C chord in measures 11— No track listing given on labels.
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