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8/11/2019 Tele Offline Audio

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Pipin ! Hot TelecasteringsThere is undeniably something special about a Telecaster. Just picking up aTele after a long day in the Strat-dominated guitar world refreshes the n-

gertips. The Tele!

s solidly xed bridge allows you to dig into the strings andyank out a heavy dose of “twang”, and the body weighs a bit more than aStrat, but doesn ! t have the tone-dulling bulk of a Les Paul. The neck pickupcan sound round and buttery smooth, but the bridge position delivers any-thing from spanking clean chicken pickin ! to thundering power chords (AltRock heavies Soundgarden notoriously tracked their grungiest guitar lineswith Fender Teles).

The Tele has dug it ! s trenches in the rock world, but even die hard rockers

nd themselves tapping their toes to the echoey strains of Telecaster rock-abilly riffs, and ask, “How can I get that sound!?”

Not a problem - It ! s all in the ngers. Sure, it ! s a bonus if you have a Tele;after all, they inspired these sounds. But don ! t despair if your only axe is aStrat, Les Paul style, or even an acoustic. All of these licks can be playedon any guitar, and you may just stumble across a cool new vibe along theway. A matter of fact is, they ! ll sound great on acoustic guitar if you reallydig into those strings, Brian Setzer whips out these kind of licks on hisGretsch hollow-body guitars all the time, and heavy metal shred-head ZakkWylde has snuck these ideas into Ozzy Osbourne ! s songs (and uses simi-lar ideas all the time in “The Black Label Society”).

The point is, every guitarist should give these licks a shot; they can onlyexpand your musical palette - you ! ve got nothing to lose. Besides, you ! ll beable to start plucking a sound track if you happen to see your neighborchasin ! after livestock...



Behind the stage curtainsThe good news is: Everything which you have learned in the main text ap-plies! All these ideas are going to be based on chord shapes you know,

which means that (as long as you worked through the main text) you!

ll beapplying them as soon as you can pull them off.

The tricky part is: Great country licks require a lot of conviction to soundstrong, since there are some notes - especially strange open string notes -which don ! t always t neatly into the theory cabinet.

Before we get to the main course, let ! s look at a few of the Tele lick-buildingrules. This way, you can learn how to create your own variations or brandnew ideas based on these licks. Then you can go out and record somecrackin ! good rockabilly music for us to crank up before we hit the town.

Let ! s look at a few chord shapes and the extra notes surrounding the chordtones that we ! ll be using. " R ! is the root, " 2 ! the second, and so on. I ! venoted the b7 to save a little space, and because this note is used quite of-ten:

E shape A shape G shape C (D) shape

For those of you who understand theory (or for those want to know moreabout it) most of the coming licks are neither strictly major or minor. As withmany blues licks, both the major and minor third are used extensively incountry licks.

Additionally, the major second and major sixth add a jazzy avor, and boththe major and minor seventh notes are often included in the same phrase.You may also see connections made in half steps (chromatic) from the mi-



nor third all the way to the perfect fth, and from the root down to the majorsixth. These kinds of stepwise motions in fast melodic lines have their rootsin swing jazz.

By understanding the relationship of the chord shapes to the range of notesavailable, you can add to or subtract from the coming licks to customizethem and make them t in where you need them.

The last thing that needs to be mentioned before you dig in is the rhythmicaspect of these lines. They all “swing” a little. What that means is that thereare stronger accents alternating with weaker ones, and the strongly ac-cented notes are a little longer than the weaker ones (ONE and TWOand THREE and FOUR and). Swing is a hard concept to dene, some sayit! s like a triplet with the middle note removed, but less extremely spaced.It! s hard to nail down.

What ! s important is that swing makes intuitive sense - You ! ll notice howchord tones tend to be placed where the strong accents fall. This is key tocreating strong lines. You can start building a lick by placing a simple ar-peggio on the main beats (or on each eighth note). Then ll in the spaceswith the in-between notes as shown in the diagrams above. We ! ll look moreclosely at how some of the licks are built to give you an idea of how youcan start making your own.



It! s in the right handOne of the most important techniques in getting the licks to sound right iswhat some players call the “claw-hammer method”, “hybrid picking” or just

“pick and ngers”. No matter what you call it, what it comes down to is split-ting right hand picking duty between the pick (held fast between thumb andindex nger) and the middle and ring ngers.

Often, double stops - that is, two notes played on adjacent strings - are of-ten plucked with the middle and ring ngers of the right hand. Faster singlenote runs and chord strums and string rakes are played with the pick.

The effect of playing doublestops with the middle/ring nger pair is twofold:

1) The notes sound simultaneously, giving the notes a piano-like clarity; theattack hap pens at the same time for both notes.

2) We can really add twang to those notes we pluck with our ngers, evengoing as far as to yank them back so they slap off the ngerboard, similarto the way bass players pop the strings. Twangier you don ! t get.

Here ! s a rhythm where this technique works to great effect:

(LISTEN)

A little slap echo and compression make for a good clean country tone. Iset the compressor to about 5:1 and lowered the threshold pretty far, thendialed in about 200 ms. delay. There ! s also a little plate reverb mixed in forsome sense of space.

When you can play the above lick with your middle and ring ngers, giveyour pick something to do! Add in some eighth notes on the low string toaccompany yourself:

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(LISTEN)

Here ! s a classi c (one of THE classic licks) from Jerry Reed. It is based onan A chord - Notice that the rst half of the lick is based on the “E barreshape” at the 5 th fret, and the second half is the “A shape” in the open posi-tion:

(LISTEN) (slow)

One of my personal favorite riffs, and a die-hard Rockabilly standard, is thisone: (LISTEN)




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The difcult thing about this riff are the syncopated melody notes. Whatmakes this idea interesting is the way the bass notes march along un-daunted as the top notes throw in their off-beat stabs. Let ! s break this onedown into parts you can practice.

First, play the bass notes rmly with the pick while palm muting. Notice thatthe low strings are muted, but the top three strings ring clear. Work on yourhand positioning until you get that down:

(LISTEN)

Now, start working in the melody notes. Practice each segment until youcan do it without interrupting the bass note ow! This is key to good self-accompanied playing. Take it piece by piece:

(LISTEN) (LISTEN) (crossing the bar line)

By now you ! re probably itchin ! for some fast lead licks, but here ! s one morerhythm idea. Believe me; this will take some practice. The way the accentscycle through the note pattern makes this gure very interesting. Notice theG chord shape in bar 1:

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(LISTEN) (slow)

The second bar could function as a G7, be cause of the " F ! note, or an Fchord, because of the C note. These kind of ambiguities come into playwhen using open strings. Again, condence is key. If you use the secondbar when the rest of the band is playing G7, it will sound that way, andsame with using it as an F major. Try to come up with ideas of your own byusing chord shapes and open strings. E minor, A, C, G and D chordsshould work well, because the open string notes will t well with the chords.

And now it ! s in the left hand

Get your fretting hand ready, and keep those chord shapes in mind. We!

llstart with some licks in G which mix the minor pentatonic (with b5 note) andthe G major scale. These are great anywhere, and if you kick in the over-drive, they ! re rock licks as well. Watch out for the bending in this one; thosecountry bends are fast and precise: (LISTEN) (slow)













In this lick you should notice that the accented notes in bar 1 are B, A, thenG. Just descending to the root of the chord. The upbeat eighth notes sketcharound that and create some interest. If you were to make those upbeatnotes more " outside ! note choices, you ! d have a jazz line: (LISTEN) (slow)

Let ! s look at a couple simple ideas based on the C shape (This shape hasthe typical " D! grip on the top three strings if you prefer to orient yourselfthat way). In this case it ! s up at the 10th fret - a G chord. The rst ideastarts on the " four ! beat of the bar, and the triplet takes up all of beat four:

(LISTEN) (slow) (LISTEN) (slow)

The second example starts on the " and ! after three, and the triplet falls inthe same place. You can add even more notes before the triplet and startstretching out the lick. It ! s great to practice how to rhythmically place theseadditional notes - it will help you become a exible player.

Here is a great one in the style of Albert Lee. It contains symmetrical nger-ing shapes, so it is easy to remember and get up to speed. The tricky partis the pre-bending; be sure to start really slow and make sure you r intona -tion is good on the bent note.



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This one sounds a bit like Brent M ason, and uses the open B-string amidstfretted notes. Working an open string into an otherwise fretted lick is an oddfeeling at rst; you want to fret somewhere, but have to let go. Again, workit up to speed slowly so you don ! t hiccup on the open string note!

The rst bar starts just above the G barre (E shape) at the third fret, thendescends into the G shape in the open position: (BRIDGE) (NECK) (slow)

Here ! s another hot one, this time in D. The low F# (third of D major) gives ita unique sound: (LISTEN) (slow)















Our nal lick is based around an A chord in the open position. The pull-offsand open strings give it a rolling quality, and it would be a great way to enda song - one last ripping lick to put an exclamation point at the end of thesentence:

(LISTEN) (slow)

So, keep your eyes on those chord shapes, learn to paint around chordtones, and you ! ll be creating your own licks in no time. If you have anymore questions, just drop me an email and I ! ll get back to you as soon as Ican!

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All material copyright 2006 joe dochtermann. All rights reserved, may not be reproduced or redistributed inpart or in whole without express written permission of the author. Violators will be prosecuted.





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