Rockschool Guitar Grade 7 - NatchezTrace

8/9/2019 Rockschool Guitar Grade 7 - NatchezTrace

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Natchez Trace

& TAB

###4 ‰œœœ0

6

0

7

0

8

F

q= 105 C ount r yA

œœ0

8

A

&###œœœœœœœœœœ

&###.

..

œœœœœœœœœ#

OVERVIEW

‘Natchez Trace’ is a country guitar piece inspired byAlbert Lee, Brad Paisley and Brent Mason. It featurespedal steel style country bends, hybrid picking, stringskipping and open-string licks among its techniques.

STYLE FOCUS

Country guitar can be challenging and playerswithin this style use a number of tricks that may benew to you. A key element is hybrid picking. This

involves plucking one string with your pick whileplaying another with the middle finger of yourpicking hand. This can take place on two adjacentstrings or, more commonly, on non-adjacent strings(e.g. you might strike the low E string with your pickwhile playing the G string with your middle finger).A clean playing technique is essential because countryplayers often use open strings that ring out against theother notes to emulate the sound of a banjo.

THE BIGGER PICTURE

Elvis and Gram Parsons sideman James Burtonand singer Jerry Reed were two high profile guitaristswho employed hybrid picking, pedal steel type bends

and open string licks in their playing throughoutthe 1960s and 1970s. Both men were an influence

on the English guitarist Albert Lee. Lee worked as aprofessional musician in the 1960s, but his big breakcame in 1976 when he was asked to replace his heroBurton in Emmylou Harris’ band when the latter leftto play once more with Elvis. Lee’s signature tune‘Country Boy’ was a hit for Ricky Skaggs in 1984.

After being discovered by country legend ChetAtkins in the early 1980s, Brent Mason became asought-after session player famous for his hybridpicking and jazzy western swing influences. Mason

has performed with country giants Alan Jackson,Brookes & Dunn and Shania Twain, and his first soloalbum Hot Wired was nominated for a Grammy.

Brad Paisley is a contemporary country star and asuperb guitarist with a deft hybrid picking technique.

RECOMMENDED LISTENING

To hear Lee’s playing style, listen to EmmylouHarris’ 1977 album Luxury Liner . Mason’s first soloalbum, Hot Wired (1997), combines the guitarist’scountry and jazz influences. Paisley’s 2008 Play features ‘Cluster Pluck’ and includes performances byBurton, Lee, Vince Gill and John Jorgensen.

NATCHEZ TRACECOUNTRY105 BPMA MAJOR

HYBRID PICKINGOPEN-STRING LICKSCOUNTRY BENDS

GLEN PARTRIDGE

KIT MORGAN (GTR)HENRY THOMAS (BASS)NOAM LEDERMAN (DRUMS)

SONG TITLE:GENRE:TEMPO:

KEY:

TECH FEATURES:

COMPOSER:

PERSONNEL:



TAB

4‰œ œ œ0

6

0

7

0

8F

q=105 Country

let ring wherever possible throughout

A

œ œœœœœ œœœœœœœœ œœ0

8 9 8 910

9

010

8 9 8 910

9

010

A

œœœœœœœœœœœœœ œ7 8

78

87

8 11

1110

11 14

14 0

C dim

TAB

œ œœœœ œœœœœœ œœœœ œ

[4]

14 13 12 0 8 910

08 7

0

8 70

5 6

A E 7

. œœ œœ

œ.

‰7

0

3 42

2

0

A

TAB

...

~~~~~~~~

~~~~~~~~œœ

œœœœœœœ œœ

œœ œœ

[6]

2 04

02 0

40

3 42

2

02 3

AB

œœ

œœœœœœ.. ‰

4

3

4 5

5

6

6

7

7

D 7

TAB

~~~~~~~~~~~~~~~~~~

œœœœœœœœœ œœ

œrœœ

[8]

2 04

02 0

40

3 42

2 4 6

0

A œ. œ œ œ Œ7

968

87

96

B 7 E 7

TAB

~~~~~~~~~

~~~~~~~~~œœœœ

œœœœœ œœœœ œ

œ

[10]

2 04

02 0

40

3 42

2

02 4

A A 13

œ œœœ œœœ œ

œœ

3

4 7

7

7 10

10 12

BU

14( )

D E bdim

Glen Partridge

Natchez Trace



&TAB

### ...

œœœ œ œœœœœ œ œ

[12]

1214( )

BD

12( )

RP

109

BU

11( )10

11( )

RP

BD

9( ) 6

0

A

œœœœœ œ . ‰5

6( )BD

4( )BU

6( )5 3

422

E 7 A

PB 4

&TAB

###œœœœœœœœœœœœœ œ

[14]

9

BU

11( )10

11( )

RP

1011( )

BD

RP

9( )BU

11( )10

11( )

RP

1011( )

RP

BD

9( ) 7

D

C

F

œœœœœ œ œ œœœ99

BU

1011

( )( )

BD

99

( )( )

BU

1011

( )( )

BD

99

( )( )

799 7 11

C#m

&T

AB

###œ œœ œœœr . œ œœ

[16]

10

9

9

7

77

79

77

9

B m 7 E 7

rœœ œ465

576

465

354

A 6 A 9

&TAB

###œœœœœœœœœœœœœ œ

[18]

9

BU

11( )10

11( )

RP

1011( )

BD

RP

9( )BU

11( )10

11( )

RP

1011( )

RP

BD

9( ) 7

D œœœœœ œ . ‰99

BU

1011( )( )

BD

99

( )( )

BU

1011( )( )

BD

99

( )( )

799

C#m

&TAB

###Let ring

~~~~~~~~

~~~~~~~~œœœœœœœ œ œ

[20]

9

BU

11( )10

11( )

RP

1011( )

BD

RP

9( )78

11

11

B 7 œœœ

rœ œ. ‰1212

BU

14( )BD

12( )11

1213( )

BU

1211

129

E 7To Coda



&TAB

œœ

œœ. œœ

œœ. œœ. œ

[22]

4654

5765

4654

5765

4654

5765

4654

5765

4654

5765

4443

G 13 A 13 G 13 A 13 G 13 A 13G 13 A 13G 13 C 9A 13

Western Swing

D

q q=3

q q

œ. œœ

œœ. œœ. œœ. œ5554

4443

5554

4443

5554

4443

5554

4443

5554

4654

C 9C 9 D 9 C 9 C 9D 9 D 9D 9 D 9 G 13

&TAB

œ ‰œ

‰œ‰œJœ ‰

[24]

5765

12121111

91011

576

A 13 A 6 / 9 A 6

œ ‰œ ‰Jœ œ ‰

7987

8887

7776

8676

B 13 B 7 5 b9 E 9 E 7 5 b9

&TAB

œ. œJœ ‰œ. œ.Jœ

[26]

17171616

17171616

17171616

[ ]

[ ][ ][ ]

5665

5665

5665

[ ]

[ ][ ][ ]

A 6 / 9 A 7 5

œœ. œœ‰Jœœ> .œ ‰1079

10

1079

10

11101110

D 9 Ebdim

&TAB

~~~~~~~~~~~~~~~~

œœœœ œœœœœœœœ œœœœ

[28]

58 9

6 79

7 811

8 912

9 1013

10

E 7E

q q=qq

œœœ œ œ œœœœ Œ11

1411 12

1512 13

1614

E 7 A

&TAB

...’ ’ ’ ’

[30]

A

Guitar Solo (16 bars)

’ ’ ’ ’D 7

’ ’ ’ ’A

’ ’ ’ ’B 7 E 7

&TAB

...

’ ’ ’ ’

[34]

A A 7

’ ’ ’ ’D E bdim

’ ’‰ ŒA

(Solo through)

’ ’ ’ ’E 7 A

D. %. al Coda



&TAB

### ~~~~~~~~~~~~~~

œœœœœœœœœ œœœœœœ

[38]

2 04

02 0

40

3 42

2

02 3

A Coda

œœœœœœœœ.. ‰4

3

4 5

5

6

6

7

7

D 7

&TAB

### ~~~~~~~~~~~~~~~~~~

œœœœœœœœœ œœœrœœ

[40]

2 04

02 0

40

3 42

2 4 6

0

A œ. œ. œ. œ Œ7

968

87

96

B 7 E 7

&TAB

### ~~~~~~~~

~~~~~~~~œœœœœœœœœœ œ œœœœœ

[42]

2 0 4 0 2 04

0

2 0

3

0

2 0 4

0

A A 7

œœœœœ œœœœ ‰œœ2 0

30

6 75 7 8 7 5

D E bdim

&TAB

###œ œœ œœœ œœ œœ œœœœœ œ

[44]

9 8 7 6 59 8 7 6

9 8 7 6 7 8 9

A

œœœœœœœœœ Œ7 6

9 7 67 9

6 7

E A

&TAB

###œœœœœœœœœœœœœœ œ

[46]

8 57

8

57

8 57 4

57 4

5 6

A dim C dim

œœœœœœœœœ R

œ> ‰

7 0 6 0 5 0 3 4 0

556

E 7 A



Amp SettingsWork with a clean, bright tone and generous reverb. Useyour guitar’s bridge pickup to help get the brightest toneand give your phrases some snap, but boost the treble andmiddle if you still feel your tone is missing a little edge.

A Section (Bars 1–5)The A section is a single-note line that is full of chromaticnotes. Slides, hammer-ons and pull-offs are used to givenotes a smooth, slippery feel. Allow open strings to ring onto further enhance the flowing feel.

Bars 1–3 | Hybrid picking Hold the pick between your thumb and index finger. Pickthe G string and pluck the E string with your ring finger atthe same time. It should strike the string at a slight diagonal,moving up towards the heel of the thumb. Use your pick orhybrid picking for the remainder of the phrase. (Fig. 1).

B Section (Bars 6–13)This classic country melody uses open strings, double-stopsand re-picked bends. The 6 th interval is used extensively.

Bars 6–13 | Consistent hammer-ons and pull-offsAvoid rushing hammer-ons and pull-offs, otherwise the firstnote won’t sound for the correct amount of time.

C Section (Bars 14–21)This is based primarily on different types of string bends.

Bar 15 | Double-stop bendsThis double-stop bend should be played with your thirdfinger on both frets supported by your first and secondfingers (Fig. 2). As you push or pull the string, make sureyou maintain pressure into the fretboard to keep the noteringing for the duration of the bend.

Bar 21 | Oblique bendsAn oblique bend is a string bend played simultaneously withat least one un-bent note. Play the bend in beat one withyour third finger supported by the first and second fingerswhile playing the E at the 12 th fret with your fourth finger.Use the same fingering for the lick in beat two.

D Section (Bars 22–27)Here the piece moves to a swing feel. Extended chord shapesare used to give the section its western swing feel.

Bars 22–27 | Fast chord changesAlthough it may appear complex, each bar is made up of asingle chord shape shifted up and down a semitone. Lockyour hand in position and move your whole hand ratherthan individual fingers.

E & F Sections (Bars 28–47)The E section is the guitar solo, while the F section is areprise of the C and B sections. The final four bars consistof a chromatic run that is followed by two diminishedarpeggios then an open string lick that leads to the last

chord of the piece.

Bars 30–37 | Guitar soloIt is a common mistake for soloists to look for somethingnew to play in every bar. Usually, the most well-constructed,memorable solos will have at least one element that isrepeated even if it is just a rhythm or melodic hook. Bearthis in mind here.

Walkthrough

0 101 9

2 8

3 74 65

0 101 9

2 8

3 74 65

0 101 9

2 8

3 74 65

0 101 9

2 8

3 74 65

0 101 9

2 8

3 74 65

BASS MIDDLE TREBLE DRY – WETGAIN

Equalisation ReverbClean

Channel

Fig. 2: Double-stop bends

&TAB

99

BU

1011

( )( )

BD

99

( )( )

BU

1011

( )( )

BD

99

( )( )

799 7 11

C m

33

313

Fingers:

Fig. 1: Hybrid picking

&TAB

###

A

A = annular= downstroke

M = middle

M A M M A M

0

8 9 8 910

9

010

8 9 8 910

9

010

A

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Rockschool Guitar Grade 7 - NatchezTrace