Lyle - Country Tune

Oh, okay. So we're gonna record this. 'cause then, then I think they're gonna be put up on the Guitar Gate site after, so that people can tune in. Okay. So, um, guys, thank you so much for being here. Appreciate you coming to another one of my streams. Um, and hope y'all are doing well. Um, I guess like before we get started, like does anyone have any exciting plans for the fourth? Doing any, uh, you guys doing anything cool. If having a family barbecue is cool, I guess I'm cool. Cool. I mean, I was, you know, I was hoping someone would answer. I'm just gonna spend the whole weekend practicing whatever you show me. I just assume that's, I just assume that's what you guys were gonna be doing. Um, That's what, that's what we'll doing. Yeah, for sure, man. Yeah, I gotta play a gig down in Jersey on Thursday, so, and, and we all live up in Massachusetts, so it could take five hours, it could take 11 hours to get down there. So I, I think we're gonna leave like three in the morning, just, just, just to play it safe. I'm just kidding. It's not actually gonna be that early, but, you know, anyw who, um, so I got the audio situation all worked out, so, um, maybe what we'll do, I'll just, uh, I'll just play this, uh, play this tune so you guys can hear it. Cool. So I'll just share my screen real quick. Um, yeah. And then share sound as well. Alright, where are you? There you are. Loud Brew guitar. Good stream. I like that. Are you guys able to hear me okay? Yep. Cool. Okay, cool. So I just try to write a, a relatively simple and straightforward country tune in the key of a and, um, you know, uh, have, have kinda like a new, like a new phrase each time that goes through the standard 12 bar form here. Um, so I'll just kinda, uh, go through the individual lines again and, uh, I'll show you how to play 'em. So I'll go back to the beginning and, uh, I'm just gonna play this opening line, um, and then, uh, I'll, I'll show you how to play it right. All right, cool. Stop that. Share real quick. Okay. If you guys are just joining the stream, thanks for being here and, uh, uh, great to B roll. Okay. Key of a, so we're gonna be playing out of this like major pentatonic shape. Um, uh, I would imagine you guys have probably played the shape before. So fourth finger on the A and you're gonna play, uh, um, 4, 1, 3, 1, 3, 1, 3, 1, 4, 1, yay. Major pentatonic. And the F sharp minor pentatonic are the same thing. So a of, um, a bunch of this line is gonna exist in that kind of general area, and it's also gonna have some open strings as well. So check this out. I'm gonna slide from this B to the C. So I'm playing fourth thread of the third string. I'm gonna take my pinky finger, slide it up to C, and then I'm gonna play C sharp. So I'm adding just, um, I'm adding that C as just a, a bit of chromaticism. Okay. Um, if you know, if you know like an F sharp minor scale, like an F sharp minor pentatonic scale with the, uh, like the extra blues note. It's that same note. Okay. So, so it's kind of, it kind of sounds more like an sharp minor line at the beginning. I'm gonna do a slide up to C and a slide down from C to B. I'll just play that a couple more times. Three, four. Cool. Alright. And then we've got an A to a pull off to with the open G. It's gonna sound like this again. 2, 3, 4, 2, do one time. Okay, cool. So, And Then I'm gonna play F sharp. Yeah, F sharp. Fourth threat, east, second threat, sorry. Three, four. Okay, cool. All right. So, um, the, like, the speed and the pace of which I like, which I go like for this stuff is completely up to you guys, right? If I'm like, if, if, if like everything's cool, I can just, you know, I can just kind of like keep going. Uh, if you want me to kind of like, if you have a question about a fingering or an accent or a slide or how anything works, the whole point of this stream is to help all you guys get better and to, to show you something cool to play. It's not about like me demonstrating a certain amount of information. So, um, if at any point during this you got a question, you wanna make a comment, you gotta, you know, you got something to say about how this thing goes, uh, you can either put something in the chat or you can, if you wanna like, unmute yourself and, and ask a question, that's cool. All right. So, okay, after we get to this e it's gonna fall like an a, an a minor blue scale. So check it out again. I just keep playing. Okay? We're almost home free. So A C, C or sorry, ECCA. So, all right. So, okay. Uh, in my opinion, that's a good guitar, like to learn for the upcoming 4th of July, you know, you know, it's like, it's like, hey, like, you know, like there's, I mean, if I was at a barbecue, I'd be like, Hey bro, like there's gonna be two different fireworks displays. There's gonna be that one, and then there's gonna be like this one on my ax, bro. Okay? There are gonna be two firework shows in eyebrows, Okay? If one year, uh, practicing this, right? Um, it's a lot like, uh, like when, when you were in, in school and you tried to, you know, you kind of, you like your math teacher, like, you know, had a competition to see who could learn the, you know, the most consecutive offers, you know of that, you know, that super long number pop. I like when you first start saying it, it's like you don't really know what it means and you're just going like, okay, like it's this one, then it's this one, then it's this one, this's this one. And once you hear it a bunch of times, like you kind of start to get a little more familiar with how it goes. So just take it like note by note. Then at the end, it's just a minor pentatonic scale, but I'm gonna be playing that using open strings. So, uh, pardon me, trying to find my fender medium pick. Do I not have it? Ah, ho wash. Alright. 3, 4, 2, 3, 4, 2 more times last time. Three, four. Alright, so just like everything else on Gza, the faster you play it, the cooler it sounds, right? Okay. So, um, if you guys have any questions about that, we can stand this leg and if not, I'll go to the next one. Okay? So, um, hmm. I said all Good Here. Okay. All right, cool. So, uh, this is a 12 bar blues, right? The first chord is a second chord goes up to D. So, um, like this, this is kind of a, uh, this is kind of like a, a common thing that a lot of like country guitar players do, although they'll kind of like create a line off of a chord. So I'm playing a fragment of this D chord record. Um, the notes are a, c and F sharp, like these are actually the same three notes of this chord. This d it's a D dominant seven, but I'm just gonna be playing the notes up here instead. So A, C and F. Yeah. And what I, well, what I'm gonna do is I'm gonna keep the, I'm gonna keep the open string available like that, that high E 'cause I'm gonna use that in the line. So, and I'm gonna do something with the right hand. It's like a hybrid picking thing. You know what a hybrid picking is? It's when you use your fingers in the pit combined. So I'm, I'm playing a f it is gonna be a group of, uh, a group of three notes going down, like, and that's what's gonna make it sound cool. 1, 2, 3, 1, 2, 3. So you got a 1, 2, 3, 1, 2, 3. So pick third, second, pick 2, 3, 4, and then you're gonna take your four finger and raise it up a half step. And then F sharp open E. So I would break this down into two different parts, the first part, then we took the next part. So I have G, C, D, or sorry, GCAF sharp, open E Yeah, if you wanna do hybrid picking, you can, if you wanna use the pick, that also sounds cool. Cool. Okay, so, okay. Okay. So you put those two things together, check it out, 1, 2, 3, 4. This one twice is the next one. Then I go back to the first, like, all right, so I'm, we go to the EEC chord, okay? Now, I personally have a great time doing all this kinda twangy country stuff. Uh, and I, I really, um, you know, just a, like a few, you know, important characteristics of the music. A lot of it is gonna be, a lot of it's gonna be kind of focused on playing close to the bridge in the right hand. And it's gonna be kind of, um, trying to come up with lines that are on the bottom strengths. Like it's a, like, it's just a really big part of the history of country guitar. So over the e chord, I'm gonna play this kind of like major pentatonic thing, so EGGB, And then I am gonna bend up to E but I'm gonna bend up from a half step below. So take this, uh, e flat on the A string with your third finger, bend it up a half step. Now, I guess you could go, but there's something about, like, there's something about that that like half step Ben, I really think is cool. I dunno, it just, it sounds like there's like a little bit more attitude in there. Okay? And then I'm gonna go down to the four chord, and this time I'm gonna, I'm gonna play almost the same lick. So I'm starting the same way, you know, relative to where I'm at open DFF sharp A. So now, so, uh, as opposed to starting on the e stringing, now I'm starting on the D-ring. Yeah. And then when I bend this B up to C, see, so, uh, bend the fourth fret up a half step. Yeah, put those things together and you get this. Okay. Um, lemme see if I can get a little overdrive on here. Ah, my overdrive pedal, I if I need that much. Not that much gain, bro. I get it, I get it. I don't need that much. Something like Right. Makes it a little less harsh, easier on the ears, I think. Okay, so, so the whole first time through the A section, gotta sound like this. 1, 2, 1, 2, 3, 4, 2, 3, 4. I'm recording back to the first line. Okay? All right, cool. Do we have any questions about that so far? Any questions? You're like, you're like, uh, where can I buy a cowboy hat? I don't know. I had to buy a, um, I had to buy a, uh, red Sox hat and I had to buy, well, I shouldn't say I had to, I bought a Red Sox hat and I had to get an embarrassing huge size. So I mean, even I, like, I've gone to cowboy hat stores and tried try 'em on and I wasn't even close. So it's, um, you know, it's like not an option for me, but, you know, uh, it's all good. It's all good. If I got a cowboy hat, I'm sure it wouldn't stay in my house long. I'm sure my mind probably, I'm sure my wife would throw it out. Any who? Um, cool. Well if you guys don't have any questions about that, then we'll go on to the next, the next line. Alright, onward. Next on, uh, okay, I'm gonna share my screen again. Okay, now you'll see down here I have 232 unread text messages. Don't look at that. Okay. All right. So we have, uh, we have some stuff we gotta figure out here because, um, can't really have a country song without bending, bending a couple strings, right? So what I did, I took a couple, I took a couple like relatively common shapes and just try to come up with a line that I could move from the one chord up to like the four chord. Um, a real big part of this style is trying to keep the bend as intune as possible. And the reason that, the reason that, um, uh, the reason that precise bends sound more country than other types of music is because what we're trying to do is kind of simulate what happens with a, with a, a paddle. Uh, these are kind of paddle steel inspired, uh, darex. Think about the mechanics of a steel. Uh, the thing that actually pushes the note, um, that pushes the note to go up a whole step is when the pedal steel player takes the pedal and pushes it all the way, pushes it all, pushes it all the way against the floor. So in order to recreate that, when we do the bend, we want to go all the way to where the note is perfectly in tune, and then we want to keep it there, and then when we bring it back, we want that to happen all at once as well. It's not to say that gradual bends don't happen with pedal steel are, but for the most part, if you wanna pedal steel sound, try to go straight to the note. Um, so, uh, like, just keep that in mind. So our first band, um, we're gonna have, we're gonna have, uh, the b and the E 12 and 12 of the top two strings I'm gonna play. So my third and fourth finger, and actually I'm gonna keep, I'm gonna keep my, my second finger on the B string as well. When I do this, I could do this bend and not use my first and f*****g fingers, but man, like that is so much harder for me than to just keep my second and third fingers on, on the B string. So, so, um, why don't we just try playing these two notes at the same time and I want you to bend this third bend the second string up the whole step, okay? Alright. So I'll let you guys in on a little here. I can see you bending, but I can't hear it, so I have no idea if it's in tune or not. So you, uh, you know, well, you tell me. Okay. Something that you'll, you'll probably find that ends up happening when you do the bend, your, the, the, the finger on the estring is probably gonna come along, right? Like, like that's probably gonna want to go along with the bend. If you do that, you end up with this. So it's important that you keep the e um, that you keep the e in tune and don't allow the e to travel with the band. Um, to me, um, uh, to me it's a lot like, um, I, uh, it's, it's kind of like, it has to feel like the fourth finger is being pulled down in order for the fourth finger to stay where it is. Okay, cool. So, um, Good question. Good question, Laurel. So that, I mean, can do that, do that bend, can't you do it on the, the G and the B here too? Uh, uh yeah. Uh, A little easier to bend there That way. Yeah. Yeah, it's easier. Well, I mean, I think it sounds um, I think it's some, yeah, w well, I mean, I think it, it just, it just depends on what you're after, you know, because Yeah, sure. Be, because eventually what we're gonna do is we have to, we have to end up getting all the way down here too. So it just, it just like depends, whatever. So, um, okay, so we do this bend, we've got, so do the bottom bend with the pick. So it's gonna be play the bottom note, bend up a whole step, play the top note, play the bottom note, play the so buddy, but with Ben, 2, 3, 4, 2, 3, 4, 2, 4. Okay. So one of the important things is trying to create a separation between the strings and make it sound really crisp. So I'll, I'll play this pretty spec oddly, you know, um, if I, like, if I'm doing it fast. So I sometimes do it like I'll have to pick on the B string and then I'll do a hybrid pick on the e stringing. So check it out. Cool. All right then. Okay, on this one I'm doing a hybrid pick all the way, Taking my second finger, sliding it under the B string, playing this e-note going up a whole step. Yeah. Okay. Common misconception about, uh, hyper picking, chicken picking is that you have to have like, you know, you have to have like super long nails in the right hand in order for it to work. That's not like the case at all. And sometimes having nails are too long works against you because the thing that actually makes the percussive sound is the strings hitting the fretboard. It's not actually the sound of your nail, it's the sound of the string going. It's the sound of this, you know? So when you watch someone like Brad Paisley play, he's getting way under there. Like if you look at where the indentation is in my, my finger, it's not on the nail. It's like halfway up, it's like right there. So just a little interesting factoid about, uh, hybrid picking. It's a lot of like getting way under. So With this line take, take the e bend it up, and then we're gonna start bent, we bend this B up to C sharp, then play a, okay, here's that same major Panasonic skill we talked about, right? Okay. Um, like this is a cool trick I learned. So this is actually, uh, this is actually super closely related to what Darren, uh, Darren was talking about earlier. So, right, so like, like if we were to take like this, Ben, you were talking about Darin, right? And play it down here. So I have a way of playing this that I really like. You actually play the E as open. So you play, uh, fourth front gstr B, and then you play an open E You actually, so you, you are, uh, only playing the G in the ees stringing, and man, it's like, it's so much more comfortable than trying to keep your four finger there. The other thing you could do is like, you can let the e sustain, which is really nice, cool sound. So, um, as I was saying before, you always want to bend the third finger with the second finger bending too. Um, because it's, it is just like, I mean, with your, with your third finger doing most of the work and your second finger helping, it's still pretty hard, you know? And it's, it's still pretty physically challenging. So to do this with like, with no help and the third finger, I mean, you know, like if that's, if that's what floats your boat, man, like, then that's cool, but I wouldn't wish that on my worst enemy. Like that just seems super hard. So, um, 2, 3, 4. Play it again. 2, 3, 4. Hold on. 2, 3, 4, a little faster. You guys wanna practice along with me again? 3, 4, 2, 3, 4. Okay, cool. Alright, cool. I, uh, I sometimes feel like a, yeah, I sometimes feel like, I feel like after this I need like a, you know, be nice if like a a, you know, someone came with like a, uh, eye extinguisher. I'm just, you know, well, I took care of my hands 'cause like I feel like they're about to fall off. Alright. Um, cool. Okay, so something that, you know, I'm always talking about right, is like, you know, if you, if you learn a line, if you learn a line in the key of a, try to learn it in the other keys that like to hang out with a right, like, you know, obviously the four and the five court and in a lot of this country stuff, you know, it, the fact that it's like, like the fact that it's like, uh, pretty out in the open and it's pretty straightforward. And a lot of times, you know, there's a line on the, on the one court, and then there's a same line on the four chord. Like, that's part of what makes the music sound cool is that it's like lean and mean and straightforward and you're not like beating around the bush. So, um, when I was coming up with this, I was like, well, I like that line. Hey, why don't just play in d? So on this line, it's exactly the same. I just played it up a fourth except for the very end. Um, I did a bend from the second to the major third. This case they give d. So, um, but I spread out the, uh, I spread out the, um, uh, the accompaniment note. So rather than going like this, I put this pinky finger on the high D, which I think can be a cool sound. So 2, 3, 4. Yeah. So what I'm doing, you know, it's exactly the same as it, it was in, um, an A, but just, it's just a last bend that changes because now I'm playing e on the gtr fret number nine, and then D on the E string fret number 10. So it's kinda like I'm doing All right, But I'm just taking the two outside notes. So I've got B with my third finger D with my pinky finger playing at the same time. Bend the E up to F sharp. Cool. All right, cool. Uh, when I went back to EI think I played the same line I did before, um, something about like that bend too. Like you can kind of bend up to E and then, because there's a DA threat, you almost get this if you, if you kinda like slowly release the Yeah, yeah. Somewhere in between Don Rich and, uh, only at Don Naomi. Okay. Um, cool. So the line after that, so like, this'll be nice as it gives our, uh, our like, hand a break. It's all these freaking string bands, man, starting to eat away at my chops. So, um, this is kinda like a harmonized line of, you know, kind of like a, a standard country thing. Um, I mean, I don't know, like, I, like, I think I first heard that and like, act naturally by the Beatles, right? Right. I can't remember if I'm putting that in the right key, but, um, doing be, do be, anyway, So key of a a, a D hammer onto EG. So it's really just like a, a pentatonic. It's not even minor pentatonic. So I'll play it real slow. Ready? 2, 3, 4. Okay, so I'm gonna harmonize the top string. Um, I'm going to harmonize the A with G sharp. Um, usually if you put a harmony on top, it's gonna be a, a third of third above. So what I mean third above, I mean, do dear right? Do ray me harmonize dough with me, dough me, and then I'm gonna harmonize this G with the open B, it's also a third away, so check it out. I can be a little bit tricky to get the right hand because what I'm doing is playing the G string with my second finger and the B stringing with my third finger. So I've got pick hybrid, then pick hammer. Okay. Um, the pattern is gonna change the second time I do it. So, so like, here's the first time, here's time number two. So the first time it starts with the open day and the second time, excuse me, geez. Oh man, I'm allergic, I'm allergic to the internet, so, okay, cool. So I think in the track, I gotta listen this one, uh, Gregory, you're a little bit late my friend, so I think I just took that up on fourth. Yep. So when it goes up a fourth, it's all gonna be built on this like d major group. Excuse me. So, um, so imagine that, you know, like you just have a good, a deep Panasonic, that would be a good place to start. And then put the harmony on top. I put the harmony. If you use your third finger, that's cool. If you want to use your pinky finger, that's cool too. It's really up to you. So a d all right, uh, do you have any questions about that so far? Any questions at all? All right, so let's see. Let's see if I can remember all the parts. I know I'm going to forget, but let's just pretend that I don't, that don't forget all the parts. So let's just do like a review. So from the top, 1, 2, 3, 4, here's the thing. We just, anyway, so cool. Those are all the, uh, those are the only three country guitar likes. I know, I promise I showed you guys everything I knew and it only took an hour. Like, can you believe it, man, that's like Only 54 minutes. Only 54 minutes. Everything, you know, in 54 minutes. I had a guy come in, um, one time for guitar lesson. He goes, uh, I wanna learn how to play jazz, and I want to learn how to play like Chet Atkins. And I, and I was like, well, are you gonna come for like 10? Are you gonna come for like a hundred lessons? Like, like, because like, like that's a lot to do, man. You know, like, I, I wanna sound like, I wanna sound like West Montgomery and Joe Pass. I'm like, well, great, if you like, you know, if you can sound like Joe Pass and Chad Kin, that's, that's, that's, that's saying something. Um, cool. So, uh, in the track, there's uh, a section for you guys to, um, play over too, so there's like an improvisation section. Um, so, um, and like you can probably answer this, um, Darren too. So if people, like, is it, is it possible for people to record, to like play over the track and then like submit videos to the site? Yes. Yeah. Yeah, it would probably, the way he's posting these is in a different place than what was in the, uh, master classes, so I'd have to check to verify that. Otherwise, I think, um, it should, I mean, it should work. Okay, cool. Yeah. If not, we'll tell Michael to make it work. Cool. Yeah, yeah, yeah. Awesome. Nice man. Sweet. Well, yeah, um, I don't know, uh, do you guys, do you guys like play a lot of this kind of stuff? Like, are you into like country players? Like who are your like, main influences or like people that la you like, Love me some Danny Gatton, but I can't play like that at all. Yeah, Well he was like, he was The humbler, right? It's crazy, man. It's crazy. Yeah. All I do is play guitar and listen to him, and I'm like, I have no idea what he is doing. That's great. And it was interesting with him too, because, because, uh, like there's you, like, you know, so much stuff. He would, you know, he, he would, he had this way of kind of, you know, taking, taking what was so great about another instrument and kind of putting out guitar, you know, like he would like, I, I mean, I think, I think his, his best stuff is what he did with the right hand, you know, because like, you know, like he would do stuff like, like some of his, like right hand like Boogie Woogie piano stuff where he is like, it is like so ridiculously hard to do and he does, you know, and he helped, like, he just seemed like he could do, he could do that kind of stuff for hours and hours and hours he had. So he had so many things worked out, you know? Yeah. Had to throw those banjo rolls in there too, huh? Yeah. And it's, it's, it's interesting too because like, he made this like, instructional video in the eighties and like, you can kind of tell like who has, like, who has gone through it and worked on it and who hasn't because it's like every time, like, you know, I don't know, like, you know, some kinda like modern, really great like country player comes along. You can usually, you can usually trace a lot of that stuff back to like what Danny was showing how to do, You know, something like Billy Strings. Yeah. Well, well like Elliot is like his own thing because he is, you know, you know, because he is, he's so much a student of like Doc Watson, you know, it's interesting, like if you list, like on his first record, you put out a version of, um, of a black, a black mountain rag, and it's like exactly like docs, you know, it's, I mean it's basically like a tribute to Doc. He sounds just like him. It's crazy. So, So is that instructional video, is that part of the hot? Yeah. Yeah, he ended up making a couple, like, he made the Hot Lakes one. He made one called, I think it's X and Tricks. Um, so he, yeah, he ended up doing a couple. Um, alright guys, well hey, um, I wish you the best of luck and uh, check out this tune. I hope you enjoy it. Um, and uh, yeah man, I mean, I mean, if you, uh, like, you know, like if you start practicing now, guys, you can get this tune together for Thursday. Everybody comes over, they start eating hamburgers and hotdog. You get your guitar, you show 'em all, you show 'em all these cool licks. I mean, I don't know man. I just, I don't know. Uh, like, I think it's like, I think it's gonna be a good holiday, you know what I'm saying? Wait on acoustic for extra help. Right? Ugh, Acoustic, Acoustic, all those bends will be so much easier, right? Yeah, yeah. Right. Oh man. Yeah. So if you actually like, yeah, well, I mean, uh, if you don't, if you don't watch your hand at feel like it's gonna fall off, if you want to actually hurt yourself, then yeah, play it on acoustic. Great. Um, alright guys, well Thanks Lyle. Great to see you all talk to you. Thanks Lyle. Yeah, of course.