To solo fluently in any style you have to acquire a vocabulary of licks and their phrasing in that style to be able to improvise authentically. This is especially true for country guitar, where it's not only important which notes to play but also how to phrase those notes. No other style of popular music demands as much technical mastery of right and left-hand techniques and that's why so many blues, jazz, and even rock guitarists borrow and steal licks from the masters of country guitar.
In this collection of 30 Burnin' Country Licks, master country guitarist, Lars Schurse fills your vocabulary with versatile licks inspired by legendary players including Brent Mason, Redd Volkaert, Albert Lee, Jerry Reed, and Johnny Hiland to name just a few.
”This collection of my favorite go-to licks and moves contains a lot of the techniques, phrasing concepts and pro tips that I've learned over the last 20 years of playing country. As you begin to understand the underlying concepts of these 30 licks, you'll then be able to extract them and create your own signature set of licks. Many of these licks are key specific and you'll learn how to address all the challenges of a specific key, especially the ones used in electric Country soloing: A, G, C, and D. Most of these licks are played medium- and up-tempo. Some are played in a more bluesy vain, others use the major pentatonic scales.”
All of the licks are presented over a rhythm track and then broken down note-by-note, technique-by-technique. Every lick is played three times at regular speed, followed by three times at a slower pace. This ensures that you can pick up every nuance of every single technique within the lick. As a bonus, Lars added two full-length solos that contain several of the 30 Burnin' Country Licks, so you can see them in action.
strong>From Blues to Country - Lick 1 "Lick 1 is called "From Blues to Country". It's an A7 lick that I heard in Brent Mason's playing. It uses the A blues scale with an added major third."
Noodlin' - Lick 2 "Lick 2 is called "Noodlin'". It connects 3 postions and combines open string ideas with bendings and slides, played over an A7 chord."
Been Caught Steelin' - Lick 3 "Lick 3 is called "Been Caught Steelin'''. It covers a lot of ground on the fretboard and combines pedal steel bendings and double stops, all played over an A dominant chord."
From Minor to Major - Lick 4 "Lick 4 is called "From Minor to Major". It's played over an A7 chord, starting with the blues scale with an added major 3rd. It ends with the major pentatonic with the flat seventh added."
South of the Mountain - Lick 5 "Lick 5 is called "South of the Mountain" and is played over an A dominant chord. It's a lick I learned from listening to Steve Pitico. Here the blue notes are added to the Mixolydian scale."
Double Stop It - Lick 6 "Lick 6 is called "Double Stop It" and is played over an A dominant chord. It combines double stops in 4th and 3rd intervals taken from the Mixolydian scale with the added blue notes."
Repetitive Compulsion - Lick 7 "Lick 7 is called "Repetetive Compulsion". It's a classic Brent Mason repetition lick based around the open A7 shape."
Catchy Chromatics - Lick 8 "Lick 8 starts out as a blues lick that later adds chromaticism to the Mixolydian scale. Therefore, I called it "Catchy Chromatics". It's played over an A7 chord."
Hip to B - Lick 9 "Lick 9 is called "Hip to B". Like the name suggests, it's played over a B dominant chord. It uses chromatic ornamentation of the notes of the B7 arpeggio."
At the Barn Dance - Lick 10 "Lick 10 is called "At the Barn Dance". It's played over a B7 chord and starts out with a classic major pentatonic lick."
Royal Albert - Lick 11 "Lick 11 is called "Royal Albert". It's a repetition lick in the style of Albert Lee that uses 2 shapes to outline the C7 chord."
Spicy Pentatonics - Lick 12 "Lick 12 is called "Spicy Pentatonics" and is played over a C chord. It's a phrase, one that I heard in Johnny Hiland's playing. Here we see how you can make your major pentatonic scale sound more interesting by adding chromatic passing tones and open strings."
Horizontal Sixths - Lick 13 "Lick 13 is called "Horizontal Sixths" and is played over a C7 chord. It starts out by playing sixths taken from the Mixolydian scale and ends with a phrase in the open position."
Open C - Lick 14 "Lick 14 is called "Open C". It gets its bluegrass sound by adding blue notes to a first position C Mixolydian scale and therefore is played over a C7 chord."
Picking in D - Lick 15 "Lick 15 is called "Picking in D". It combines the D Mixolydian and blues scale in the open position and is therefore played over a D7 groove."
Open String Thing - Lick 16 "Lick 16 is called "Open String Thing". It's a phrase in the style of Johnny Hiland. The open strings lead to its harp-like cascading sound. It's played over a D dominant groove."
Cascading in D - Lick 17 "Lick 17 is called "Cascading in D". It is a phrase quite similar to lick 16. Again it starts with an open string idea, but this time we"ll end with some double stops taken from the D Mixolydian scale."
Chromazones - Lick 18 "Lick 18 is called "Chromazones". It's played over an E7 chord and uses - as the name implies - a lot of chromatic passing tones in measure one. Bar 2 utilizes pedal string bendings and open strings for bigger intervals."
68 Tele - Lick 19 "Lick 19 is called "'68 Tele". It's another lick in the style of Brent Mason and is played over an E dominant chord. It starts out with a classic pentatonic lick and ends with a repetition phrase that is quite similar to the one we came across in Lick 11."
Reed Jerry's Lick - Lick 20 "Lick 20 is called "Reed Jerry's Lick". And you might have guessed it, it's a lick in the style of the late great Jerry Reed. It uses a lot of open strings and is played over an E7 chord."
Open String Thing 2 - Lick 21 "Lick 21 is called "Open String Thing 2". It's played over an E dominant groove and makes frequent use of the open E and B string."
Rolling Forward - Lick 22 "Lick 22 is called "Rolling Forward" and is played over an E7 chord. It's something that I learned from Johnny Hiland's first album. The forward rolls in the first bar make it easy to play the lick fast."
Redd Hot Lick - Lick 23 "I learned Lick 23 by transcribing Redd Volkaert's music. It's played over an E dominant voicing. I called this one "Redd Hot Lick", played in E."
Bebop Country - Lick 24 "Lick 24 is called "Bebop Country". I heard it in the playing of Clint Strong, Redd Volkaert and Johnny Hiland. It's notated in the key of F, but it's easily transposable."
Giant F-Lick - Lick 25 "Lick 25 is called "Giant F-Lick". The first phrase is based on the F major triad, the second half features a pedal steel idea. So, let's check it out."
Pulling Open Strings - Lick 26 "Lick 26 is called "Pulling Open Strings". This lick creates a restless effect by adding open strings to pattern E of the hybrid scale. It is played over a G7 chord."
G Force - Lick 27 "Lick 27 is called "G Force". It's another lick in the style of Brent Mason that starts in the D position and works its way down to the open position. Like the name implies, it"s played over a G chord."
Steve's G-Lick - Lick 28 "Lick 28 is called "Steve's G-Lick". It"s a G dominant lick in the style of Steve Pitico, that features unpredictable intervallic jumps through the use of open strings."
Descending in G - Lick 29 "Lick 29 is called "Descending in G". I came up with this when I tried to write a lick in G that is in the same vein as Brent Mason"s famous "Hot Wired" lick, which is in A."
Cascading in G - Lick 30 "Lick 30 is called "Cascading in G". It's a lick that is quite similar to lick 17, only that it is played over a G7 chord and therefore it uses the G Mixolydian scale plus minor 3rd."
Pick It Up - Bonus Solo 1 "Solo 1 is called "Pick It Up". It shows you how to put some of these licks together to a long solo. It's important not only to learn those licks, but also to practice applying them. You should be able to connect them smoothly by adding small phrases spontaneously or even planned. You can play into the lick by adding a short pick up or play a couple of notes at the end of it to lead into the next phrase. Solo 1 gives you an example how to achieve this by connecting Lick 8, 16, 2 and 20."
Take the G-Train - Bonus Solo 2 "Solo 2 is called "Take the G-Train". It features Lick 27, 14, 26 and 15. All are played over a fast train beat to get a sound in the style of the great modern country pickers, such as Brent Mason and Johnny Hiland."
Lars will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the licks. Plus, you’ll be able to use TrueFire’s learning tools to sync the tab and notation to the video lesson. You can also loop or slow down the videos so that you can work with the lessons at your own pace. All of the backing tracks are included to work with on your own as well.
Grab your guitar and let’s ‘burn’ with Lars Schurse!