AC/DC - Fun Bluegrass Licks Guitar Lesson

Chapter 1: (0:33) Intro Music Steve exhibits some fancy bluegrass pickin’ to start things off. This lesson features a clear and concise explanation of several great bluegrass licks. In the scenes that follow, Steve demonstrates how these licks are incorporated into the context of a bluegrass song. Chapter 2: (0:24) About the Lesson The licks presented in this lesson are primarily used to begin or end a song. Steve isolates each lick individually. Upon the conclusion of this lesson, you will be able to insert these licks into any bluegrass song. Chapter 3: (4:08) The First Lick A. Music Theory

The first lick is best described as an effective introduction chord riff. The static rhythm of this riff builds tension and anticipation. It grabs the listeners’ attention and pulls them into the bulk of the song.

This particular lick is in the key of G. From a theoretical perspective, the lick begins with a Dsus4 sound. The sus4 is created by the F# (3rd of the D chord) hammering onto G at the fifth fret. G is the 4th scale degree of D. The sound of suspended chords tend to leave a listener “hanging” or literally suspended.

In the key of G, D is the dominant chord. Dominant chords create tension that requires resolution. These chords typically return to tonic or home base. In this case, the tonic chord is G.

B. Playing the Lick

The fingering of the first chord closely resembles that of the open A minor shape. The second and third fingers fret the two low strings at the 5th fret. Although the second finger is fretting the lowest string, the low E string should not be played. This finger is planted here to create ease of motion into the second half of the lick. The first finger plays the F# at the 4th fret. This note is hammered onto the fifth fret G with the pinky. Drill this awkward hammer-on until it feels relaxed. Be careful not to mute the open G string below. It must ring throughout the duration of this chord. Only the A, D, and G strings are strummed in this chord.

C. Rhythm of the Lick

The strumming rhythm of the lick moves along quite rapidly. Like always, start slowly and gradually work up the tempo. The rhythm features of a group of four sixteenth notes followed by two sixteenths and an eighth note. This can be counted as 1 e and ah 2 e and or Mississippi, Monkey Run if you remember Steve’s pneumonic devices from earlier lessons. The hammer-on occurs between the first two sixteenth notes of the pattern.

Play this pattern for a measure and a half. Then, walk down the scale in eighth notes starting with D.

Note: Click the “Supplemental Content” tab for tablature to this lick. Chapter 4: (7:02) Another Bluegrass Lick A. Music Theory

This lick is quite reminiscent of the melody to Thelonius Monk’s jazz standard, “Blue Monk.” The lick features a chromatic pattern of ascending then descending major thirds. Essentially, the lick is a harmonization of the G Major scale with the blues note (b3) added.

B. Playing the Lick

Begin by playing the open B and G strings together simultaneously. This begins a harmonization of the G Major scale in thirds. Then, continue to slide this shape up until your first finger is playing at the 3rd fret. Remember that the “blues note,” or b3 is frequently added to the Major scale in bluegrass licks. Pay careful attention to where Steve adds slides into the lick. Finally, descend the pattern back down.

Note: Click the “Supplemental Content” tab for tablature to this lick.

C. Rhythm of the Lick

If you play the full lick as described above, it should be played as a measure of eighth notes. Steve also demonstrates the lick by playing the second half of the lick by itself. He begins with a major third shape at the 3rd and 4th fret. He then slides this shape down chromatically in eighth notes. The rhythm of this segmented is counted as +4+. Practice this lick with Steve at 3:20.

D. Variation on This Lick

The lick can also extend further up the neck. The pattern slides up to the notes C and E. These are the most important notes in a C chord. Notice how the fingering changes to accommodate this variation.

E. Where Can This Lick Be Used?

This particular lick is extremely versatile. It can be used as an excellent intro to a tune as well as brief interlude. Closing with this lick is a strong way to end a tune or long improvised jam. Watch how Steve incorporates the lick in the context of each section of the song. This lick can also be combined with the descending lick from a previous lesson. You’re guaranteed to drop jaws if you end a tune with a combination of these two great licks!

Chapter 5: (5:32) High Descending Lick This lick expands upon concepts learned in the previous Bluegrass Licks lesson. Steve simply takes the descending lick and moves it up one octave. Remember the G chord shape from last lesson? Almost the entire lick can be played within the context of this chord. The pinky must cover the notes that are played at the 5th fret however. The lick finishes with a position shift as the first finger slides down to play A.

Note: Click the “Supplemental Content” tab for tablature to this lick. Chapter 6: (5:10) Using the Licks in Songs Using the High Descending Lick

The high descending lick provides just one great example of how to end “She’ll Be Comin’ ‘Round the Mountain.” Instead of ending the tune by strumming a boring open G chord, replace this chord with the G shape from the last lesson. Then proceed to play the descending lick.

Remember the variation of the descending lick? This pattern can also shift up an octave. Instead of walking down the G Major scale, skip the C note and play B-Bb-A. The first finger must slide out of position to play the A note on the G string. This lick adds a bluesy flavor to the end of the song. Pause the video, and practice this lick several times on your own. At 3:22, Steve gives you an opportunity to play this lick along with him. Hold the final strummed G chord for a full measure. Then loop the lick for extra practice.

At the end of this scene, Steve adds all of the licks learned in this lesson into “She’ll Be Comin’ ‘Round the Mountain. Make a careful note of when Steve chooses to play each lick.

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