The Steel Guitar Forum

Ok, I received the Weldon Myrick-Hal Rugg instruction with tape on how to play the Magic Lick which will work with almost any chord progression in the key of G. Since this lick starts on the 15th fret and works it's way all the way down to the first fret, How do I transpose this lick in the key of D or C? To start the lick at the 22nd fret in the key of D will almost peel the paint off of the wall not to mention it probably wouldn't be too tasteful. Same for key of C at the 20th fret. You guys that know this lick, how is it possible to play this lick using the same principle as used on the instruction?

Larry Reynolds

You start the lick on the no-pedals fret position for whatever key the song is in. Key of A = fret 15, key of D = fret 10, etc. The complete speed pattern will not be available in all keys because you'll "run out of frets", so you play whatever part of the pattern is available. You play sections of the pattern. For the key of D, start on fret 10 and play the pattern down to fret 3. It will sound great over chord changes. It's just a major scale running down through the frets on strings 5, 6, and 7. It sounds like a "parellel scale" because it loops up and down through the scale at various points. It's more about learning a style than an exact riff, in my opinion.

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I think that lick is called the "3 string, 2 finger, 1 pedal lick. I worked on that sucker for many many months and never could get it perfected all the way down Maybe down a couple of moves. Weldon showed it to me while I sat on his amp and I still couldnt comprehend. I hope you have better luck than I did. And since my steel has been stolen I don't have anything to practice on now.
Gere

Well, try it out starting at the 22nd, and watch carefully what positions it passes through on it's way down the neck. Then find a suitable spot in the middle to get started and work your way down from there. (And then back up!)

The lick itself is not the problem. But running out of frets is. Doug, where would I pick up the D scale once I get to the 3rd fret? Jim, I heard you. I'll try that tonight.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Larry R on 14 October 2002 at 09:16 AM.]</p></FONT>

<SMALL>"where would I pick up the D scale once I get to the 3rd fret?"</SMALL>

You can finish the entire phrase in D by using the other lower strings.

You start at the 10th fret, play the lick down the neck, at the 2nd fret you've "run out of frets" so you depart from the written lick but play the needed notes on the next lower strings.

It can all be done using frets 2 and 3, no pedals, on strings 6 thru 10.

Of course you could reverse the lick and go back up the neck when you run out of frets, probably ending on the 5th fret AB pedals.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Joey Ace on 14 October 2002 at 10:08 AM.]</p></FONT>

It's important to realize that 'the lick' is several different ideas than can and SHOULD be looked at -- and used -- separately. The PRINCIPLE is the thing. I don't think I've ever actually played that lick on stage from one end to another, but rarely do I play an uptempo E9 solo without using bits and pieces of it.

As illustrated it starts, as Jim points out, in the no pedals position. For G this is the 15th fret. If you're comfortable starting as high as the 20th fret, you can play it from start to finish from F# (14th) up to C or D (20th-22nd).

The BEAUTY of the lesson is that it's actually going through the no pedals position, down through the A+B position (in G on the 10th fret) and the A+F (6th) and down to the octave lower no pedals at the 3rd. Figure out how to use the pattern to navigate between all of these positions. That's where the real value is in this concept.

When you've done that, start looking for other patterns that join the 3 main E9 positions -- remember there's another one too -- the Eb lever two frets below the A+B. A lot of speedpicking is built on these ideas.

And, (almost) needless to say, find a way to go UP or DOWN and practice both.

The other thing is to think about using the pattern to navigate between a I and IV chord or I and V chord.

Just some ideas.

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<small>Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Larry Bell on 14 October 2002 at 10:57 AM.]</p></FONT>

Like Joey said, you can finish off the scale using the lower strings on frets 3 and 1, etc, but there is no need to play the entire scale from end to end. As Larry said, use "bits and pieces" of the pattern for speed licks. That's how I approach it too. Remember this riff is for speedpicking and it must be played rapidly, so jumping to other strings and involving other levers or pedals is not the idea with this riff. The idea is to keep the motions simple, and on 3 strings only, using 1 pedal only. There is a lot of bar motion involved. Believe me, if you can play through 7 frets of this pattern rapidly over chord changes you'll turn a few heads. There's no need to play the entire length of the scale in a solo.

Once you learn the pattern as written, play short sections of it up, down, mix it up. It all blends with the relative chords in a given key.

<font size=2>Also... 3 frets up is the minor scale. If a song is in the key of G minor, start the pattern on fret 18 and wind it down to fret 6. You won't believe the sound over chord changes in the key of G minor! <font size=2>

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<font size=-1>My Site - Instruction | Doug's Free Tab | Steels and Accessories</font>

Doug

Didn't you cover this in one of your articles in one of the magazines years ago? I have the Weldon record, can't find the tab, can't find your article, and am going crazy trying to fill in a few of the missing holes? What mag was that in?

thx

bob

oops<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bob Snelgrove on 14 October 2002 at 05:14 PM.]</p></FONT>

Bob,

I covered speedpicking in a couple of articles in SGW magazine, but I never reproduced the riff in question note for note in any of my writings. I teach similar patterns and parts of the riff in my Advanced Speedpicking tablature/CD.

Weldon Myrick used the lick in his tune "Hot Foot". The tablature for "Hot Foot" appears in DeWitt Scott's Anthology of Pedal Steel Guitar, a Mel Bay publication. The original tab and cassette of this speed pattern are available from Scotty's Music for only $12: <A HREF="http://scottysmusic.com/miscinst.htm" TARGET=_blank><b>The Amazing Speed Picking
Course / Weldon Myrick & Hal Rugg</b></A>

All, you've been most helpful. Joey, I tried the last half of the lick on strings 6-10 like you said. It works. It's nice to know that I can complete the lick on those strings in the event that I'm in C or D scale. Doug, I didn't think about using the minor scale as you mentioned. Thank you very much for the tip.

Doug,

I didn't mean to imply that you had published the lick. It was "in the style of"

I went through all my SGW mags and found speed picking Pt.1, but that's not it. You don't remember what issue do you?

thx

bob

<SMALL>"It's nice to know that I can complete the lick on those strings in the event that I'm in C or D "</SMALL>

I sometimes use that pattern to complete the lick when there are lower frets available. For example, in the key of G when I want my next notes to come out of the C (8th fret) chord.

It's good practice too. Learning to play stuff you already know in new positions is an excellent learning experience.

Re:LARRY BELL,
Do you ever feel like no one is listening? I read your comments and agree completely!
W.C.

Wayne, you may have meant something else by your statement but I did read Larry B's comments and agree entirely with him. I did not mention Larry B. specifically because of the interest in time and keystrokes but did address my latter post to ALL that replied and I do appreciate ALL's comments.
Be Blessed.

Larry R.

Larry B., I don't have the material, so I have no idea what this lick is. Can you explain what the principal of this magic lick is? Is it about connecting all the positions together? Is it about a repeating picking pattern at each position? What's the principal? Thanks .. Jeff<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 15 October 2002 at 12:01 PM.]</p></FONT>

Bob, Check SGW, Vol. 3, Issue 18, p. 27, "Speedpicking #2". There is a very similar pattern in that article.

Jeff, it's an E9 speedpicking pattern on strings 5,6, and 7 using only pedal B, running down the fretboard through 14 frets. It's based on the major scale and blends with the relative chords in a given key. The tab/cassette came out about 25 years ago under the name "Amazing 3 string, 2 finger, 1 pedal lick", or something like that. Tab and cassette are still available from Scotty's Music for only $12: <A HREF="http://scottysmusic.com/miscinst.htm" TARGET=_blank><B>The Amazing Speed Picking
Course / Weldon Myrick & Hal Rugg</B></A>

Playing the lick note for note is not as important as learning this style and using parts of the pattern in your solos. <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Doug Beaumier on 15 October 2002 at 09:39 PM.]</p></FONT>

I can do the lick from that start and working down the neck but going back up the neck is confusing. Would I reverse the lick note for note. Could someone tab that? I'm not sure I'm doing it correctly.

Larry,
The point is IT DOESN'T MATTER how you reverse it. How you do it is how you do it -- reflects your own personality and style. Just figure something out using the same notes that were used going down and use them going up. It doesn't matter how you use it to connect positions -- just that you use only the notes of the major scale for the key you're playing in. All that matters is that you find a musically interesting way to go, for example, from G / no pedals / on fret 3 to G / A+B / on fret 10. There are almost unlimited possibilities. The lesson is in the QUEST.

Basically, this lick is an example of a tool of improvisation (or 'speed picking' if you wish) to be able to navigate among the three or four primary pockets on E9. In G, there's one at the no pedals position (fret 3), at the A+F (6), Eb lever (8) and A+B (10). The 'game' is to connect the positions in as musical and interesting a way as possible.
For example, dissect it into two measure sections and see where the bar is.

1-2 hang out on 15
3-4 take you from the NP(Fret 15) positions to the AB (Fret 10) position
NOTE: M3-4 (including the 3 8th note pickup notes) represent a great way to go from the No Pedals position DOWN to the A+B position.

Then, look at how it navigates from the A+B down to the octave lower NP position. The beauty of doing it yourself is that you instill some of your own personality into what you come up with. It's called GETTING YOUR OWN STYLE. All good players have one.

Finish the other measures with a similar analysis (where did you start? where did you go? what positions did you go through? can you 'get off' at one of those positions for a little 'excursion' and hop back on?)

Anyone who approaches steel guitar by only copying someone else's work note for note will never get a style. This is one way to begin: Take a brilliant player's idea and figure out how he used it and then don't use it that way. Use it YOUR way.

IF YOU BUY THIS LITTLE COURSE AND ONLY PLAY THE NOTES ON THE PAGE, YOU WILL GET ABOUT 1% OF THE LESSON THAT'S THERE TO BE LEARNED.

Jeff,
Musically, 'the lick' is a pattern that includes only / primarily the notes of the GMajor scale, illustrating that the pattern can be used over any chord composed of those notes (e.g., GMaj Ami Bmi CMaj D7 Emi F#dim). Theoretically very simple, but very relevant for someone who is looking for positions for single note phrases.

Mechanically, it illustrates how right hand picking patterns, pedal slurs, and bar movement can be used to play uptempo phrases more easily. It restricts itself to strings 7,6,5 (THREE string), one finger and the thumb (TWO finger), and the B pedal (ONE pedal). If you hear it, you will say, "Oh, THAT". Anyone who has heard Weldon, Hal, or just about anyone who was influenced by them can hear the little 'gems' that dance from one E9 position to another.

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<small>Larry Bell - email: larry@larrybell.org - gigs - Home Page
2000 Fessenden S-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Larry Bell on 16 October 2002 at 11:25 AM.]</p></FONT>

<SMALL>a major scale running down through the frets on strings 5, 6, and 7</SMALL>

<SMALL>It restricts itself to strings 8,7,6</SMALL>

Is it strings 5,6,7 or 6,7,8. Thanks.

Jeff, it's primarily 6,7,8 but uses the 5th string at fret 15,10, and 3 of the G scale.

Your last post was a gem, Larry B. Thanks!

That type of logical analysis should be put to all the standard licks/runs.

<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Joey Ace on 16 October 2002 at 10:01 AM.]</p></FONT>

Agreed.

it's on 5,6,7 -- sorry for the confusion. I've edited my earlier post
Maybe this will help more
Noteworthy perhaps that the same 3 strings and 1 pedal relationships can be found on C6. Hold the 6th pedal and use the A to Bb lever as the B pedal. FWIW.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Larry Bell on 17 October 2002 at 07:44 AM.]</p></FONT>