So-called "cowboy chords" have been fundamental to the guitar since its invention. In this lesson, we'll look at easy ways to spice up these everyday grips so they'll add interest to your playing, improve your rhythm, and liven up even the most predictable of progressions.
What is a Cowboy Chord?
Speculation abounds regarding the origin of the term "cowboy chord," but here's an explanation that makes sense to me: In many 1940s movies, such actor-musicians as Roy Rogers and Gene Autry portrayed cowboys who played guitar and sang. In these musical scenes, the actors strummed first-position, open-string chords and seldom strayed beyond the 3rd fret.
However they earned this nickname, cowboy chords remain essential to all guitarists—from beginners to pros. Unfortunately, many players rarely get past the most basic shapes shown in Ex. 1. That's a pity because by just moving a finger or two—or sometimes simply lifting a finger off the fretboard—you can add color, tension, movement, and zest to your playing. Let's make that happen now!
Cowboy Chords Ex. 1
Just Move a Finger
These days it seems like every other hit song features the prosaic I–VIm–IV–V progression. Now there's nothing wrong with the progression itself. In fact, the reason we hear it so frequently is because it sounds good, and it has been used masterfully by everyone from George Gershwin to the Rolling Stones and the Police. But the aforementioned songwriters knew that to make the everyday unique, you need to add some spice.
That's exactly what we've done in Ex. 2. This example demonstrates two basic concepts: The first is that you can add color to the most basic chords, in this case C–Am–F–G, by moving, removing, or adding a finger to each voicing. This second concept is particularly interesting because even though we keep moving the same notes on the 2nd string against the first three chords, the quality of these chords keeps changing. For example, when you let the 2nd string ring open on a C chord, it becomes a Cmaj7, but when you let the same string ring open on an Fmaj7 chord it becomes the much more sophisticated Fmaj7#4. Now that's spice.
Cowboy Chords Ex. 2
Ex. 3 uses the same progression (I–VIm–IV–V), this time in the key of G, but now all the movement happens on the 1st string. Once again, we find ourselves with some very elegant harmonies. The Gmaj7 in measure one is particularly noteworthy because it sounds quite mournful, as if longing for something. Lost love perhaps? Maybe that's why the Smiths, Jim Croce, and the Sundays have all used it to complement melancholy lyrics.
Cowboy Chords Ex. 3
Ex. 4 expands upon the "move a finger" idea by moving several fingers to create a melodic motif in the D and G chords. It also gives movement to the A7 chord by shifting shapes up and down the neck. We'll expand upon the latter idea in the next example.
Cowboy Chords Ex. 4
Spice Up Your Blues
Ex. 5 appears to be a common 12-bar blues, and form-wise this is true, but the uncommon movement we've applied to the E7 and A7 shapes adds considerable harmonic sophistication with very little effort.
Cowboy Chords Ex. 5
Going Outside the Key
Up to this point, all of the examples have been completely diatonic, meaning all the notes we've added to the basic triads have been in the same key as the chord progressions. But what happens if we add some notes that are not in the home key? Well, now things get really spicy, though no more difficult to perform. Ex. 6 is an ingenious example of how to add variation when you're stuck on one chord for more than a measure or two. Notice how tense the progression becomes when you play the Em#5 and yet completely relaxes when you conclude on the Em. This particular progression, both descending (as shown) and ascending (just play in reverse order) was used numerous times by the Beatles, most notably in "Eleanor Rigby," "Hey Bulldog," and "Savoy Truffle."
Cowboy Chords Ex. 6
Speaking of the Beatles, Ex. 7 is a progression they learned from "Don't Ever Change," written by Gerry Goffin and Carole King and recorded by the post-Buddy Holly Crickets. Once again, the tension created by the D augmented chord resolves very nicely into the D6 on the way up, and into the D triad on the way down. By the way, if you just play the D to Daug over and over again, you'll find yourself playing the verse to Eddie Money's "Baby Hold On."
Cowboy Chords Ex. 7
Add Some Bass
So far, all our examples have focused on movement and color in the higher registers, but you can also add spice to the bass notes. Ex. 8 is a folk and folk/rock staple, used by everyone from Simon and Garfunkel to Led Zeppelin and, despite the obvious chord names that are written here, it's relatively complex harmonically. You see, in this folk context, it is best to name the chords using the bass-note slash, i.e., Am/G–Am/F#–Am/F. But in different contexts, particularly in jazz, those last two chords could be named F#m7(b5) and Fmaj7, suggesting that adding a bass note can radically alter—and enhance—the harmonic quality of any given chord.
Cowboy Chords Ex. 8
Ex. 8 featured a descending bass line, but in Ex. 9 we'll turn that around and have the bass ascend while we're playing an Em chord. Notice how we've included a non-diatonic note, Bb, at the end of the progression. This adds tension that's released by the final Em.
Cowboy Chords Ex. 9
Be Judicious
These exercises have been specifically designed to get you into the habit of adding variation to your everyday cowboy chords. They're also, as good exercises should be, rather formulaic. While you play through them, remember that when making up your own progressions, you don't need to add movement to every chord. Maybe you insert movement in the verse but not in the chorus, or vice versa. There's no need to overdo it: A little spice can go a long way toward making your songs and arrangements a lot more inventive.
Do you feel like your solos lack focus or that there isn’t any underlying structure to your lines? Does it seem that you are wandering around the neck, hoping that what you are playing “looks like it sounds cool”? Would pushing peas around a dinner plate with a knife be more riveting than the last lick you played? If any of these statements are true, then you need some guide tones, my friend.
Guide tones, also known as target notes, are commonly used in jazz improvisation and usually refer to only the 3rd and 7th of a chord. But, for our purposes, we’re going to apply a more generous definition where all notes of a chord can be used. There are two benefits to using guide tones: They create a predetermined melodic structure that serves as a framework for your solo, and they provide an inner melody to your lines that carry the sound of the chord changes.
The first two examples show a couple of possibilities when building a guide tone melody over a ii-V-I chord progression in the key of C major. The only requirement is that the guide tones should be played on the strong beats of the measure (beats 1 and 3). Next, spell each chord to see what notes you have to work with. For our progression, our choices will come from Dm7 (D-F-A-C), G7 (G-B-D-F), and Cmaj7 (C-E-G-B). Since these examples have one chord per measure, I have chosen to use only one guide tone in each measure. But, I could have used two guide tones in a measure, one on beat 1 and the other on the beat 3. Other than what has already been discussed, there is no right or wrong way to do this. Basically, pick some chord tones, put them on the strong beat(s), and see how it sounds. Change or edit as you see fit!
Take a listen to Ex. 1. The guide tones create a descending melody that leaps up at the end. Using one note per measure, the line starts with C (the 7th of Dm7), then to B (the 3rd of G7), to G (the 5th of Cmaj7) and finally E (the 3rd of Cmaj7). Ex. 2 has a guide tone line similar to the first example, descending for the first three measures and a leap up at the end. It begins with F (the 3rd of Dm7), to D (the 5th of G7), to B (the 7th of Cmaj7), and then to E (the 7th of Cmaj7).
Ex. 3 is an eight measure progression, similar in structure to a popular jazz standard. Harmonically, the first half is a ii-V-I-IV in C major and the second half is a ii-V-i in the key of A minor. In the first six bars, there is one guide tone per measure, and then concludes with two guide tones in each of the last two bars.
Once you have decided on a framework for your solo, use scales and arpeggios to add notes before each guide tone. By doing so, you create motion in your line that sounds musical, and not like you’re choosing notes at random. Listen to Ex. 4 where each guide tone is approached from above by a scale step. Since all the chords are in the key of C, my approach notes are from the C major scale. I can also think in modal terms, where I would use D Dorian in bar 1 to approach the G7 in bar 2. Then, I can use G Mixolydian in bar 2 to approach the Cmaj7 in bar 3, and C Ionian to approach the next Cmaj7 in bar 4. Ex. 5 is the same scalar concept, this time approaching the guide tones from below.
Ex. 6 and Ex. 7 use arpeggios to approach the guide tones from above and below, respectively. I prefer to do this by using the arpeggio of the chord I am going to, not the one I am playing over. So, when I am playing over the Dm7 in the first measure, I will use the G7 arpeggio to approach the guide tone in bar 2. Then, when playing over G7 in the second measure, use the Cmaj7 arpeggio to approach the guide tone in bar 3. This concept is a little easier to see in Ex.7. Dm7 is the chord in bar 1. You approach the guide tone in bar 2 with a G, which is not in a Dm7 chord, but it is in G7.
To get longer lines, use two, three, or more notes from the scale or arpeggio when approaching the guide tones. Ex. 8 approaches the guide tone from above and below, using two and three notes from the scale. Ex. 9 shows the same approach methods, but with notes from the arpeggio.
After you get a handle on the guide tone concepts, experiment with rhythms, rests, and an ever-increasing number of approach notes. Check out Ex. 10 as an example of what is possible. It’s the guide tone line from Ex. 2 fleshed out with a mixture of scale and arpeggio approach notes of various lengths. Ex. 11 is an expansion of the guide tone line from Ex. 3. I used an increasing number of approach notes in the first half of the line. The second half is more rhythmically complex, ending with the triplet figures in the last two measures.
Applying these concepts to something more familiar, Ex. 12 is one possible guide tone melody over an A minor blues. Give it a listen to hear how the first two phrases are relatively scalar, but the last phrase has more of a “sawtooth” vibe. Ex. 13 is the completed solo, using the ideas discussed previously. Throwing everything into the guide-tone blender yielded different types of approaches combined with a variety of rhythms and rests.
Once you get a foothold, substitute different modes, scales, arpeggios, chords, and time signatures to achieve some different sonic flavors. Remember that you are restricting yourself to these few concepts in order to get a more melodic and meaningful solo. If you practice it enough, your brain will start working this way on its own!
This is a lesson in what I call “finding dissonance in tonality.” The goal here is to focus on creating arpeggiated chord shapes and riffs that use tense intervals like 2nds, tritones, and 7ths, while still remaining in a particular key signature. This creates a haunting and moody sound that I often like to think of as “pretty dissonance.” In these examples we will find progressions that are dissonant yet still diatonic. It is a sound I use quite often in my own music and one that my ears are naturally drawn to.
Ex. 1
Ex. 1 demonstrates this concept by picking a key—in this case A minor. Then, I decide on a modal sound in that key (D Dorian). Next, we construct chord shapes in that key to include things like stacks of 2nds, or tritones mixed with 2nds. We have to look at our key signature and find which notes give us 2nds, tritones and 7ths. In this case, the notes we want to utilize are B and C, and E and F for our minor 2nds (or major 7ths depending on which note is in the bass). We’ll use A and B, D and E, and G and A for our major 2nds, and F and B for our tritones.
You might find that this example has a pleasing sound, despite the dissonance, since Dorian has a dreamy and nostalgic feeling to it. Yet the particular mix of intervals gives it a certain tension. The stretches here can be challenging, and there is a bit of movement around the neck. This example sounds best when played with a clean sound with all the notes ringing out together. We also have some time signature changes to keep us paying attention as well.
Ex. 2
For Ex. 2, we’re in the key of G major and are focusing on using a combination of 2nds, tritones, and 7ths to create some lush modal chords. The tension in these chords in particular is created by the G root note of chord one ringing against the F# on the D string, creating a major 7th. Then, we have that same F# hitting a C to create a tritone. Finally, the C to open B string at the top is creating a minor 2nd. Chord two has the major 7th again with the low C to B, then we have a major 2nd with the E to F#, and at the top of the chord, that same F# against the open E, creating another major 2nd. The final chord uses tritones again with the F# to C and then up to F# again. The top of the chord has an A to open B creating a major 2nd. This is a good example of how to create uplifting, major-key progressions that have a little spice to them.
Ex. 3
Ex. 3 takes the same chords of Ex. 2 but “octave displaces” certain notes to create wider spread voicings. The note relationships are still the same, it’s just that some notes have now been placed an octave higher throughout the progression. This makes it a bit more challenging to play, so I’ve taken the bpm down a bit. In general, I recommend practicing these very slowly at first and aiming for clarity and articulation. Utilizing the approach of octave displacing can create some very interesting melodic sequences. It is a fantastic way of creating a variation out of something you’ve already written.
So far these examples have been fairly light and bright sounding despite the dissonance in the chords. Ex. 4 gets a little darker and more tense. It’s also in 5/4 time. Based in the key of D minor, this riff heavily focuses on using minor 2nds. First, I look at the key signature, which has one flat: Bb. Next, I find which notes in the D minor scale give me minor 2nds. These notes are A to Bb and E to F. Bb to E also gives me a tritone. Once again, there is a bit of movement all around the neck in a short amount of time.
Ex. 5
Ex. 5 is again in D minor but more of a lower-register riff. In this example, I also use a somewhat tense interval we haven’t talked about yet, the minor 6th. In the first three notes of the example, we have a D to an A. Nothing tense there, just a perfect 5th. Next, though, is an A to a Bb—a minor 2nd. In addition, the relationship between notes one and three is a minor 6th. This interval appears again as the last dyad in the first bar. Those first three notes (D, A, and Bb) give us a sus b6 chord shape. I first came across this chord in the song “Guardian” by Fates Warning. Their guitarist Jim Matheos uses a lot of these haunting interval combinations, which became an influence on me early on in my playing.
Ex. 6
I encourage you to find some chords and progressions of your own that take inspiration from this approach. I’ll leave you with Ex. 6, a simple way to start. Take some basic major and minor chord shapes and add extensions to them like 2nds, 4ths, 6ths, etc. Chord one is an Am(add9), which is the 2nd moved up an octave. Chord two is a Cmaj(add#4). Chord three is a Bm(add11/b9). Chord four can be thought of as an inversion of Cmaj(add#4). The E in the bass makes it sound very dark. Those new scale tones create extra tension and dissonance and automatically make what you’re playing sound more evocative. Try these ideas out and see what paths they take you down!
I feel a little embarrassed when people ask me about my guitar influences. I can't claim expertise of Hendrix, I haven't spent hours woodshedding Eric Johnson, and I couldn't tell you the first thing about how to play like David Gilmour. My influences are more behind the scenes, lurking in the shadows of the music industry. They don't have big names, but they are monster players. I'm talking about the number one, most honest influence on my guitar playing: Nashville session guitarists.
In case you don't know, Nashville session guitarists are the cream of the crop—they have to be. Their job is to listen to a song once, write a chart for it during that single listen, step out onto the tracking room floor and simultaneously create, react, and execute a guitar part at a radio-perfect level in one take. I've figured out some tricks by studying the work of musical sharpshooters like J.T. Corenflos, Kenny Greenberg, and Tom Bukovac, and now I get to apply it in my own career when I'm called in for a session. Now, let's steal some tricks.
“Kiss You in the Morning" Box
An important thing to remember throughout this lesson is that the goal is to sound perfect. A dead note on your guitar solo should not be the reason that one of your fellow session players is late to pick up his daughter, so this is no time for finger tapping or seven-fret stretches. I call this the "Kiss You in the Morning" box because it's similar to the signature lick in Michael Ray's song of the same name.
You want the song to sound good, which means you need to sound comfortable. That's why this pattern (Ex. 1) is a great home base for your chord-based riffing. This is a segment of a diagonal major pentatonic scale that only uses your first and third fretting-hand fingers. You don't have to stretch or remember complicated patterns, and it's almost impossible to sound bad here. Place your first finger on the chord's root, which falls on either the low 6th or 5th string, and slide your third finger up two frets to access the rest of the pentatonic notes. It's a closed shape, so you can move it all over the fretboard to whatever key or chord you need, which comes in handy when you're scanning down a Nashville number-style chart in real time and having to come up with a hook or rhythmic motif.
The “All About Tonight" Box
This one is a little tougher, but more rewarding. I could do an entire session just using this box and rearranging the notes in different ways to make my melodies and textures fit the mood of the song. You can hear hints of this pattern in Blake Shelton's "All About Tonight." This is a natural extension to the previous example, but in Ex. 2 we start to introduce double-stops (playing two notes at a time). Low notes on the lower strings sound thick on their own, but as you move up the neck it's a good idea to start using double-stops if you want to keep the guitar sounding thick. In this box, your first finger is always in charge of the same fret, and your third finger oversees hammer-ons two frets higher. To play the double-stops I'm talking about, barre the 5th and 4th strings with your first finger and pick them. Then hammer on the 5th string with your third finger. Boom. You can do the same trick with different string sets.
Open for Business
You've got some lead chops built up, but somebody will be singing for 90 percent of the song, so what do you do? In keeping with our rule that we want our playing to sound comfortable, the answer is open chords. Full barre chords give you a lot of strings to keep track of, and if your dynamics, sustain, and muting aren't spot on, then the producer is going to have to hire someone to redo your parts after you leave, and that doesn't bode well for your session career.
Throw on a capo because only five keys are generally acceptable for playing guitar in a session: G, D, E, C, and A. Is the song in Db? Put a capo on the 1st fret and play in C. How about F#? Place a capo on the 2nd fret and play in E. Even if a song is in A, 95 percent of the time the acoustic guitar player will opt to play with a capo on the 2nd fret so he or she can move around comfortably in the key of G. Ex. 3 shows some of the special open chords that session players use all the time.
Palm-Muting Verses
Wide-open chords aren't everything, though. Songs need to have structure and flow, and the band members need to be on the same page about where the song is going. If you watch a session with guitarists Derek Wells and Jerry McPherson both playing guitar, they aren't clashing. They both know how energetic the song needs to be at any given moment. Chances are you'll nail it if you play the verses a little lower in energy and the choruses a little higher in energy. You can palm-mute the lowest two strings of an open chord, or you can palm-mute a power chord, or you can palm-mute thirds that fit inside of the chord. Check out Ex. 4 for an example. Any of those routes will work to get you from the intro to the chorus. And when it comes time to do a "fill" at the end of the measure or progression, all you really need to do is unmute what you're already doing! Fish in a barrel.
My Kinda Drones
"Box" playing is great, but I'm sure you want to have more than just boxes in your toolkit. One of the best tricks for coming up with melodies that don't sound boxy is by using what I call "My Kinda Party" drone lines. The signature lick in Jason Aldean's song, "My Kinda Party," is a wonderful example of this. Come up with a melody and play the whole thing on the 2nd string. Don't get too complicated, and don't make it too fast. Make it a nursery rhyme, a simple, hummable jingle that a drunk Bonnaroo crowd could sing back to you.
To allow the 1st string to ring out as you move along the neck, you need to fret the notes on the 2nd string using the very end of your fingertips. Now pick through both the top two strings while sliding from note to note (Ex. 5). This adds thickness and texture to the melody and helps make it sound like music, so someone like super-producer Justin Niebank doesn't have to spend time adding effects to your guitar to fill out the mix. As with the open chords, make sure you have the capo in the right spot so the open 1st string fits the song's key.
Get Low
The opposite of that approach is using a technique found in Luke Bryan's tune, "We Rode in Trucks." With this trick, you place the root of the chord on one of the lower three strings and build your melody on the string above it (Ex. 6). My favorite application of this is when you hammer-on to a 3, which puts your hand right in the "All About Tonight" box we talked about earlier if you need to launch into a solo. This trick can only be done if one or more of the low open strings works with the song's key, so you'll have to do some quick mental math and capo accordingly.
Swell into It
This technique is one of the physically easiest to perform, but requires some mental energy to get right. Sometimes the song needs an ambient volume swell to hold things together over chord changes, and this requires choosing your notes carefully. Let's say the progression is Em–C–G–D, with two chords per measure. Look for the notes that both chords share in each measure. Em and C both share E and G notes; G and D both share D notes.
That's the safe route, but you can also swell into notes or pairs of notes that challenge the chord a little bit and make an extension out of it. Swelling into a D over the Em and C turns them into Em7 and Cadd9, respectively, both very cool sounds. And G to D is a pretty strong chord change in this key, so you'll probably want to stick the landing and end up on chord tones here. To change things up from just a D note you can swell in a pre-bent G note and let it down to an F# when the D chord comes in. Or do the same thing, but pre-bend a B note and let it fall to an A (Ex. 7). You can nail this approach if you know your chord tones. Note: You'll need a good amount of delay and reverb to make the most of your swells. Most players do this with a volume pedal, but with the right guitar—a Strat, for example—you can also accomplish this manually.
High Extensions
Now that we're in the mindset of thinking about what our notes do to the chords we're playing over, adding higher extensions can introduce complexity and texture to a song. I have fond memories of sitting with a friend in high school, both of us holding acoustic guitars, and playing different triads and double-stops over each other's open chord strums—just to hear how one person's triad could affect the other person's chord.
The idea is that you'd pick notes that might not be within the basic triad and use these additions to alter the song's principle chords. If a bass player plays a C, and the acoustic guitar plays an open C chord, and the other electric guitarist plays a C power chord, but you play a B and D double-stop high on the fretboard you just made the entire band sound like a Cmaj9 chord, which is really pretty sounding. If you pick G and Bb, then you made the band sound like a C7 chord, which is bluesy and sarcastic sounding. Session players know what note extensions to add to chords, what these extensions will sound like, and when it's appropriate to use them. Ex. 8 illustrates how to use this trick over a basic progression.
Simple Slidin'
On most sessions, slide is used for texture and not for Derek Trucks- or Sonny Landreth-inspired shredding, so it's mostly limited to chord tones and a couple of simple lines. It is a very cool color, though, and it's well worth learning how to navigate a melody with a slide on your pinky. Slide sounds more like a human vocal than fretted notes, so this technique can really lend itself to making memorable, catchy, singable hooks. This is part of the reason guitarist Rob McNelley is on so many records—he's able to really make slide sing. Just be very careful about not letting strings ring unless you want them to. To come up with a simple, catchy, single-note slide line that soars over the arrangement, tap into the same melody-creating brain space you used for the "My Kinda Party" example, as well as the chord knowledge required for swells and extensions. Chord tones are always safe, extensions can be really cool, and make sure you stick the landing (Ex. 9).
Dot … Dot … Dot
You made it all the way to Ex. 10, so give your brain a break and let a pedal do all the work. Delay is a powerful effect, and when you sync that delay to the song tempo, the pedal can play notes for you. If you see guitarist Justin Ostrander doing something simple, chances are there's a timed delay happening to carry the simplicity. A dotted-eighth is equal to three 16th-notes, and a dotted-eighth delay means once you play a note, that note will come around again three 16th-notes later. And if the repeats are turned up, it'll keep repeating every three 16th-notes to create a cool syncopated feel (Ex. 10).
If you play something completely straight against the syncopated pattern the delay will be creating, the delay fills in the notes between what you're playing and makes an otherwise boring figure sound incredibly interesting. To make this trick work, you'll need a delay with programmable or tap tempo. For best results, tap the tempo for quarter-notes, play eighth-notes, and have the delay set for dotted-eighth-notes.
These guitarists stay mostly out of the spotlight, but with the growing world of media they are starting to get a little more exposure with great programs like Premier Guitar's Rig Rundown with Kenny Greenberg (shown below) or Zac Childs' Truetone Lounge episode with Derek Wells.
Videos like these let you inside the world of the pro session player, and are great resources for learning more from the best in the business. Next time you hear some tasty guitar on a radio hit, you'll know it's tasty for a reason and you're one step closer to being the guitarist who gets to play it.
In December of last year, Tony Rice passed away. He was/is my all-time favorite guitarist. Like many of his fans, my love of his playing has likely transcended obsession. In fact, at the time of writing this, I have transcribed over 100 Tony Rice solos. That puts me in a unique position to share with you not only my favorite Tony Rice licks but what I think might be Rice's favorite licks, if the frequency with which he played them is any indication.
These examples can be found in almost every Tony Rice break. They are integral to his sound and they can become part of your sound too. This comes with one small warning though: These licks are not meant to be parroted off this page. A big hallmark of this sound is to use these phrases but to vary them, and create your own versions of them. Let's remember Rice by innovating on his past achievements the same way he innovated on the achievements of the players that came before him.
How to End a Bluegrass Song
One of the most famous and enduring Tony Rice licks is this signature tag. A tag is a common way to end a bluegrass fiddle tune or vocal song, the most generic tag being the ubiquitous "shave and a haircut." In Ex.1, you can see what's called a "double" tag. The first tag ends on beat 3 of measure two, before the open 3rd string on beat 3. The remainder of the lick forms the second tag, which eventually morphs into a variation of the Lester Flatt "G run."
Rice's note choice is predominantly major pentatonic but includes an occasional b3 that always resolve down to the 2 or up to the 3. As I say to my students, "Blue notes need buddies." Playing these pairs of notes with articulations like slides and pull-offs that cross bar lines is an important part of Rice's style.
Tony Rice Ex. 1
Use Your Chords
If you're familiar with triads on the D, G, and B strings, you can turn those into bluegrass licks as well. Rice has used the triads in Ex. 2 in a handful of different and interesting ways. He's used the last two chord shapes to form the main riff for "Me and My Guitar," and employed those same shapes to punctuate the end of his "Cold on the Shoulder" kick-off. Sometimes you can see him expand this idea by using even more chord shapes to descend the neck. He would use something like Ex. 2 in a G major context but would be heavily implying G Mixolydian mode by using the F major and D minor triads.
Tony Rice Ex. 2
That One Lick
I've seen this passage referred to multiple times as "that one Tony Rice lick." He uses variations of this passage to finish breaks in "Your Love Is Like a Flower," "Ain't Nobody Gonna Miss Me When I'm Gone," and "Gold Rush." It serves the function of a statement piece to assert his personal voice on the instrument before handing off the spotlight to the next instrumental break or verse of a song with vocals.
As you play Ex. 3 be mindful of how you use your pinky. Every note on the 10th fret is played with the pinky, including a brief pinky barre on the 10th fret of the 3rd and 4th strings.
Tony Rice Ex. 3
Pull-Off Central
This lick has been featured in recordings, but I associate it much more with Rice's live sound. Whenever Rice needs a second to think about what to play next, Ex. 4 seems to come to his fingers first. The note choice here lands firmly in the minor pentatonic camp but he manages to create a little bit of an outside sound with the third iteration of the pattern that brings in the b5 at the 6th fret of the G string.
Tony Rice Ex. 4
Escape Notes
Have you ever been stuck up the neck improvising with no idea how to get back down to something more familiar? Me too! So, let me introduce you to escape notes. Sometimes you can find an open string that will continue your line in a linear fashion while freeing up your hand to shift down the neck. Take a look at the F, E, and D eighth-notes in the first measure of Ex. 5. Rather than playing those three notes in position, Rice is using the open 1st string so he has time to shift his hand while continuing his eighth-note line.
There are examples of Rice using variations of licks like this in "Blue Railroad Train," "A Hundred Years from Now," and "Likes of Me." You can use this in a D major context or in a G major context over a D chord.
Tony Rice Ex. 5
Acoustic Bends
It can be done, and in a situation like this we're not necessarily shooting for something perfectly in tune. In Ex. 6 you can see that pulling down on the 4th string at the 3rd fret will bring the note closer to F#, the 3 of the chord, but in practice Rice usually doesn't get all the way there.
Tony Rice Ex. 6
Phrasing
If you asked a random flatpicker at a bluegrass festival to play a Tony Rice lick, they would probably play something like Ex. 7. These types of phrases have endless variations and demonstrate Rice's long-standing influence on bluegrass music. These licks are built from a G minor pentatonic (G–Bb–C–D–F) bone structure but always feature a pull-off from the 2nd fret to the 1st fret on the B string and a slide from 3rd to 4th fret on the G string. This pull-off and slide are great reminders that blue notes need buddies.
Tony Rice Ex. 7
True Minor
Bluegrass isn't all major tunes though. There are standards in minor keys. We're talking about tunes that are actually minor—not just playing minor pentatonic licks over major chords. With that in mind, it would be wrong of me to not mention Ex. 8, one of Rice's favorite improvisational ideas to employ over minor tunes. This kind of lick is all over Rice's original compositions in minor keys and the recordings he made with David Grisman. The idea is framed in a slightly ambiguous way, so you can find Rice using it in A minor and D minor.
Tony Rice Ex. 8
It's an impossible task to completely distill Tony Rice's playing into a single lesson. I would point you to nearly any album in his discography to get the essence of modern bluegrass guitar right from the source. His touch, feel, tone, and vibe forever changed acoustic music and we all will be eternally grateful.
Essential Tony Rice Videos
Tony Rice liked to perform "Me and My Guitar" with an extended jam in the middle. Many licks from this lesson appear in his guitar break at 6:00.
Tony Rice's "Church Street Blues"
There's very little footage of Tony Rice performing his iconic interpretation of Norman Blake's "Church Street Blues." This arrangement may be one of the most difficult to replicate from Rice's catalogue.
Tony Rice's "Old Home Place"
Tony Rice performs on the definitive recordings of multiple bluegrass standards but "Old Home Place" may be the most important. JD Crowe & The New South's self-titled release is considered by many to be a near perfect bluegrass record.
Tony Rice "Shenandoah"
Most folks talk about Tony Rice's hot-style playing but his melodic chord melody approach to guitar is equally impressive. I doubt we'll ever see an accurate transcription or performance of this era of Tony Rice.