Mother Maybelle Carter was an innovator who reinvented rhythm guitar—here's how she did it.
Intermediate to Advanced
Beginner
- Learn how to strum chords and pick melodies at the same time.
- Combine the various elements to create your own songs and arrangements.
- Explore guitar-friendly keys using open strings.
Strum chords and pick melodies at the same time! While Carter-style picking is most closely associated with country legend Maybelle Carter, the technique, and variations thereof, can be heard in the music of the Beatles, the Rolling Stones, Neil Young, and even progressive pioneers Yes.
What Is Carter Picking?
Carter-style picking—aka the Carter Family Style, the Carter Scratch, the Maybelle Carter Strum, and the thumb brush, among others—is a style of guitar playing popularized by Maybelle Carter. Simply put, while holding down a chord, the higher strings are strummed while a melody is picked out on the lower strings. It's been debated as to whether strumming the lower strings and putting the melody on the high strings is considered Carter picking. Since we're going beyond the traditional, I'll allow it.
Boom-Chuck Basics
Before we get into more challenging melodies, it's important to be able to play a basic "boom-chuck" strum (Ex. 1), which alternates the root and 5 of any given chord, with minimal movement from the left hand.
Ex. 1
Once you have the boom-chuck mastered, strive to add scale movement or walking bass lines, as seen in Ex. 2.
Ex. 2
When you're comfortable with scales, try adding chromatic movement to your bass lines. This will spice up your playing considerably (Ex. 3).
Ex. 3
Adding Melodies
Now that you possess a solid bass-strum foundation, it's time to add melodies, and we might as well start with the most well-known song from Maybelle Carter's repertoire: "Wildwood Flower" (Ex. 4). As you can see and hear, only the top three notes of both the C and G chords are strummed, usually on beat 2, while the single-note melody is picked out on the lower strings. This is quintessential Carter picking, but the variations are endless.
Ex. 4
Mother Maybelle Carter - Wildwood Flower LIVE!
Ex. 5 was inspired by the Beatles' "Norwegian Wood," which is not only in 3/4 time but is also in the Mixolydian mode, as it emphasizes the V chord, D, in the key of G. Note that the first time through the chords are only strummed as a quarter-notes, the second time the chords get eighth-note strums.
Ex. 5
Norwegian Wood (This Bird Has Flown)
Intriguingly, Donovan's "Catch the Wind" predates "Norwegian Wood" by a few months, conceivably providing Lennon with the stylistic inspiration, as it has for Ex. 6. Pay attention to the fact that the pinky stays consistently on the 3rd fret of the 1st string.
Ex. 6
Donovan - Catch the wind
Ex. 7 comes to us from Joan Baez's version of "The Lily of the West." In this example, an Em chord is strummed throughout, while the melody moves all the way up to the 3rd string, thinning out the strum a bit, yet still implying Em. You may need to spend extra time practicing the hammer-ons and the slide to keep them as robust as the picked notes.
Ex. 7
JOAN BAEZ ~ The Lily Of The West ~
Ex. 8 is an usual variation that can be heard on the Rolling Stones' "Country Honk." A boom-chuck strum alternates with a thick, three-note melody/bass line of sorts. I recommend isolating and repeating the D chord measures, as your pinky is sure to get a workout there.
Ex. 8
Country Honk (Remastered 2019)
As I mentioned earlier, traditional Carter picking emphasizes melodies in the bass while strumming the higher strings. Still, that doesn't stop Neil Young from reversing the technique—putting melodies on top while keeping fat, full chords on the bottom. You'll need to fret the F chord with your left-hand thumb on the low string to maintain the bass while picking out the melody. Check out Young's live version of "Cowgirl in the Sand" for such a sound, which Ex. 9 emulates.
Ex. 9
Neil Young - Cowgirl In The Sand - Carnegie Hall / Official Bootleg (Official Music Video)
Our final specimen, Ex. 10, emerges from an unexpected source, Steve Howe of Yes. Listen to Yes' "And You and I" for a progressive variation of Carter Picking. Once again, your pinky will get a workout. It is Steve Howe-esque after all.
Ex. 10
And You and I (2003 Remaster)
Pick Your Own
While in theory, Carter picking will work in any key, I find it best to stick with the guitar friendly keys of G, C, D, A, and E as the abundance of open strings allow you to easily fret chords, as well as play melodies, freeing yourself from being anchored to barre chords.
If this style is new to you, I suggest learning all the songs I mentioned, and then make an arrangement of one of your favorite melodies. Lastly attempt to compose your own, original Carter-style piece as the possibilities are infinite. Good luck!
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Bandleading on bass offers a unique challenge. Here’s how one player rises to the occasion.
Bassists are natural leaders, both rhythmically and harmonically, but filling the foundational function doesn’t always lend itself to becoming an actual bandleader or solo artist. For most of us, that’s just fine. We’re perfectly happy holding it down and creatively keeping things together. (Of course there are plenty of exceptions: Stanley Clarke, Les Claypool, Meshell Ndegeocello, Thundercat, and Victor Wooten, to name a few.)
But for those who do envision themselves centerstage, making the shift to leader requires a new way of thinking. To get some perspective, I wanted to talk to a bassist with recent experience transitioning to being in charge. I immediately thought of Big New York.
I met Big New York nearly 20 years ago at Bass Player LIVE!, back when Bass Playermagazine held its annual event in Manhattan, before moving it to Hollywood from 2008 to its final act in 2017. Christian de Mesones told me people only started calling him Big New York after he moved to Virginia, where his stature and distinctive accent stuck out. “In New York, there’s about a million guys who look and sound like me,” he laughs. It turns out that he lived in my sorta-hometown of Woodbridge, Virginia, where he recently retired after nearly two decades driving school buses.
Following his late ’70s graduation from the Bass Institute of Technology, Christian played in dozens of bands over the years. Then, ten years ago—with his wife’s firm encouragement—he decided to start leading his own project. Though he grew up listening to hard rock and heavy metal—kids loved it when he played AC/DC and Black Sabbath on his bus—his own sound blends soul and jazz with Latin feels. After steadily releasing singles and holding high-profile performances with special guests, Christian released his debut album in 2020, They Call Me Big New York. The following year, his track “Hispanica (Instrumental),” featuring legendary pianist Bob James, climbed to No. 1 on Billboard’s Smooth Jazz Airplay charts. This spring he released his sophomore album, You Only Live Twice.
As a leader, Big New York is a composer, an arranger, a marketer, a strategist, a people manager, and a showman—all while still being a bass player. Here’s what he says about these different aspects:
On whether being a leader means always playing the lead: “I’ve always been writing music, from the day I first picked up the bass. I write everything on the bass—melodies, grooves, and chordal structures. I do almost all my writing on my Alembic Epic, but I don’t feel like everything I write has to be played on bass. There are only a few songs where I’m playing the lead melody on bass. If you’re coming into the market brand new, you can’t focus only on yourself or even be the best musician in your band. Believe it or not, the narcissism shows.”
On the critical importance of low end: “If you play lead bass, you have to have another bass player backing you because without it, the music drops. I don’t like that. That’s why I hire a keyboard player that doubles on bass. He keeps his bass nearby for when I play lead.”“I try to make that connection with the audience so they’re with us all the way.”
On having a leadership personality: “You’re taking care of so much—the payroll, the bills, and so many things. So you’ve got to deal with people in a way that they don’t take any energy from you. You may not want to hear someone say, ‘Sorry, my car broke down,’ or ‘My dog ate my homework,’ but that’s what you’re going to get, even from the best musicians on the planet. It’s up to you to bite your tongue, not flip out, and just say everything’s going to be alright. You’ve gotta have backup players, so if one horn player is gone for the gig, you can still do the show. You’ve always got to think of a way to not lose your cool, but it can be hard when it’s your money on the line.”
On showmanship: “When it comes to the dynamics of the show, I know where the lows should be, where the highs should be, where the climax should be. I create it; that’s part of the job. I usually put the bass-led songs near the end. On a recent show I brought in Bill Dickens and Al Caldwell as bass guests, and after the show they paid me a great compliment. They said they really loved watching me leading the band and communicating with the audience. I try to make that connection with the audience so they’re with us all the way.”
On the biggest challenge to being an artist and a bandleader: “The fight to stay relevant. I’m mature enough to realize if I get my few minutes of fame, someone else should get theirs. But when it happens once, you are hoping it’s going to come around again for you. You don’t want to fade away.”The Foos’ guitarist and intrepid Shred With Shifty host opens the guitar garage for his current tour and details his brand-new pedal setup.
The last time PGcaught up with Chris Shiflett, Chris Kies paid a visit to Foo Fighters headquarters at Studio 606. This time, he meets Shiflett in Cincinnati, onstage at Great American Ballpark ahead of the Foos’ July 25 headlining date at the stadium. It was a hot one out there, but that didn’t stop our jeans-wearing Kies and towel-drying Shifty from tackling the guitarist’s new and improved 2024 tour rig. You’ll see some familiar faces, but some new ones too, including a sharp ’80s shredder and a pink partscaster. The biggest change of all comes in the form of a Dave Friedman-designed pedalboard, an impressive rackmount setup with a massive RJM switcher to hit all the set pieces. Plus, Shifty gives some juicy teasers on future signature gear collabs and talks about how hosting Shred With Shifty has impacted his own playing.
Brought to you by D’Addario.
Leave It to Clever
The beloved high-end version of Shifty’s signature Fender Telecaster Deluxe is equipped with Lindy Fralin P-90s, a rosewood fretboard, and Shifty’s Arsenal pin on the strap—haters be damned.
Eat the Rich
Shifty was on tour in Washington, D.C., when PG’s Jason Shadrick sent him the Reverb listing for this 1983 B.C. Rich Mockingbird. As luck would have it, the ’bird was just north in Maryland, and the seller agreed to drive the axe down and deliver it in person. Shifty swapped in some Dimarzio Super Distortion pickups, but the wiring was a bit screwy, so the kind folks at B.C. Rich reached out and arranged to fix things up. This one has D’Addario .010–.046 strings.
Pink Partscaster
This simple, eye-catching partscaster is an homage to Shifty’s favorite players from the ’80s, chief among them Eddie Van Halen. It has a single Seymour Duncan SH-4 JB Model humbucker, a Floyd Rose tremolo system, and a lone volume knob. The online-ordered headstock has Shiflett’s name on it, just so no one takes it by accident. Eric Chaz at Eric’s Guitar Shop in Van Nuys, California, assembled this pink plucker for Shiflett.
Shifty’s still using this one to workshop pieces of Van Halen’s tapping work on “Eruption,” and the haters can eat their hearts out, because perfect imitation isn’t the goal. “If it’s loud and you do it with some measure of confidence, it kind of works,” he says.
Kickass Korina
This Skynyrd-style Gibson Explorer has been hot rodded with a Seymour Duncan ’59 humbucker and another Duncan SH-4 JB Model.
Original Recipe
This is the original Fender Chris Shiflett Telecaster Deluxe, the guitarist’s first signature model which was designed and priced for accessibility to all players. This one got upgraded with a prized Tom Holmes humbucker. Stay tuned: Shifty teases that a new, American-made Shiflett signature might be coming by end of year….
Sticker Magnet
Shifty picked up this Gibson ES-335 around the tour cycle for One by One, and he’s since decorated it with a few stickers. This one’s got his classic Seymour Duncan ’59/JB humbucker combo, and stays in drop-D tuning for songs like “Monkey Wrench” and “Everlong.”
Fabulous '57
This is Shiflett’s “most vintage-y” vintage guitar: a 1957 Gibson Les Paul. He initially planned to reserve it for studio use, but fellow Foo guitarist Pat Smear convinced him to bring it out on the road. It started out as a goldtop, but now sports a finish that shows the wood and three-piece construction. It’s still loaded with the original pickups.
Stack City
Shiflett runs a beastly quartet of half-stacks, with two Friedman BE-100 heads and two Vox AC30 heads, all accompanied by matching 4x12 cabs. Shifty keeps the Friedmans in 50-watt mode, but look out—there could be a custom Shiflett Friedman amp coming down the line.
Death of the Tap Dance
Shiflett finally got tired of tap dancing around his pedalboard, and called up Dave Friedman for some help prepping a tour-ready rig. “He said, ‘Oh, so you decided to finally get a big boy rig?’” Shiflett laughs. Friedman designed it around an RJM Mastermind GT/22, with all of Shifty’s pedals housed in a rack sidestage. It took some getting used to, but now Shiflett’s built up the muscle memory to navigate the system. For adding new sounds, he’ll text his tech, Mark Lubetski, which settings or sounds he wants for certain “scenes,” and Mark will program them in.
Pedal Playpen
Shiflett’s pedal setup takes up two shelves in this side-stage rack. On the lower shelf, there are two Strymon Decos and two Strymon Timelines—one of each assigned to either the Voxes or the Friedmans—plus an Electro-Harmonix Micro POG, a Boss CE-2w, a Suhr microMIDI Control, and a Friedman Power Grid 10.
On the upper shelf, Shifty keeps the fun stuff: a JHS Muffuletta, Xotic EP Booster, Origin Effects Cali76, Fulltone WahFull, Klon KTR, Andy Green Pedals Seaverb, MXR EVH Phase 90, and MXR Flanger.
Shop Chris Shiflett's Foo Fighters Rig
Gibson Explorer
D’Addario .010–.046
Seymour Duncan SH-4 JB Model Humbucker
Seymour Duncan ’59 Humbucker
Gibson ES-335
1957 Gibson Les Paul
Friedman BE-100
Vox AC30
Strymon Deco
Strymon TimeLine
Electro-Harmonix Micro POG
Boss CE-2w
Suhr microMIDI Control
Friedman Power Grid 10
JHS Muffuletta
Xotic EP Booster
Origin Effects Cali76
Fulltone WahFull
MXR EVH Phase 90
MXR Flanger
Over three-and-a-half years after Randall Smith sold Mesa/Boogie to Gibson, Smith has completed his time with Gibson as the brand’s master designer and pioneer. Through his ground-breaking work at Mesa/Boogie, Smith was responsible for innovative modifications that gave small amplifiers more input gain, making them much louder, as well as creating an all-new high-gain distorted guitar tones.
Mesa/Boogie began as a small amplifier repair shop and was founded 55 years ago in 1969, in Mill Valley, CA by Smith who simultaneously respected and improved the vintage classics with his inventions. Smith’s ear for tone, passion for tube technology, and vision for building handcrafted high-performance amplifiers continues to redefine how we experience sound. Beginning at Prune Music in Northern California, Smith reconfigured amplifiers for more sound and power for all the great San Francisco area bands over 50 years ago when vintage gear was new. Being close to so many great guitar players, from Bloomfield to Santana and The Rolling Stones, Smith learned the virtues and shortcomings of the era’s gear and began a process of innovation, excellence, and invention that continues at the Mesa/Boogie craftory in Petaluma, CA today. Mesa/Boogie was the first boutique amplifier builder and revolutionized amplifier performance in ways that impact rock music worldwide.
Throughout the ‘80s and ‘90s a score of additional innovative and patented improvements saw Mesa Engineering emerge as the leader in tube amplifier technology. Today, Mesa/Boogie amplifiers and cabinets are renowned worldwide and unparalleled in performance and quality, every product is still hand-built, and our artisans are tenured with an average of 15 years at their post, many for much longer. We still hold true to the simple but increasingly rare principles Smith used to catapult Mesa/Boogie onto the world stage, hand-building the very best amps and cabinets and treating each customer as we wish to be treated.
Smith has positioned his legacy to be carried forward through the Mesa/Boogie team's continued commitment to quality and tone, and for the last two decades has been training the next generation of Mesa/Boogie designers.
Smith has been instrumental in growing the Mesa/Boogie portfolio with exciting new product offerings and overseeing the launch of the popular new Gibson Falcon amplifiers.
“I am incredibly grateful for Smith’s pioneering insights, design, and trust in Gibson,” says Cesar Gueikian, CEO of Gibson. “Randy’s DNA will always be present, and over the last few decades he has trained the new generation of designers that have been leading the way for Gibson and MESA/Boogie amps. As we evolve our Gibson Amps collection, including our Gibson and MESA/Boogie brands, Randy, and his original design ideas, will continue to inspire us to make the best and highest quality amplifiers we’ve ever made.”
“We’ve all talked about this day and have prepared for it in many ways over the years, but Randall Smith is a ‘force of nature’, and you can’t imagine it coming to fruition,” adds Doug West, Director of R&D at Mesa/Boogie. “Now, I reflect on the fact that few in this world ever get the chance to be mentored, coached to excellence and to perform at their consistent personal best in the ways our design team, and everyone here at Mesa/Boogie, have under his tutelage. Randy leaves us in good stead to carry on his legacy and tradition of excellence. With our respect for him and our shared love for what Gibson and Mesa/Boogie represent to music, Randy can bask in the contentment of knowing he has spread Tone and Joy the world over with his creations and that his contributions to music have made an indelible mark on generations, and the sound of electric guitar and bass over the last 55 years.”
For more information, please visit mesaboogie.com.