Hybrid Picking Licks

After having studied the scales proposed in the previous page, we can work directly on phrasing, studying a series of licks who's main purpose are to thoroughly use the hybrid picking technique.

Hybrid Picking Lick 3 - G major
This lick develops a scaling sequence based on the blues scale of G. Harmonically we have the pentatonic scale of G major to which the Bb and F notes are added. One completely abstract note is the F# at the end of the second movement, that serves to chromatically tie to the successive G. Also notice the use of two G unisons, one played on the fourth string at the 5th fret and the other on the third open string. A typical characteristic in country guitar is to double fingered notes with the same of the open strings. The final passage is always elaborated on the blues scale.

Hybrid Picking Lick 4 - A major
The phrase starts with a chromatic passage that supports the root (A note). The E note of the first open string allows us to change the position, descending to the 5th fret. We find the classic third minor - third major passage (in A: C - C#), that falls on the root. After the open G, another chromatic passage (notes F# - F - E), which could cause some set-up problems. In fact, we find the first finger on the F at the 3rd fret and the fourth finger on the E at the 7th fret. At the end of the measure there is another chromatic passage (C# - C - B).
The fingering in the second measure could cause problems for the right hand, therefore closely follow the indicated fingering. The A and F# notes create a melodic support for the G note of the sixth string, that anticipates the chord of G major.

Hybrid Picking Lick 7 - E major
A complicated phrase that emphasizes all the sound characteristics relating to the use of hybrid picking. Also in this case, we will use the blues scale. In the first part we have a movement of horizontal notes, with the use of the legature and slide. From half way through the first measure we work in arpeggio. Notice how in some cases you can also have continuous picking, in particular between the first and second measures and again at the end of the second. In both cases we have a 4 string arpeggio, of which the first three are down picking and the last one is played with the middle finger of the right hand.
To obtain a good country sound it's best to let the open strings replay as much as possible. Finally, the recommended fingering, for both the right and left hands, is practically mandatory, because its surely the best adapted to this phrase.

Hybrid Picking Lick 8 - A major
The descending sucession of the notes is intervaled by the open strings, that create the typical melody. Pay attention to the arpeggio on the third movement of the measure, which changes the normal work of the right hand. At the endy you will find two bichords of third major, where the last one is doubled with the root one octave above.

Hybrid Picking Lick 9 - F major
Once again the scale of F major. Even if it doesn't lend much to the use of open strings, it can however be taken advantage of using hybrid picking. In this case we also find the use of the tercet rhythm, not common in country, but surely interesting.
In the first measure we find an example that we could define as alternate bass, in that it has a fixed picking on two different strings, intervaled by the middle finger of the right hand. The same in the second measure, even if the phrase ends with two slides, which are then carried to the blues lick of the third measure. The lick in the last measure closes the phrase using a classical ending on the chord of Eb, in the first part of the measure, that resolves one whole step above in the scale F major.

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