Brisklick E9th

Russ Wever · From: Kansas City

In a previous post, Klaus had asked about raising strings one and seven by a half-tone.

Here is 'brisklick' example of using that particular raise on string one.

Click here to hear> Brisklick.

Playing these 'descending diatonic half-scales' goes like this:
First Measure>

At fret 20, play strings 3, then 1, then 4 then 2 with the 'F' Knee.
At fret 18, play strings 3, then 1, then 4 then 2 with the 'F' Knee and the Knee raising the first string a half-tone.
At fret 17, play strings 3, then 1, then 4 then 2 with no Knee-levers.
At fret 15, play strings 3, then 1, then 4 then 2 with the 'F' Knee.

Second Measure>
At fret 13, play strings 3, then 1, then 4 then 2 with the 'F' Knee and the Knee raising the first string a half-tone.
At fret 12, play strings 3, then 1, then 4 then 2 with the Knee lowering the second string a half-tone.
At fret 10, play strings 3, then 1, then 4 then 2 with no Knees.
At fret 8, play strings 3, then 1, then 4 then 2 with the 'F' Knee.

Third Measure>
At fret 6, play strings 3, then 1, then 4 then 2 with the 'F' Knee and the Knee raising the first string a half-tone.
At fret 5, play strings 3, then 1, then 4 then 2 with no Knees.
At fret 3, play strings 3, then 1, then 4 then 2 with the 'F' Knee.
At fret 1, play strings 3, then 1, then 4 then 2, with the 'F' Knee and the Knee raising the first string a half-tone.

Fourth Measure>
At fret 1, play string 3. (Finish)

Careful muting and even timing will keep the notes from 'wadding up'.
~Russ

Klaus Caprani · From: Copenhagen, Denmark

Thanks a lot. This is definetely one I'll practice in december when I get some more time at hand

------------------
Klaus Caprani

MCI RangeXpander S-10 3x4
www.klauscaprani.com

John Daugherty · From: Rolla, Missouri, USA

Russ, another example of your helpful contributions to the forum.
I am so glad to see that you are "healing and helping".
I was injured last week when my ATV turned over on me on a mountainside. I can't play guitar now but I know I will whip these injuries and soon slide up to my lovable Marlen.
At least I can learn and help on the forum while I am recovering.
Keep on keepin on......JD

Joey Ace · From: Hamilton, Ontario, Canada

Thanks Russ! Quite a hot lick. Reminds me of Doug J's scale work,
or (dare I say) Bobby Thompson's cash-cow banjo lick.

Why the name "Brisklick"?

I've transcribed your words into the following notation.

I'd call it "Connected Descending Fourths".
A study of the notes shows why that name is descriptive of what's happening.

The adventorus student should take this idea and change it to "Connected Descending Thirds", with a Triplet Feel.

Also try "Un-connected Descending Fourths" and "Un-connected Descending Thirdhs".

Peter · Posted 27 Nov 2004 9:14 am

Why the name "Brisklick"?

Ask Jimbeaux, he knows what a Bris is.

[This message was edited by Peter on 27 November 2004 at 09:15 AM.]

Joey Ace · From: Hamilton, Ontario, Canada

This is a great intonation exersize, too.

Play it with a drone A note coming from another source. For me it'm my V-SAM.

Moving to TABLATURE....

Jim Cohen · From: Philadelphia, PA

quote:
Why the name "Brisklick"?
Ask Jimbeaux, he knows what a Bris is

You mean if you play this fast enough, you could...? Naaah! I don' believe it!

Michael Dene · From: Gippsland,Victoria, Australia

Thanks Russ... and the variations are endless!!

It'll keep me busy for a while.

Joey... what program are you using to do your Tab/Notation? It looks really good and I love the rythm notation on the Tab.

------------------
Michael
Emmons LeGrande II D10
Peavey Session 500

Joey Ace · From: Hamilton, Ontario, Canada

Tabledit, Michael.

It also plays the music.

Do a search in this section for Tabledit and you find out more about it. The designer asked for our advice on the Pedal Steel Features.

The up/down arrows were a feature I requested.
It also does letters. www.tabledit.com

Michael Dene · From: Gippsland,Victoria, Australia

Joey...thanks for your prompt reply !!

It sure looks good.

------------------
Michael
Emmons LeGrande II D10
Peavey Session 500

HowardR · From: N.Y.C.-Fire Island-Asheville

So it's true,....Jimbeaux does play for tips!

Drew Howard · From: 48854

In the words of Del McCoury "That's hard!"

My right hand blocking is terrible for speedpicking, so I play those notes on the 5th, 4th and 2nd strings, though it sounds more legato.

2--------12L------------10--------------8------
3----------------------------------------------
4-----12-------------10----10--------8F---8F---
5-12A--------12A^10A----------10A^8A---------8A

etc., etc.

Drew

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Fessenden D-10 8+8 / Magnatone S-8 (E13)

Russ Wever · From: Kansas City

Russ Wever · From: Kansas City

In a message dated . . . . , james.***@***.net writes:

Hi Russ, Greetings from Watford UK.
Thanks for the great lick.
Do you use two or three fingers for this run??
Thanks in advance.
Merry Xmas, James.

--------------------------------------

Hi James -

One finger and thumb -

I use thumb on string 3, then 2nd-finger on string 1 then thumb on string 4 then 2nd-finger on string 2.

I keep my righthand somewhat 'fixed' (in a 'stance') so that the distance between thumb and 2nd finger is maintained, and use the 'twist-of-the-wrist' more than flexing-the-knuckles to move the picks.

By using thumb-and-finger (rather than thumb and two fingers) the picking becomes 'alternating in (finger) and out' (thumb) strokes - like a guitarist using the flat-pick with 'alternating up and down' strokes to maximize efficiency.

Thanks,
~Russ

---------------------------------------

In a message dated . . . . , james.***@***.net writes:

Hello Russ, Many thanks for the finger explanation, it was as I figured.
The "stance" of the finger positioning you advocate is enlightening and is something that I'm sure would be of great interest to all forum members.
I'm indebted to you. . . . . .
Kindest regards.
James (UK)

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