Chords for Combine six bluegrass licks, make one guitar solo.

I'm mighty grateful to you, [C] you know how to make them right.
I [D] said thank you Mr.
Martin, [E] I'm [G] alright. _ _
_ _ _ [Eb] _ _ [E] _ _ _
_ _ _ _ _ [Gm] _ _ [G] _
_ _ _ _ [C] _ _ _ _
[Dm] _ _ _ [E] _ _ _ [G] _ _
_ _ _ If I'm feeling down and worthless_
Hey [C] folks, today we're talking about how to play Thank [B] You Mr.
Martin off of Blake and Rice number two, I believe.
That's Tony Rice and Norman Blake, if you're not familiar with those artists.
Now, here's a really cool trick about this break.
Now that you've heard me play it,
I want to show you a couple of the licks that it's made out of.
It's really only made out of two G licks, two C licks, two D licks.
There's a little bit of glue in between, but for the most part it's just these licks.
I want to show you not only those licks, but the songs that Tony Rice also uses those licks in.
Because they're very versatile licks.
[A] He uses them all the time.
As soon as you're familiar with them, you're going to hear them everywhere in Tony Rice breaks.
So we're kind of pulling back the curtain a little bit so you can see some more things.
So let's go through all of the licks right away.
By the way, if you want the tab for Thank You Mr.
Martin,
you can get that at my website, lessonswithmarcel.com. Let's get into lick number one.
_ _ [G] _ _ _ _ _ _
[Bb] _ _ _ _ [G] _ _ _ _
So that very first lick is this [F] classic Tony Rice opening lick.
He's using it right at the beginning of this tune as well.
We hear variations of this in a ton of tunes.
We hear variations of this even in more popular Tony Rice tunes like Cold on the [C] Shoulder, you'll hear something like this.
It's very rarely this exact lick.
[Bb] This exact lick, these exact notes are in the beginning of Tony Rice's break for Big River,
which is kind of a deep cut.
But if you find that break, you'll be able to hear that.
_ _ _ [N] It sounds like a hammer-on to a high note and then one of these fast pull-offs.
I'm not sure exactly what that note is on the top.
I guess it could have been the root note.
This Tony Rice lick, pretty sure I heard this.
It's not too difficult to play, but it feels very exciting.
It's a very hot, spicy, kind of aggressive lick and you don't have to work too hard for it.
I like that. _
Let's look at the second Chi [Gm] lick.
_ _ _ [G] _
_ _ _ _ _ _ [Gm] _ _
[C] _ _ _ [Cm] _ _ [G] _ _ _
_ So this lick was really hard to pick one example of.
I mean, it's everywhere.
It happens to be in Ain't Nobody Gonna Miss Me When I'm Gone a handful of times.
So that's why I picked that one.
I saw that he came down, he went back up, _ didn't hit the blue note right there.
He did the rock step, then he did the minor to major third.
But you can also hear this lick a bunch of times in, and I believe Your Love Is Like a Flower.
You can also hear this lick a handful of times in Me and My Guitar.
It is a classic [Gb] minor pentatonic bluesy lick.
We see this phrasing just over and over again.
Classic Tony Rice move.
Definitely got to learn this one.
Let's do the [D] first C lick.
_ _ [G] _
_ _ _ [Eb] _ _ _ _ _
[Em] _ _ [C] _ _ _ So these two C licks, they kind of go hand in hand.
Normally he likes to play the first C lick and then the second lick, one after another.
In this [F] lick, I chose Big Spike Hammer because he happens to play this over the C chord a handful of times.
It's really just kind of a flat run.
Instead of over a G chord, it's over a C chord.
Then over the C chord, I thought something different was going to happen.
But no, look, we've got the same bluegrass cliche, the Lester Flat G run right there.
Tony [B] Rice uses this in a bunch of [Bb] songs over the C chord.
So of course he uses it in something like Blue Ridge [C] Cabin Home.
But if you look at the rest of the album band material, Bluegrass Album Band,
you will find this lick everywhere over C chords.
Over every C chord, Tony is going to use this lick.
Very common Tony Rice language.
If you haven't learned it yet, you have to learn it. _ _ _ _ _
_ _ [Bb] _ _ [Em] _ _ _ [C] _
_ _ Like I said, these [N] licks normally go hand in hand.
So normally he's playing C lick number one into C lick number two.
But this lick is also very popular.
I picked Devil in Disguise as sort of a break that exemplifies this lick.
But he's using lick number one a lot too.
He's basically playing lick number one and number two over and over and over again in Devil in Disguise.
And as soon as you hear it, you cannot unhear it.
That characteristic slide on the G string going from three back down to two over the C chord.
It's very [D] recognizable. _
_ _ _ _ _ _ _ _
[F] _ [D] _ _ So this lick over the D chord is actually kind of unique.
Tony doesn't do this a lot.
And I had to dig around a little bit to find an exact example of where he uses it.
And he does it in On and On.
So in the middle of the break for On and On, he uses this exact lick.
So this sounds like the octave thing.
He likes to do that over five [G] chords.
_ _ [D] _ _ _ _ _
[Bb] _ _ [G] _ _ [B] _ This phrase has given me a little bit of a little [C] bit of trouble.
But he'll do lots of different variations of that.
It's kind of like in my video about a banjo lick that you have to steal.
Check out that video.
And I'm kind of talking about this kind of lick.
You can start a phrase like this and do something really interesting after it.
And that's exactly what Tony does.
All right.
Time for the second D lick and our last lick here.
_ [G] _
_ _ _ _ _ _ [F] _ _
[D] _ _ _ [F] _ [G] _ _ So this is a classic Tony Rice ending lick.
[C] He uses it in Blue Ridge Cabin Home, which is probably the most famous example I could think of.
But he uses it in a bunch of other tunes as well.
As we move on to the D chord, we have this, [Ab] _ _ _ [Db] _ _ _ [Cm] _ _
which is weird.
Right.
That's not something that you would expect him to play over D chord.
Blue Ridge Cabin Home [F] is another break that's very similar to Thank You, Mr.
Martin.
It's over the same chord changes.
And if you're looking for a break to learn after you've learned Thank You, Mr.
Martin,
I would highly recommend Blue Ridge Cabin Home.
They're kind of like sister breaks or something.
They'll be very familiar after you've done one.
All right.
So let's talk through this break and you can actually see all the licks that we just learned in action.
So in the very first measure, we have the kickoff.
That's kind of before the form starts.
So if you look at the first real measure where I've written break starts, you'll see the first G lick.
_ There's G lick number one.
And [B] that takes up the first measure and a half there of the form.
And then if we go to where it switches to the C chord, you will see C lick number one, followed by more or less C lick number two.
They're a little different, small variations that you find on your own.
But this whole first line is kind of stock, right?
These are all stock parts.
If you look at the next line, you can see there's D lick number one.
And it's followed by something interesting.
It's followed by the end of G lick number two.
So if you remember that G lick, it's got that little bar on fifth fret going back and forth.
Well, there it is over the D chord.
And of course, moving on to the next couple of measures of this line,
you can see that we actually get G lick number two.
It continues on to the next line.
But that whole section is G lick number two.
After that, we get a little bit of drone, a little bit of time wasting.
There's a measure that's unaccounted for.
And you can see that Tony's including some syncopation.
He's actually thinking here himself about what he's going to do next.
And what does he end up doing next?
Well, guess what?
He does C lick number one, followed by C lick number two.
Kind of obvious now that you see it _ ending.
We get D lick number two.
He's using twice, but he's using out two different strings.
He does it a string set lower and then he does it a string set higher.
Very interesting.
Very hip.
It almost like briefly implies a five chord or a five of five or something.
Maybe not quite, but, you know, the intent is there.
And then he ends with the Lester Flat G run.
If you [C] don't already know that lick, what are you doing here?
Go learn the Lester Flat G run.
Here's the cool thing.
I want you to listen to the break again.
You can hit the slow down, the settings wheel,
and you can pick what playback speed you want.
But I want you to listen for those licks.
Make sure you can hear them and identify them.
And then I want you to commit them to memory,
because [G] these licks you can use in any break.
They're useful anywhere.
All you got to do is learn them.
Anyway, have fun learning this break.
Feel free to play along with me.
Get to it.
I'm mighty grateful to you.
You know how to make them right.
I [D] said, thank you, Mr.
Martin, [E] I'm all [G] right. _ _ _ _ _
[Eb] _ _ [E] _ _ _ _ _ _
_ _ [Gm] _ _ _ _ _ _
[C] _ _ _ _ _ [Dm] _ _ _
[E] _ _ _ [G] _ _ _ _ _
If I'm feeling down and [D] worthless.
All right, folks, I hope you like this [D] very short and to the point [Gm] lesson with the biggest, baddest filly goat in the barnyard.
If you want this tab, remember, you can get the website, lessonswithmarcell.com.
There you can sign up for Skype lessons.
[E] You can do a bunch of other stuff.
Don't forget to like, comment, subscribe.
I love [D] all of you.
I'll see you at the live [G] streams on Tuesday. _ _ _ _ _
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