Chords for Go To Licks in G www.jimmyheffernan.com

[G] _ _ _ _ _ _ _ _
[D] _ _ [G] _ _ Go-to licks.
These are just spots that virtually all the hot licks that are played on the dobro come
out of these spots.
[N] Now, some of the licks may be different than you hear other players play, but they're all
going to be using these locations that I'm about to show you.
And I'll show you 25 go-to licks, which are just things that I go to sometimes when I
don't have any inspiration, I'll just turn on a switch and play one of these licks.
And it's very, very useful.
And the rhythm track is just going to vamp on a G chord.
It's just going to keep going on a G chord.
So it's going to be excellent practice for you to loop these licks and practice against
a chord that's not going to change, [G] so you don't have to worry about when the chord change comes up.
You can concentrate on the timing.
And number three is a very, very common lick.
I don't think Josh played this lick, but certainly it started with Mike Aldridge and
it's continued on.
It's very common, very useful.
It's just a go-to thing when you really don't know what else to do.
_ [Bb] _
[G] _ _ _ [Em] _ [Bm] _ [Bb] _ [G] _
[N] The [Em] fingering on the right hand is important here. _ _ _
So it's thumb, middle, _ [G] then the middle, _ then the index, [Bm] _ [A] thumb.
_ [E] _ _ [Em] _ _
_ _ _ There's just a balance there as opposed to going_
That's weaker sounding. _ _ _ _ _
[G] _ _ And when you listen to the big time Dobro pick and stars, you're going to find that
they are all pretty punchy when they want to [C] be.
And pretty drivey.
_ [D]
Rob Ikes, Jerry Douglas, Randy Coors, Aldridge, [Em] etc.,
etc.
A lot of that drive comes from the thumb.
[G] _ _ _ So let's hear what that sounds like with the_
_ Now _ _ _ _ _ _ _ you can leave the last note off if you want to loop it.
_ _ _ _ _ [Gm] _
_ _ _ _ _ _ _ _
_ [G] _ _ _ [Gm] _ _ _ [C] _
[G] _ _ _ _ [Gm] _ _ _ _
[G] _ [Gm] _ _ [G] _ _ Okay.
So there's a lot of possibilities.
[Gm] _ _ _ [A] That's what I did there at the end.
_ [G] And _ _ every player just about does this.
In fact, there's probably players out there that tried not to do it.
It's become so common.
And number four incorporates this spot up here, which is very important.
The G note.
_ [Gm] And this is a huge area right here.
Three frets higher from the root, from the G.
[Bb] _ You get a B flat.
[N] And you slide into it.
[Dm] _ _ [G] _ _ And it's used by everybody.
_ _ _ And then we're going to use this diagonal, [Dm] _ _ which I've explained in some other videos,
but I'll do it here again.
You want to use the tip of your bar on the [G] fifth fret.
_ _ _ [Db] And pull your bar back to the sixth fret.
[F] _ Pull your bar back to the [D] seventh fret as you change strings.
[F] So I'm going [Cm] three moves [Dm] there.
_ _ [G] But the key here really is not to stop _ like that.
It's all in a row.
My right hand just plays that three-note pattern.
And my bar just follows. _
_ [D] _ [G] _ _ _ [D] _ [G] _ _
_ _ [D] _ [Gm] _ _ [D] _ So [G] that's the way to get that.
_ _ _ [D] _ [Ab] And then there's a muted note, [Db] _ which I'll try to write in the tab as an X if I can,
but just know it's there [Dm] between the seventh and the sixth. _ _
Then we [A] use the bottom of [Bb] that diagonal.
[D] _ I use the open D string to mask my [C] move.
[Gm] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [Em] _ _ [Gm] _ _ [G] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Okay. _ _ _ _ _
[Gb] _ [Em] _ [G] _ _ _ _ _ _