PF's solo for "Don't you ever get tired of hurtin' me"

[Mark Greenway]

This guy is the real deal.

Here is the amp and settings that he uses. Got this off of his You Tube comments.

Mark, in this video I'm using a Peavey, Nashville 112. lows/-6, mids/-6, shift/straight up, highs/+6, presence/-6. The only effect I'm using is the amp reverb and it's set at 4. pre gain/21/2, master volume/5.

Dale, do some more of these. Man, you are talented. If you are good at tabbing, I bet you can make some money. I'd buy tabbed songs, solos, intros, turnarounds off of you.

[Bill Ferguson]

Thank you Mark. That slipped right by me on YouTube.

[Bent Romnes]

Yes, folks, Dale is the real deal for sure. I have the privilege of living fairly close to his home town of Tilbury, which is 1 1/2 hrs from London, On.
Every time Dale has a gig in London or close by, I am there to listen and have a musical chat.

I feel very fortunate having Dale as a friend. It has become our habit to get together every time I complete a new BenRom. Dale is here on a moment's notice to test play and give me his feedback.

Like I said, I couldn't ask for a better promoter.

[Mark Greenway]

I was watching the video again just know because it is so good, and I noticed that Dale has a Goodrich Matchbox or Goodrich something clipped on the leg of his guitar.

It better not be like the one I just sold a few days ago. If it is, I'm going to buy it back.

[Alex Cattaneo]

You can now download the tabs straight to your computer via this link:

https://app.box.com/s/g4o1jmd5p55hipxn578k

[Mark Greenway]

WOW! This forum is awesome.

Alex, thanks so much for tabbing this out for all of us. You and Dale are the kind of people that make this forum great.

Thanks to the both of you.

[Bob Snelgrove]

Dale,

I bought my Franklin from you, right??

Where have you been??!!


bob

[Richard Keller]

Alex makes great tabs. I have tabbed out a couple songs and know how time consuming it is to do this. Plus, my tabs never look as neat and professional as Alex's.
Keep up the good work Alex. I appreciate the effort you are putting into the tabs.

[Dale Rivard]

I want to say thanks to everyone for the interest in this. I also want to thank Alex for taking the time to tab this out. It's so much fun for me to try and lift Paul Franklin's ideas. He is such a great, influential musician. Mark, good eye! There is a Goodrich steel driver 2 attached to leg of my steel but it wasn't hooked up for the recording of this video. Bob Snelgrove, do you still have the burgundy Franklin? I miss that guitar! I'm still living around Windsor, Ontario, Canada, about an hour from Detroit, Michigan. Keep pickin', Dale

[Bob Snelgrove]

I want to say thanks to everyone for the interest in this. I also want to thank Alex for taking the time to tab this out. It's so much fun for me to try and lift Paul Franklin's ideas. He is such a great, influential musician. Mark, good eye! There is a Goodrich steel driver 2 attached to leg of my steel but it wasn't hooked up for the recording of this video. Bob Snelgrove, do you still have the burgundy Franklin? I miss that guitar! I'm still living around Windsor, Ontario, Canada, about an hour from Detroit, Michigan. Keep pickin', Dale

Dale

I do have it! Pry, cold, dead, hands, etc

I hope you have time for more tutorials. A lot of us (me) are lousy at figuring stuff out.

thx

bob

[Paul King]

Thanks Dale for taking the time to learn and post the video. Your steel sure sounds really good too. I have watched the Paul Franklin video several times and he just sounds awesome. He is sitting on top of the world right now and the way he plays and sounds he should be. If anyone has never seen Paul Franklin play live you sure are missing a treat.

[Quentin Hickey]

I actually had the privilege of seeing Paul a few weeks back when he came to town on the "Bakersfield" tour with Vince, that was the musical highlight of 2013 for me. Paul is "it" for me! Dale, you have the technique, the feeling, and the tone, a complete package for Nashville material I hope we get the chance to meet some day.

[Bill Sutton]

WOW...Dale that was Awesome. I will definetly learn this. Thanks for sharing these great licks...and you did A great job.
Bill

[Jan Oelbrandt]

I think PF's solo is great. Your copy of it is great too.
But i do believe the first notes he plays at 0'36 (0'50 in your version) were not meant to be. I really do mean: he made a mistake there, and (as any great musician would do) found a way out of it in the blink of an eye. It's just so short, and resolved so beautifully, that it is not filed under "out of tune"

This is just my 2 cents...

[Declan Byrne]

Really good Dale

[John Sluszny]

But i do believe the first notes he plays at 0'36 (0'50 in your version) were not meant to be. I really do mean: he made a mistake there, and (as any great musician would do) found a way out of it in the blink of an eye. It's just so short, and resolved so beautifully, that it is not filed under "out of tune"

This is just my 2 cents...

Hi Jan,
Do you mean second beat of bar 13 in Alex tab?

[Jan Oelbrandt]

Do you mean second beat of bar 13 in Alex tab?

Yes John, that's what I mean.
When you do that while the band plays a Bb note, you're playing an A as well as a B. That's what I call out of tune.

Compare that beat to:
slide into the 9th, A pedal down, on strings 7 & 5
and let me know what you think. (others welcome to join in)

[John Sluszny]

Do you mean second beat of bar 13 in Alex tab?

Yes John, that's what I mean.
When you do that while the band plays a Bb note, you're playing an A as well as a B. That's what I call out of tune.

Yes, I understand what you mean,but personally I would rather call that an anticipation.It surprised me too when I first heard it.But isn't Paul Franklin a very surprising musician?That's what I love about his playing,there's always something "unreal" to be heard.JMHO

[Jan Oelbrandt]

I would rather call that an anticipation

of course, the whole bar is an anticipation of what follows.

But isn't Paul Franklin a very surprising musician?

Surprising as in: unique, not as any player: i agree.

[Franklin]

Jan,

Several things within the tab are incorrect to the way I played that solo.....I played all single string chromatic approach notes, not two string harmonized notes in the pickups to the 5 chord which is different than what is taught in the tab. Learning to use chromatic approach notes is correct sounding to most trained ears and easy to use....the rule is simple...as long as I am moving towards a targeted note I can approach that targeted note from anywhere chromatically as long as I'm moving to a destination and not hanging on any of those notes for long...In the case of your questioned note, the destination or target note I was after was a b7 of the five chord while the band was playing a 4 chord.........Jazz players use tension release harmonies all the time and so do most country and bluegrass players......Also notice how hard I hit "the note" you believe is a mistake...I emphasized its volume to draw attention to it.....I also use volume dynamics to emphasize notes that create a little tension.

Also that note to the chord its heard over (is actually a four chord Eb chord and not the Bb note you mentioned in your statement). Bands always play more than one note which allows the soloist more freedoms such as the ones I took in this solo......The note in question is also a minor third note to the Eb chord which many players and teachers call a blues note. Blues scales are commonly heard over major chords.

Paul

[Marcel Parijs]

Dale,

You are a great picker with a great sound.
And what a great Franklin solo on that song.
Maybe I´m wrong but I hear a fantastic Buddy Emmons lick at counter 0:44 on that YouTube clip.

Well done Dale. 5 stars *****

Regards,

Marcel Parijs

[Franklin]

Dale,

You are a great picker with a great sound.
And what a great Franklin solo on that song.
Maybe I´m wrong but I hear a fantastic Buddy Emmons lick at counter 0:44 on that YouTube clip.

Well done Dale. 5 stars *****

Regards,

Marcel Parijs

Marcel,

Good observation....You are right, What Dale played is the Buddy Emmons lick.....What I played is not. I used a variation by substituting a diminish triad instead of the typical tritone 4# major Buddy uses for the next to the last move, which is two frets down from where the phrase starts.........To play it the way I did requires moving back one fret, instead of two.....Its a three pedal triad...you lower 4 and 8 a half tone and raise the 6th string a half tone and half pedal the fifth string which gives you a sweet resolving diminish triad....That move will take some practice to consistently get the tuning right.

Paul

[Franklin]

Dale,

I thought you did a great job at interpreting what I played and I am honored you liked it enough to want to learn it.......

If anyone is interested in knowing what I did exactly besides the above move I discussed with Marcel there is also another difference to point out.

Bar five of the tab of Dale's solo is different than my solo.....when played as I did there is less picking involved........It starts at the 7th fret 6th string B pedal down and then I move up to the 8th fret and do the same thing leaving B pedal down I pick the 6th string again.......With the 6th string sustaining at the 8th fret and the B pedal still activated I slide back to the 7th fret and softly pick the 5th string only.....Picking it softly is important so that its volume does not overpower the sustaining volume of the 6th string which also takes some practice at first (that internal picking dynamics is a Jerry Byrd thing) ...than I slide back to the 6th fret without restriking anything and add the A pedal to the mix...By pressing down the A pedal and sliding from the 7th fret to the 6th no picking is needed for that counter point move. It resolves rather nicely on its own.......When it is possible and especially on the ballads I love utilizing the sustain of the instrument so that less picking is done...

Again my hats off to Dale for an excellent job.

Paul

[Dale Rivard]

Hi Paul,

Thanks so much for taking the time to give us (me) specific details on this solo. I really dig this solo!(as well as all the others you have done!) I know when different strings, positions and pedal/knee lever combinations are used to achieve similar sounds, a lot of the nuances can be lost. (It can make a world of difference) Thanks for giving us insight on your approach. You are not only a great musician but a great teacher as well.

[Bob Snelgrove]

OK, Alex,

Now fix it, LOL


bob