Eric Johnson: red house analysis

Discussion in 'Playing and Technique' started by RyanMcVicker, Feb 21, 2012.

  1. RyanMcVicker

    RyanMcVicker Member

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    Looks like the video was deleted.. but this is what he plays:




    e------------7--7--------10--11----
    b-------4-5--6--7--9-12--9---10---
    g------------------10--------------
    d-------4-6-----7------------------
    a----------------------------------
    e----7-----------------------------


    the general intervals.. without the rhythm involved..

    anyone know in theory whats going on? diatonic triads going up leading to the dom7 of b is all i can see in it... kinda confusing to me of like what this means in theory function?

    I want to learn more of that Jerry reed/chet atkins style chordings... reminds me of this.. but it helps me to know whats really going on theory wise...
     
  2. jmcerlain

    jmcerlain Member

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    It is a mixture of a B mixolydian scale with an added b3 and b5. You can also look at that as mixing a B major pent scale and a B minor blues scale. The intervals would be R, 2, b3, 4, b5, 5, 6, b7. I wrote an article on this in Premier Guitar and called it the composite blues scale. Once you get used to it, you'll wonder how you lived with out it!

    I hope this helped!
     
  3. RyanMcVicker

    RyanMcVicker Member

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    I mean chord wise what is going on? To get that chromatic movement sound.. can you only do that with the tritone? I think it's more than just looking at mixing maj and blues scales? I know what you mean with the parallel pentatonic scales... I learned that years ago and it blew my mind... Same thing with looking at every parallel mode up and down the whole fret board...

    I am more or less asking about theory analysis... How do would you write it out? Example: rock/blues are mostly I-IV-V7....

    A similar type of chordal movement would be something like this:
    http://www.youtube.com/watch?v=s2ybR3gL_sc


    Like, HOW would one go about writing something like this? Besides just plucking notes that sound good... How can i look at this in a theory vision for it to make sense?
     
  4. RyanMcVicker

    RyanMcVicker Member

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  5. AndyNOLA

    AndyNOLA Member

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    Joe Satrianni, wow!
     
  6. rabbuhl

    rabbuhl Member

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    In the article you pointed out the composite blues scale as root–2–b3–3–4–b5–5–6–b7. This can be played this over the I chord. Over the IV you said to leave out the 3rd. So, the scale over the IV becomes root–2–b3–4–b5–5–6–b7? What about over the V chord?
     

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