fusion lick...

Discussion in 'Playing and Technique' started by bluesmain, Oct 13, 2008.

  1. fender753

    fender753 Member

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    I learned that one a while ago, I think its pretty cool, that website has some nice licks.
     
  2. strat68

    strat68 Member

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    I could have sworn before there was tab (pictured in youtube video) right after he did it the slow time with counting?
     
  3. darth_vader

    darth_vader Member

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    It sounds cool when he plays it fast, but when he slowed it down it just sounded, I dunno, strange. Maybe I don't listen to enough fusion to get it :dunno
     
  4. JonR

    JonR Member

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    It's mostly a standard mix (over the given E7 chord) of E major pent and blues scale, with the exception of a C natural note (2nd string fret 13). That's the one "odd" thing about it - that and the occasional big leaps perhaps.
    E major pent = E F# G# B C#
    E blues = E G A Bb B D
    All together = E F# G G# A Bb B C# D. That's 9 notes!
    The C natural doesn't really belong (it's chromatic) - but used in such a way here that it sounds like a passing sidestep out of key (and back). And there's some repetition of melodic patterns which helps the whole thing hang together.

    Here's a detailed look at it:
    Code:
    |-------12-|15-16-12-14----------12-|--------------------|-----------------
    |-12-14----|------------15-14-13----|--------------------|-----12----------
    |----------|------------------------|15-14-13-------12~~~|~~14----12b------
    |----------|------------------------|---------14---------|-----------12-12-
    |----------|------------------------|------------16------|-----------------
    |----------|------------------------|--------------------|-----------------
       5 6   1  b3 3  1  2  b7 6  b6 1   b5 4  3  1  6  b3..... 4  5 b3(3) 1 1
     
    
    Scale degrees are underneath, and you can see how it combines major pent (1 2 3 5 6) with blues scale (b3, 4, b5, b7) - plus that odd b6.
    You can also see the repeated 3-note chromatic idea (15-14-13) which helps it make sense - but when slowed down that C really sticks out as "wrong".

    However...
    The E7 context in which C would make sense is the E altered scale (common jazz choice for an E7 chord in key of A minor):
    E F G G# Bb C D (1 b2 b3 3 b5 b6 b7)
    You can see that the 2nd half of bar 2 and the first half of bar 3 could represent this (with a couple of passing notes).

    So the lick is mainly a standard conventional blues/rock/country mix of major pent and blues, with an altered section thrown in the middle.
    The E altered scale normally resolves to A - and that's kind of what it does here, as the notes in the 2nd half of bar 3 are E, C# and G: 1-6-b3 of E, but 5 3 and b7 of an A7 chord.

    So that's the story (IMO!): even tho the backing is a simple E7 chord, the lick is suggesting an E7 -> E altered -> A7 -> E phrase.
    The lesson is that these notes are not chosen at random! There's a concept behind them, and that's the logic we hear, even tho we may not know exactly what's going on.
     

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