favorite eruption phrase (i know this is SICK)

rgalpin · Post by **rgalpin** » Tue Mar 11, 2008 2:02 pm

Do you hear those picked notes?

i need to listen to it more closely - i was so pumped just to know the notes - i haven't gone back to get the details.

i'll try to post some more of it like that. i just slowed it down in PT using the TCE tool.

Strat78 · Post by **Strat78** » Tue Mar 11, 2008 3:00 pm

rgalpin wrote:
Do you hear those picked notes?
i need to listen to it more closely - i was so pumped just to know the notes - i haven't gone back to get the details.

i'll try to post some more of it like that. i just slowed it down in PT using the TCE tool.

Yeah, I would take my picking diagram part with a grain of salt because I'm always changing it. I'm loosing my mind, now all I hear are the 16--17 being picked.

Incidentally I really like the way it feels playing it at the 17 position too, but it just gets a little hung up when segueing into that first tremolo spot. Plus after the woo woo woo on the 17 Ed pulls off to the 14 and slides it down the neck before sliding up on the low E and pulling off to that sick growl (the bar is slightly suppressed and then brought up before plunging down, all at lightning speed, sick sick sick).

rgorke · Post by **rgorke** » Tue Mar 11, 2008 4:24 pm

The thing that is amazing me is that how ever you play the three runs that Strat78 posted or what Rob posted, they all yield different licks (I have a knack for stating the obvious.) The point is that many say EVH's tone is in his hands and this proves that there is a lot to that statement.

I spent last night just doing the first lick with different accents, legato, picking, and getting a ton of different stuff. Play that run on different strings and in different positions, etc.

There is a limitless supply of very cool licks. Thanks for the original post, Rob. There is a big part of the "brown sound."

Strat78 · Post by **Strat78** » Tue Mar 11, 2008 5:38 pm

rgorke wrote:The thing that is amazing me is that how ever you play the three runs that Strat78 posted or what Rob posted, they all yield different licks (I have a knack for stating the obvious.) The point is that many say EVH's tone is in his hands and this proves that there is a lot to that statement.

I spent last night just doing the first lick with different accents, legato, picking, and getting a ton of different stuff. Play that run on different strings and in different positions, etc.

There is a limitless supply of very cool licks. Thanks for the original post, Rob. There is a big part of the "brown sound."

It's all about juggling the notes to hide the scales or pattern that is being played. Holdsworth has always done this brilliantly, using notes that are musically incorrect or playing "outside" the scale. You get a dappling of notes kind of like mid day sunlight and shadow play under a maple tree. You also get this incredible sense of motion and distance that is un-contrived unlike 100% of shredders wankage.

Those fast ascending runs Ed does in I'm The One, the solo for Jump and The Cradle Will Rock are absurdly simple geometric patterns yet Ed scatters them, swings them and finishing with a beautiful dismount resolving the entire mess, all the while it sounds better than some sophisticated scale that covers half the neck! Listen to Allan Holdsworths solo in "Fred", he used to do the same thing even more abstractly.

T.J.Fuller · Post by **T.J.Fuller** » Tue Mar 11, 2008 10:23 pm

I think part of nailing the swing or bop feel, is more slides and more hammer on pull-offs with a tad bit of articulation.

definitely more of a george lynch type of pull off to end the phrase

http://www.soundclick.com/player/single ... i&newref=1

I left out a note or 2 to hit the swing of it.

Atomic Punk · Post by **Atomic Punk** » Wed Mar 12, 2008 8:01 pm

If you slow the speed of the playback and pitch instead of the just tempo, you can hear it more clearly.

He is defenitly going from the 16-17-20 pattern to the 14-17-20 pattern.
I have a comparison between the October 15, 1977 show and the studio version. He must have just played some wrong notes on the studio version.

http://www.soundclick.com/bands/default ... tent=music

Strat78 · Post by **Strat78** » Wed Mar 12, 2008 9:04 pm

Atomic Punk wrote:If you slow the speed of the playback and pitch instead of the just tempo, you can hear it more clearly.

He is defenitly going from the 16-17-20 pattern to the 14-17-20 pattern.
I have a comparison between the October 15, 1977 show and the studio version. He must have just played some wrong notes on the studio version.

http://www.soundclick.com/bands/default ... tent=music

Cool clip, this demonstrates exactly what I laid out with that PDF file 10 posts up.

Atomic Punk · Post by **Atomic Punk** » Wed Mar 12, 2008 9:13 pm

Yeah i saw it, I just wanted to prove it

Strat78 · Post by **Strat78** » Fri Mar 14, 2008 3:57 pm

I wanted to post a clip of my #2 tab but never had the chance. Wow, a couple months without serious playing and I can hardly pull this stuff off anymore. My fan picking went to the dogs. Depressing.

Anyway, here is the clip. I think the riff works well with the hammered down 20 on the B instead of the 15 on the E. It brakes the notes up better.
http://soundclick.com/share?songid=6361656

45auto · Post by **45auto** » Fri Mar 14, 2008 4:05 pm

kind of like mid day sunlight and shadow play under a maple tree

nice analogy!

It's all about juggling the notes to hide the scales or pattern that is being played

almost like jazz! "Is that what you call that? I HATE Jazz"

vkaxeman · Post by **vkaxeman** » Fri Mar 14, 2008 4:09 pm

Strat78 wrote:I wanted to post a clip of my #2 tab but never had the chance. Wow, a couple months without serious playing and I can hardly pull this stuff off anymore. My fan picking went to the dogs. Depressing. Anyway, here is the clip. I think the riff works well with the hammered down 20 on the B instead of the 15 on the E. It brakes the notes up better.
http://soundclick.com/share?songid=6361656

Killer playing Dude!

rgalpin · Post by **rgalpin** » Fri Mar 14, 2008 9:19 pm

vkaxeman wrote:
Strat78 wrote:I wanted to post a clip of my #2 tab but never had the chance. Wow, a couple months without serious playing and I can hardly pull this stuff off anymore. My fan picking went to the dogs. Depressing. Anyway, here is the clip. I think the riff works well with the hammered down 20 on the B instead of the 15 on the E. It brakes the notes up better.
http://soundclick.com/share?songid=6361656
Killer playing Dude!

+1
NICE!

LypsLynch55 · Post by **LypsLynch55** » Fri Mar 14, 2008 9:55 pm

T.J.Fuller wrote: definitely more of a george lynch type of pull off to end the phrase

Funny, I was thinking the same thing! George is always throwing in that horizontal vibrato, trills and approach notes - the problem is, a lot of of his post-2nd Lynch Mob Album playing has just TOO MUCH of these techniques in his songs or George gets too caught up in a particular pattern and he starts sounding way out of key.....this is ok every now and then...its almost like George plays a particular phrase just because its something hes comfortable playing, not because it fits the song itself.

This is something that Ed, being the maestro that he is, never had happen - it never sounded like Ed, despite using notes outside the key he was in, was out of "key". It always sounds (at least record-wise) that Ed is playing exactly what the song needed....(ref: "Falling down the stairs and landing on your feet").

Like Strat said - Ed's hat tipping to Holdsworth is apparent in a plethora of places.

Strat78 wrote:Wow, a couple months without serious playing and I can hardly pull this stuff off anymore. My fan picking went to the dogs. Depressing.

Whatever!
You still rock. Nice playing for a Dad!

Thanks for the PDF.

kmoney · Post by **kmoney** » Sat Mar 15, 2008 10:46 pm

we should put together a tab of the whole song, theres probably enough in here to cover half of it

rgorke · Post by **rgorke** » Sun Mar 16, 2008 8:38 am

I wish I could "hardly pull this stuff off anymore" like that.