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Own the Rhythm

Yeah so that Tachi guy, is he on crack or what? o0 Oh! Hey there. Ready for the next lesson eh? Fair enough, I’ve got one ready for you. Today we’re going to pick up where we left off with Grog and Thag a few weeks ago. While Grog is our guitar hero, and is all knowing in the ways of guitar theory, now Thags skills are needed as Grog can’t seem to make any of his compositions take shape. That’s right, we’re gonna talk about Rhythmic devices.

Lets think for a sec. We can play our guitar, we can keep in time, but we can’t get the sound we hear in our heads to come out the same when we play it. Something is getting lost in the transition somewhere somehow. We’re going to try and explain just what that is today and show you how to fix it.

Ever listen to classical music? A really good peice like Moonlight Sonata, or Symphony 40? Ever notice how the chords and arpegios just seem to hit right when they should? The different passages resolve into eachother just the way you’re brain is thinking and then just take a left turn and you can’t wait to hear what happens next? Great stuff I know.

But how do we do this with our guitars? The key my friends is all in the phrasing. I listen to an obscene amount of video game music. It’s gotta be some of the best laid out music on the face of the known Earth today. Why? Because as a video game is palyed the mood changes. Especially with a game like Final Fantasy VII. As the game progresses, generally, so will the music. For those of you who have not played FF VII – go get a playstation and PLAY it, it’s got fabulous music, and it’s a great story as it is – even if the main character has
more psychological problems than Harvey Lee Oswald ever did…

Last time we talked about one of my own peices called “Olympian”. There are a TON of chord changes in there that give it the phrasing and composure it has, and last time I only covered two of them. I received about 20 emails askin me how I do what I do. So today we’ll tab about the whole song and explain the whole thing peice by peice.

Ready? Alright! Lets start with the intro to the song.

Intro:


e----------------------------------------
B----------------------------------------
G--1------4------------------------------
D--2------4------2-------4---------------
A--2------2------3-------5---------------
E--0-------------3-------5---------------

Alright, we’ve got a very nostalgic progression going here. Emaj, B5 and then a C and D major 3rd chord that have the top 3 notes chopped off to add a little less din and a little more beef to the sound. Heres what I play over this. Also, this song is about 12 mintues long, I don’t write short music, I pick a theme and explore it as much as possible, so be aware, this is a LONG lesson.


Emaj
e----------------------------------------
B----------------------------------------
G--/13--13-14--16--16~-------------------
D----------------------------------------
A----------------------------------------
E----------------------------------------


B5

e----------------------------------------
B----------------------------------------
G--/16-16--14--13---11--13-14~-----------
D----------------------------------------
A----------------------------------------
E----------------------------------------


Cmaj3rd

e----------------------------------------
B----------------------------------------
G----------------------------------------
D--/14-13-11---9-11-12-12~---------------
A----------------------------------------
E----------------------------------------

Dmaj3rd

e----------------------------------------
B----------------------------------------
G--/12-11-12-/12~------------------------
D----------------------------------------
A----------------------------------------
E----------------------------------------

As the Chords go on so does the lead, exploring the various ways passing through them. I could go on for ever and ever with this, but that would get -really- boring to read. Instead, we’ll move on to the next little bit. This is the “opening riff” that kinda gives a little more deffinition and direction to the song as a whole.

           1              2             3              4             5              6
e---------------|--------------|-------------|-------------|-------------|--------------|
B---------------|--------------|-------------|-------------|-------------|--------------|
G---------------|--------------|-------------|-------------|-------------|--------------|
D-------6-----6-|------4-----4-|-----4-----4-|-----2-----2-|-----2-----2-|-----4-----4--|
A-------7-----7-|------6-----6-|-----5-----5-|-----4-----4-|-----3-----3-|-----5-----5--|
E--*-*----0-0---|-0-0----0-0---|-0-0---0-0---|-0-0---0-0---|-0-0---0-0---|-0-0---0-0----|


            7              8             9                    10
e---------------|--------------|-------------|-----------------------------|
B---------------|--------------|-------------|-----------------------------|
G---------------|--------------|-------------|-----------------------------|
D------7-4-6----|------7-6-4---|--7--6--4--6-|--2-2-2--2-2-2--2-2-2--2-2-2-|
A------5-5-7----|------7-7-5---|--5--5--5--5-|--3-3-3--3-3-3--3-3-3--3-3-3-|
E--0-0----------|--0-0---------|-------------|-----------------------------|
                                                   (TRIPLETS)


                     11
e-----------------------------|
B-----------------------------|
G-----------------------------|
D--4-4-4--4-4-4--4-4-4--4-4-4-|
A--5-5-5--5-5-5--5-5-5--5-5-5-|
E-----------------------------|
  (TRIPLETS)

Well now, thats kinda happy aint’ it? The feeling ya get when you know the gang is getting together to go hang out on the weekend, yer all excited, ready to have fun. This is the kinda riff that can have a whole lot of differnt moods on it, and it all depends on how it’s phrased. Suppose we held each chord out for a whole note each measure instead of the bumpy vibe we’ve got going now? Or what if we did each one as triplets and had 4 quarter notes per measure, that amounts to 16th notes, but as a tripplet figure you get a “galloping horse” vibe instead of a “charging bull” vibe. Both are cool, just very different animals…

So how on earth do you solo over something that moves so much? Simple. Move with it. DUH! If your rhythm is a galloping horse, and your riding that horse, your hips gotta move in time and in rhythm with the horse, other wise you and the horse aren’t going to travel so well. When you don’t travel so well it means you and the horse aren’t seeing eye to eye. While you will (hopefully) both get there together, and at the same time, it doesn’t mean you’re gonna be feeling all the great when you get there. To put this little analogy into musical terms, if the rhythm is bouncing, your lead will need a fair amount of “boucing” in it as well. You’ve gotta both have the same attitude at the same time for you to do a good job as a lead guitarist. You’ve gotta move similarly musicaly – in time, in tune and in key with everything or you’ve got a problem. Remember that scene in a movie where someone gets on a horse and doesn’t know how to ride? Remember laughin yer butt off as you watched them hold on for dear life? Remember how angry the horse looked? That’s gonna be you if you can’t learn to find the groove of a riff.

If the rhythm is quarter notes, you can have a lot of fun playing really fast.
If the rhythm is a whole note, you can play even faster and have fun with it to.
If it’s eighth notes, you’re gonna wanna take a little longer a stride when you play.

What I’m saying here, is when you ride a horse, when it’s walking, you can adjust yourself on the saddle, drink water, pick apples from a tree as you walk past, and such. You can do more per step the horse takes. With music, the longer the stride of the rhythm (quarter notes, half notes and whole notes) the more room you have to be a speed freak and show off. Now, as the horse starts to trot, you can still grab things from trees, and adjust yourself in the saddle, it just takes you longer to do it cause you don’t wanna fall off the
horse. Same with Music, the shorter the stride of the rhythm, the longer you must take to get from point A to point B, generally speaking. But! As players like Yngwie and Vai have aptly proven, there are many exceptions to this rule. There are those who can juggle 9 daggers on fire when the horse is at a full gallop on a half inch thick tight rope in hurricane like wind, blind folded, one hand behind the back while reciting the Magna Carta backwards in pig-latin while doing the Hookie Pokie and still manage to stay on the bloomin horse.

What I have to say about that is this: BAH! It don’t happen very often, and its HELLA HARD.

Now, then, the next bit of this song we’ve already covered! Thats right it’s time to hang with the friends, the camping ground is set, the bowling lane is open, the waters fine – what ever yer gonna do, now it’s time to get your groove on. Show off your horsemanship! o0 “Spank that horsie!”

Okay, here we go. C5 D5 progression, back and fourth. This is where you get to run the course. You’re gonna be able to phrase these two chords 7 ways from sunday. Two measures of each chord, in 4/4 time. This gives you a chance to use every single bit of technique you have, as well as put as much heart and soul as you’d like in the longer notes and bends. Below are a few of the licks I use, as well a couple phrasing ideas.

The blues licks:



C5
e--12-----------12-----------12-----------12-----------|
B-----15p12--------15p12--------15p12--------15p12-----|
G-----------14B----------14B----------14B----------14B-|
D------------------------------------------------------|
A------------------------------------------------------|
E------------------------------------------------------|


e--12-----------12-----------12-----------12-----------|
B-----15p12--------15p12--------15p12--------15p12-----|
G-----------14B----------14B----------14B----------14B-|
D------------------------------------------------------|
A------------------------------------------------------|
E------------------------------------------------------|



D5
e--12-----------12-----------12-----------12-----------|
B-----15p12--------15p12--------15p12--------15p12-----|
G-----------14B----------14B----------14B----------14B-|
D------------------------------------------------------|
A------------------------------------------------------|
E------------------------------------------------------|



e--12-----------12-----------12-----------12-----------|
B-----15p12--------15p12--------15p12--------15p12-----|
G-----------14B----------14B----------14B----------14B-|
D------------------------------------------------------|
A------------------------------------------------------|
E------------------------------------------------------|


C5
e---------------------------------------------------/
B--15p12-------15p12-------15p12-------15p12--------/
G--------14p12-------14p12-------14p12-------14p12--/
D---------------------------------------------------/
A---------------------------------------------------/
E---------------------------------------------------/


e---------------------------------------------------|
B--15p12-------15p12-------15p12-------15p12--------|
G--------14p12-------14p12-------14p12-------14p12--|
D---------------------------------------------------|
A---------------------------------------------------|
E---------------------------------------------------|


C5
e---------------------------------------------------/
B--15p12-------15p12-------15p12-------15p12--------/
G--------14p12-------14p12-------14p12-------14p12--/
D---------------------------------------------------/
A---------------------------------------------------/
E---------------------------------------------------/



                                                     D5
                                                    (bend and release)
e---------------------------------------------------|-------------|------------|
B--15p12-------15p12-------15p12-------15p12--------|----15B(17)--|--15~-------|
G--------14p12-------14p12-------14p12-------14p12--|----14B(16)--|--14~-------|
D---------------------------------------------------|-------------|------------|
A---------------------------------------------------|-------------|------------|
E---------------------------------------------------|-------------|------------|



C5
e--15p12-------15p12-------15p12-------15p12-------15p12-------15p12-------15p12----------/
B--------15p12-------15p12-------15p12-------15p12-------15p12-------15p12-------15p12----/
G-----------------------------------------------------------------------------------------/
D-----------------------------------------------------------------------------------------/
A-----------------------------------------------------------------------------------------/
E-----------------------------------------------------------------------------------------/



e--15p12-------|
B--------15p12-|
G--------------|
D--------------|
A--------------|
E--------------|


C5
e--15p12-------15p12-------15p12-------15p12-------15p12-------15p12-------15p12----------/
B--------15p12-------15p12-------15p12-------15p12-------15p12-------15p12-------15p12----/
G-----------------------------------------------------------------------------------------/
D-----------------------------------------------------------------------------------------/
A-----------------------------------------------------------------------------------------/
E-----------------------------------------------------------------------------------------/


                D5
                    (bend and release) A.H.
e--15p12-------|---15B(17)------|--------15~--|
B--------15p12-|----------------|-------------|
G--------------|----------------|-------------|
D--------------|----------------|-------------|
A--------------|----------------|-------------|
E--------------|----------------|-------------|



C5
e-----------------------------------------------------------------------------------------/
B--20p17-------20p17-------20p17-------20p17-------20p17-------20p17-------20p17----------/
G--------19p17-------19p17-------19p17-------19p17-------19p17-------19p17-------19p17----/
D-----------------------------------------------------------------------------------------/
A-----------------------------------------------------------------------------------------/
E-----------------------------------------------------------------------------------------/



e--------------|
B--20p17-------|
G--------19p12-|
D--------------|
A--------------|
E--------------|



C5
e-----------------------------------------------------------------------------------------/
B--20p17-------20p17-------20p17-------20p17-------20p17-------20p17-------20p17----------/
G--------19p17-------19p17-------19p17-------19p17-------19p17-------19p17-------19p17----/
D-----------------------------------------------------------------------------------------/
A-----------------------------------------------------------------------------------------/
E-----------------------------------------------------------------------------------------/




e--------------|
B--20p17-------|
G--------19p12-|
D--------------|
A--------------|
E--------------|



D5
e--20p17-------20p17-------20p17-------20p17-------20p17-------20p17-------------/
B--------20p17-------20p17-------20p17-------20p17-------20p17-------20p17-------/
G--------------------------------------------------------------------------------/
D--------------------------------------------------------------------------------/
A--------------------------------------------------------------------------------/
E--------------------------------------------------------------------------------/



                             (bend and release)
e--20p17-------20p17--------|---22B(24)----22~---|
B--------20p17-------20p17--|--------------------|
G---------------------------|--------------------|
D---------------------------|--------------------|
A---------------------------|--------------------|
E---------------------------|--------------------|

Well now, that will about cover the blues licks. And just incase anyone is developing delusions of grandure. I did not purposely tab these out in 32nd notes. The reason I’m not gonna change the tab is becaue it took me 4 days to write this bloody thing! Besides, if you really like to challange yourself it’d be a great thing to try, so there! o0

Moving on…

With the progression going, you can have a ton of fun with the modal licks as well. If you aren’t sure what a modal lick is – see the last few lessons. I’d suggest trying a few Em sweeps and some alternate picking in the Aeolian mode on the 12th fret. Or some Gmaj stuff that’d be be the Ionian mode in G. ^_^ *gasp* Relative Major/Minor again! It works nearly everywhere.

The next progression is a some what reflective sounding passage. – thats right, its the opening riff again. Remember I said it has lots of moods? Well I’m not kidding, because now – we are holding each chord for a whole note. I didn’t tab the lead work for it out yet because it’s a tricky thing to tab out, and I never play it twice the same way. I will say this though, start on the g string at the 13th fret and work up and down the single string in Emaj and you’ll find something cool, then break it down onto th other strings and work it from there, and find your own way! It’s lots of fun so try it.

So after we hit that mess again, although it feels slower, we go on to the next riff. This is perfect fifths and major/minor 3rds, in a decending pattern which is fairly geometric on the fretboard.

e------|-----|-----|-----|-----|-----|-----|-----|
B------|-----|-----|-----|-----|-----|-----|-----|
G--9---|-----|--7--|-----|--5--|-----|--7--|-----|
D--9---|--6--|--7--|--4--|--5--|--2--|--7--|--4--|
A--7---|--7--|--5--|--5--|--3--|--3--|--5--|--5--|
E------|-----|-----|-----|-----|-----|-----|-----|

Well yippie skippy, now what? Are we there yet? NO!!! *whack!* Not yet! theres sweepicking yet to come! o0 The pext progression is as follows. The sweep picking above it helps give ya that “reaching towards infinite” felling, it’s pretty groovy.

E5 D5 C5 progression – yippie. Simple, easy, catchy, and with the sweeping below, it sounds very cool.



  E5
e------------19~--(19)--|--19-17-16-14--16-16b(17)16--14~-|
B---------17------------|---------------------------------|
G------16---------------|---------------------------------|
D---14------------------|---------------------------------|
A-----------------------|---------------------------------|
E-----------------------|---------------------------------|


  D5
e-----------17~--(17)--|--17-16-14--12-14--12~------------|
B--------15------------|----------------------------------|
G-----14---------------|----------------------------------|
D--12------------------|----------------------------------|
A----------------------|----------------------------------|
E----------------------|----------------------------------|



  C5
e-----------15~--(15)--|--(15~)--|
B--------13------------|---------|
G-----12---------------|---------|
D--10------------------|---------|
A----------------------|---------|
E----------------------|---------|



  D5
e-----------17~--(17)--|--(17~)--|
B--------15------------|---------|
G-----14---------------|---------|
D--12------------------|---------|
A----------------------|---------|
E----------------------|---------|


Now at this point your power chords are going to drop an octave, the other power chords you’ve been playing were at the 7th fet of the A string, (so you could hit the C5 and D5 power chords with out detuneing) but now we’re starting at the bottom again with E5.



   E5             F#5             G5              A5              B5
e----------19~-|-----------21~-|-----------22~-|-----------24~-|--24B(26)~-24-23--19~-|
B--------17----|--------19-----|--------20-----|--------22-----|----------------------|
G-----16-------|-----18--------|-----19--------|-----21--------|----------------------|
D--14----------|--16-----------|--17-----------|--19-----------|----------------------|
A--------------|---------------|---------------|---------------|----------------------|
E--------------|---------------|---------------|---------------|----------------------|


Well now, isn’t that grand, fingers bleeding? Brain hurt? Good! It means your learning… now all we gotta do is repeat the intro riff and the same lead and were done – except for the outro lead work which is as follows.

e--------------------------|---------------------|
B--------------------------|-----------------9~--|
G--------------------------|-----------------9~--|
D----------12--11-9---9----|---------12--11--9~--|
A-----9-12----------7---7--|----9-12-------------|
E--10----------------------|-10------------------|

The timing on the last bit is a lil odd, just play it buy ear, you’ll figure it out. And we’re done! Finally! ^_^ Hope you enjoyed the “Olympian” cause it took 4 days to tab out! Take care and see you all next month!

– Tachi

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