Eyes intro

Postby strumminsix » Tue Jan 10, 2006 2:15 pm

JordanL wrote:I've played this for years. Taught to me by Jeff Matson of the Zen tricksters:

Its Emaj7 - Emaj6 -Emaj7

--7--x--4----
--9--5--4----
--8--6--4----
--9--6--6----
--7--7--7----
-------------


That voicing sounds very good.

But that's a C#m just using the 6th as a root - E G# C# E

An Emaj6 would be E(1) G#(3) B (5) C#(6) and easily look like:

e--9-
b--9-
g--9-
d--9-
a-7--
E---

However, the voicing by the shape you've suggested is really what makes for a nice jazzy unique feel without stepping out of the pocket!!

Thanks!
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Postby JordanL » Wed Jan 11, 2006 6:59 am

strumminsix wrote:
JordanL wrote:I've played this for years. Taught to me by Jeff Matson of the Zen tricksters:

Its Emaj7 - Emaj6 -Emaj7

--7--x--4----
--9--5--4----
--8--6--4----
--9--6--6----
--7--7--7----
-------------


That voicing sounds very good.

But that's a C#m just using the 6th as a root - E G# C# E

However, the voicing by the shape you've suggested is really what makes for a nice jazzy unique feel without stepping out of the pocket!!

Thanks!


Its very common to drop the 5 in a chord voicing, it doesn't add much to the harmony(and the bass player is probably going to supply it anyway). Given the overall sound of the riff I'd still call it an E6, rather than ist inversion C#m, but thats really just academic.
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Postby strumminsix » Wed Jan 11, 2006 8:27 am

JordanL wrote:
strumminsix wrote:
JordanL wrote:I've played this for years. Taught to me by Jeff Matson of the Zen tricksters:

Its Emaj7 - Emaj6 -Emaj7

--7--x--4----
--9--5--4----
--8--6--4----
--9--6--6----
--7--7--7----
-------------


That voicing sounds very good.

But that's a C#m just using the 6th as a root - E G# C# E

However, the voicing by the shape you've suggested is really what makes for a nice jazzy unique feel without stepping out of the pocket!!

Thanks!


Its very common to drop the 5 in a chord voicing, it doesn't add much to the harmony(and the bass player is probably going to supply it anyway). Given the overall sound of the riff I'd still call it an E6, rather than ist inversion C#m, but thats really just academic.


PotAto, potAHto :-)

It's always adds to the jam when you know what the bassist is doing and can drop 1s or 5s along the way.
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Postby waldo041 » Wed Jan 11, 2006 8:41 am

let me stand up and say i was wrong. :x

JordanL was right on the money. :cool:

thanks for the insight. :D


peace,
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Postby strumminsix » Wed Jan 11, 2006 9:02 am

Oh, JordanL , kinda like my favorite chord:

e ---
b -8-
g -7-
d -6-
a -7-
e ---

E 7#9(no 5th)
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Postby Billbbill » Wed Jan 11, 2006 9:11 am

Also a favorite of mine, especially in The Beatles "Taxman".
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Postby DanK » Tue Jan 17, 2006 7:26 pm

Add the open low e string and a fast funky rythm and you've got the Hendrix chord from Purple haze :)
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Postby strumminsix » Thu Jan 19, 2006 8:33 am

DanK wrote:Add the open low e string and a fast funky rythm and you've got the Hendrix chord from Purple haze :)


Oh hell ya!
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Postby DenverEd » Mon Feb 27, 2006 12:07 pm

Thanks for all the responses. This was driving me nuts! :?
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Postby strumminsix » Mon Feb 27, 2006 1:11 pm

DenverEd wrote: This was driving me nuts! :?


A pirate walks into a bar, and the barkeep says "Excuse me, cap'n, but did you know that you've got your ship's wheel stuck in your pantaloons?"

"Aye," says the pirate, "that thing be drivin' me nuts! Aaargh!"
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Postby jjbankhead » Sat Oct 21, 2006 11:19 pm

strumminsix wrote:Okay, I'm gonna play the role of Kenny here.



Guess, I need something clever first. Let's see:
Dammit, Jim, I'm a doctor not an escalator!



Let's review the E scale:
E F# Ab A B C# Eb E

Now let's review the Emaj7 (1 3 5 7)
E Ab B Eb

Okay, good? Now if you look at the 1 3 5 7 of the Emaj7 take special note of the 3 5 7 allow the bassist to carry the root which is very common in jazz and blues.

The 3 5 7 is Ab B Eb which is the?????? Abm

Now let's examine what the hell Mr. Garcia could do off the fouth:


...Emaj7.....Abm
E --4---------4---------------
B --4---------4---------------
G --4---------4---------------
D --6---------6---------------
A --7---------6---------------
E ----------------------------


Now here's the rub, the Abm won't sound right on it's own but it is the *perfect* accompanying chord over the Emaj7 for another guitarist to play!



Good day sunshine!

The spirit of Kenny has now left me.

nice
wise man good knowledge...

i have studied some theory over the summer and this all sounds right and very helpful!
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Postby GratefulFloyd » Tue May 01, 2007 8:51 pm

does anybody know the chords he using for the intro towards the 10th fret? i'd love to learn this part for the intro, it sounds awesome, any clue what he's doing there?

http://www.youtube.com/watch?v=hbaVXxNOdQg
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Postby ronster » Tue May 01, 2007 10:24 pm

He appears to be playing the Emaj7 Emaj6 Emaj7 up higher
Something like this

E|--10s-11--11--11----------11--
B|--11s-12--12--12--14--14--12--
G|--12s-13--13--13--13--13--13--
D|------------------14--14------
A|------------------------------
E|------------------------------

It's 1;45 in the morning and I can't pin down if he's playing an Emaj6 or A in the video.
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Postby bodiddley » Mon Jun 25, 2007 7:09 am

I've been futzin' with this latley and it sounds like Bob would just play this alot on the early version with Jer soloing over him. Back and forth between the EMaj7 and A chord.

Emaj7

E--14------16-------------
B--14------16-------------
G--14------16-------------
D--14---------------------
A-------------------------
E-------------------------

Amaj

E--14---------17----------
B--14---------17----------
G--14---------------------
D--14---------------------
A-------------------------
E-------------------------
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Postby bodiddley » Mon Jun 25, 2007 3:09 pm

I guess that should look like this, sorry...not good at tabs.



Emaj7 Amaj
E-16----17-------
B-16----17-------
G-16----14-------
D-14----14-------
A----------------
E----------------
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