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I thought Brett pappa did a great job here. It's so effortless for GT that he can expand deeper and deeper. I thought Brett helped keep it accessible to mere mortals.
Im gonna be nicking those lines too!
So they can just play over anything, and make it sounds melodic, and play an accompaniment that has loads of voice leading and harmonic movement, off the cuff.
I mean, I can do that a bit, and if you asked me to tell you the 2nd inversion of X chord at N fret, or whatever I could do it. Perhaps even without a massive amount of thought. But I couldn't do it while improvising a fluid, interesting, melodic rhythm part over a tune I'd never heard before, and just been handed a skeleton chart for.
I use to think that a lot of these great players were doing something different scale and note wise than most people, but they're not. I had someone transcribe me some Pat Metheny solos to see what the magic formula was and there isn't one - he too was using basic CAGED and scalar patterns, just with incredible nuanced phrasing.
Part 2 just up. Also amazing!
Though, over such a simple and repetitive progression, there’s not much else that can be done to it, other than doing it more melodically I suppose.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
My point is that in a continually cycling vi-V-I progression there’s virtually nothing to inspire melody, which is why he doesn’t really play any, and if you were to remove the chords and just strum the E major (or even if you were to play an E sine wave!) his playing would fit just as well, so I don’t really see that as an exemplar of playing over changes. But again this is art so that’s good that we disagree!
Edit: Lovely technique though, so fluid, and he gets gorgeous sounds out of the instrument!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
You're 100% right - over the years I had someone transcribe my favourite solos by guys like Mike Landau, Jeff Kollman, Jay Graydon, Pat Metheny and Jonathan Kreisberg, thinking they were playing magic notes. I came to discover that 99% of the time they weren't using any way out scales, just great nuanced phrasing, being aware of chord tones and also having a good tone helps.
As far as magic notes go I always find guitarist who are aware of what chord they are playing over, and what notes form the basic triad of that chord tend to play the most melodically.