#1
Hey, everyone!

Active lurker, casual poster here, and I need some help trying to get some transcription help with a Marty Friedman arpeggio lick that I've heard in this video starting roughly at the 2:10 mark. I am not sure if this is the proper sub-forum for this, but I felt it was most appropriate for it.

I have gotten a bit of it worked out, but can't get all of it worked out using the slow-motion YouTube offers. I'll post a text version and gp5 version (timing is slightly off) here to show what I have figured out. Also, since I don't have it notated, the half-step hammer-on/pull-off sequence sounds (to me) like Ab to A on the B-string.

e|------------------------10-8-------8--13----|
B|------------------------------8-------------|
G|---------------------5----------10----------|
D|-------5-7-5----5-7-------------------------|
A|----8--------8------------------------------|
E|--------------------------------------------|


Thanks to anyone that helps out!
If this is the wrong sub-forum, I'll gladly recreate the thread in the correct place!

*Note: This is a bit out of my playing abilities (playing style is very reminiscent of 70's style Blues-rock, and have been trying to break/expand that mold).
Attachments:
Marty Friedman Arpeggio Help.gp5
Skip the username, call me Billy
#2
"hammer-on/pull-off sequence" = a trill. I'd call it G#-A because the first note isn't functioning as the minor 3 (it's not minor, it leads up to A) and because a trill alternates traditionally between two different scale degrees.

Check for 10-8 on e and the next 8 and 10 on B and G respectively; there's another note before the first two, and he plays Bb and A (if really weakly on the Bb) right after.

I'll chime in later if anyone else wants to chime in right now.
#3
Quote by NeoMvsEu
"hammer-on/pull-off sequence" = a trill. I'd call it G#-A because the first note isn't functioning as the minor 3 (it's not minor, it leads up to A) and because a trill alternates traditionally between two different scale degrees.

Check for 10-8 on e and the next 8 and 10 on B and G respectively; there's another note before the first two, and he plays Bb and A (if really weakly on the Bb) right after.

I'll chime in later if anyone else wants to chime in right now.


I feel like a dumbass about the trill part. It was on the tip of my tongue and I was like "fuck it, I'll think of it later."

After listening to it again, I can hear the note before the D and C on the E-string now. I don't have my guitar in hand, but it sounds almost as if he's doing the phrase as A-D-C (5-10-8 respectively on the E-string). Anyways, I'm off to bed; too tired to think much.

Anyways, I appreciate the help, Neo!
Skip the username, call me Billy
#4
I just got out of work,and listened to it a bit more. I got it a bit more fleshed out with the only trouble being the ending phrase and the overall timing of it. Any tips on figuring out the timing of it? TO me, it seems like it's pretty much straight 16th notes; the only exception would be the first 4 notes being an eighth note followed by a 16th note triplet. This is probably the most difficult think that I've transposed, so thanks for any patience and help!

e|------------------------5-10-8-------8-13------------------------|
B|--------------------------------8----------10-13-10--G#/A-Trill--|
G|---------------------5------------10-----------------------------|
D|-------5-7-5----5-7----------------------------------------------|
A|----8--------8---------------------------------------------------|
E|-----------------------------------------------------------------|
Skip the username, call me Billy
Last edited by aerosmithfan95 at Sep 11, 2016,
#5
That's not quite it. It's a bit freely played I would say so maybe not possible to transcribe exactly, but roughly :



Note the half tone bend at the end, played with the first finger. There may be an F major arpeggio in there but I'd say it's just an A minor lick, with the G# making it harmonic minor. (ugh, beaming is a bit wrong in the 2nd bar but I can't be bothered to fix it now).
File attached.
Attachments:
115829__Marty Friedman Arpeggio Help.gp5
#6
Quote by NSpen1

Note the half tone bend at the end, played with the first finger. There may be an F major arpeggio in there but I'd say it's just an A minor lick, with the G# making it harmonic minor.

I don't hear it as A minor. It's clearly an F major arpeggio with some non-chord tones (added 9 that's just a passing tone between the root and the third and added 6th that's an upper neighbor). The G# is just a chromatic note below the major third, I don't hear it as a leading tone. It's a chromatic lower neighbor. Kind of reminds me of this:



G F# G E D# E C B C G. It's a C major arpeggio with chromatic neighbor tones. That's definitely not E harmonic minor, even though if you just take the notes and build a scale with them, you would get E harmonic minor (without A).


There may be an F major arpeggio in there


The whole thing is an F major arpeggio. Just look at the notes. Basically F A C + a couple of G's (passing tones), one D and the G#-A trill + bend (also, notice how all of the notes are in the F major pentatonic scale, except for the G#). If there was a chord that you would play this lick over, it would definitely be F major. You could use it over a song that is in the key of A minor, but it would not sound good over the tonic chord. It's not an "A minor lick".
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
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Fender Dimension Bass
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Yamaha P115
Last edited by MaggaraMarine at Sep 11, 2016,
#7
Yeah, you're right, it is better over an F major chord. I was thinking of it being in A (harmonic) minor overall. I do think the G# is a bit more significant than you. Marty plays a lot of exotic/eastern sounding stuff so perhaps it could also be used in a song that is based off of E Phrygian / Phrygian Dominant.
#8
MaggaraMarine

NSpen1

Thanks to the both of you guys!

I guess I was on the right track with getting this under my fingers. It's just that taking something that's played in free time and getting it into an even measure is a bit of a pain in the rear.

As for the context of what it is, it feels exactly like an F major arpeggio to me. It has a hint of 6th (D) and 9th (G) for color in it before it resolves to the 3rd (A). The G#/A trill is really interesting, though, since it adds quite a bit of color to an otherwise typical major arpeggio. Than again, that really adds Marty's way of unique, exotic phrasing.
Skip the username, call me Billy
#9
                                                           tr~~~~~~
e|------------------------8/10-8------------8-13----8------------------------|
B|----------------------------------11-10--------10----10--9-----------9b10--|
G|---------------------5--------------------------------------------10-------|
D|-------5h7p5----5h7--------------------------------------------------------|
A|----8--------8-------------------------------------------------------------|
E|---------------------------------------------------------------------------|

tr = trill
b = bend
h = hammer-on
p = pull-off
/ = slide

It has a triplet feel under it, but it's definitely F major oriented (because there's actually a Bb in the lick, it's not very cleanly played though).

I'd think about chords and scales a bit, but the key is to combine them (and chromatic notes) in a tasteful way.
#10
Well, if we want to get the lick as accurate as possible :



There is another hammer-on from 5 to 7. The Bb is there yes, but it's so quick I'd put it as a grace note, and it is rather 'frotzed' so maybe even as a dead note. You can clearly see him play the C at the 8th fret, not 13th. He actually doesn't pick the first note of the trill, he pulls off into it. The trill is nine notes in total [9h10p] x4, 9 and then the following 10 on the G string is picked not hammered, he flicks that note and the following G# with his finger.
Timing - I know what I have is not exact, but I can't work out how it could fit into a triplet feel
#11
Fixed the hammer-on, fingering, and hammer-on. That RH flick was pretty sneaky, good catch there!

Re: rhythm - the long-short thing, swung rhythm à la Cliffs of Dover.