Compare the first progression to the last one, I'm assuming its supposed to be the same thing, but the last progression he plays with all the embellishments and stuff feels extended to me.. What is he doing?

Someone teach me please :]?

edit: sorry for the confusion, I meant the chords part, not the lead playing
Last edited by ouchies at Jun 9, 2008,
He's playing a riff/scale from the intro of Cliff of Dover.
It's the sameway I do it....not what's on the tab or on some
other tube vedio of him showing some guy to do it a different way.

As he said, slow it down and if you practice enough it'll sound
the same as playing it the other way. Or maybe what he
ment is the riff will sound dry if you just pick the notes.
When you add vibratos, legato, pulls...(inflections) it'll
give it life.

I'm thinking it's the same when it comes to playing chords.
Inversions of the chords. yeah it seems like extensions to
me...so yeah, it make sense. Or maybe his just using
an alternative bass note and using a different picking patterns.

or maybe he's just adding the B part to the song.
So to me it's still the same concept as when he played the progression
the second time, but added notes to the original simple progression.
Last edited by Ordinary at Jun 9, 2008,
His approach is a reflection of his view of chords. He sees a chord progression as a collection of melodies. So, rather than thinking of a song as going island-hopping you're really going on a roadtrip. What Eric will do is hit the initial chord, and then the melody that he plays afterwards functions to bring the listener's ear closer to the next chord; he does this by using a lot of suspensions, and also passing tones. Pay attention to the bass in the video; in his first embellishments, he's just making it descend in steps, but as he progresses he makes it more interesting, and with the last chord change, you'll notice the ascending perfect fourth in bass from A to D. He's also not playing solely the roots in the bass; on the D chord he plays the F# in bass. When you put all of these things together, it gives the progression a classical quality.

An example of a song where you can see this practice in action, though not as advanced, is in Pink Floyd's Time. The progression in the verses is F#m-A-E. This progression has been played many times by many bands, but the reason why it doesn't sound generic is because of Gilmour's use of suspension and passing tones. Right before moving from F#m to A, he'll play F#-G# in the bass, which smooths out the transition. Going from E to F#m, he'll play E-F in the bass, which is just great.

To work on this, take a basic chord like A major in the A shape, and work on coming up with small little melodies using the notes that surround the chord tones. Move between A major and D major using these melodies, move between A and E, and so on. There have been times where I've spent a full hour finding new ways to bridge the gap between chords. It's a lot of fun.
known as Jeff when it really matters
yes it is...that's cliff of dover intro. It's just being played
on a different place of the neck. It gives it a different tone.
For me it's too bright if I play some of those notes at the 3-5 fret area.
I recognized it becuase I practiced doing it like that a million times

It's the scale run right before the bend of the G note to A at 12 fret ...then those sort
of arppegios runs.
Last edited by Ordinary at Jun 9, 2008,