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Another area this "chord fragment" idea can be applied to is, Chords.


This first example is a common way Eric and the others might play a simple A Major chord:

E---x---
B---x---
G---6---
D---x---
A---7---
E---5---

Let's look at a couple of chords I am told Eric uses in his song Trademark:

Trademark (no audio)

E---12-----11-----9----
B---9-------------9----
G----------11-----------
D---11-----9------11---
A------------------------
E------------------------

Can you see that that is nothing more than grabbing groups of notes from the "scale fragments" I was showing you?...That's what I meant by mixing the fragment possibilities together.

E Lydian Skeleton #1 from the previous page: (audio)

E--------------------------------------9--12-
B-----------------------------9--12----------
G----------------------9--11-----------------
D---------------9--11------------------------
A--------9--11-------------------------------
E-9--12--------------------------------------

E Lydian Skeleton #2 from the previous page: (audio)

E------------------------------------9--11--
B-----------------------------9--11----------
G----------------------9--11-----------------
D---------------9--11------------------------
A--------9--11-------------------------------
E-9--11--------------------------------------


You can grab ANY of those notes together in ANY order, from ANY strings, etc...and come up with chords, or substitution chords, alternate chords, etc...for your basic Eadd9 chords.

Just play an Eadd9 chord for a few measures to sink it's harmony in your head, then start grabbing groups of note out of those scale fragment Scales and you'll see that you will either match the original harmonies, or you'll extended them very nicely.

I'm amazed at this concept. I stumbled upon it after ONLY listening to Vai's last album non-stop for about 2 months, NEVER tried to play any of it, just listened.

As time when on I was visualizing HOW something like that would be played, how wide the Intervals were, etc...And then one day I tried some of my theories/ideas and stumbled on this process of scale fragments and chords from them.

Then I mapped it across the fretboard. And within a day or two I was writing this song. ALL of it is based on the Pentatonic-izing the patterns of the Diatonic scales.

I DO NOT sit around learning others solo's anymore and have only learned about maybe 16 measure of Vai my whole life. I've never learn ANY Johnson before. I can't really say I've ever learned any Satriani either. But finding this concept dumped that Vai, Satch, Johnson "sound" right into my lap. It's like auto-pilot.

Of course there I a lot more to their playing than this concept, but as far as their Lydian playing, and every other mode for that matter, breaking these scales up is a deadringer.

The whole concept whether using these fragments as scales or chord clusters is...it easily gives you a wider interval sound. This will help you get out of the "running up and down the scale" sound.

So, you'll find that less is actually more.

Cool stuff.

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