Chords for FRET12 Arist Connect with Joe Bonamassa - The Eric Johnson Sounding Scale
Tempo:
81.75 bpm
Chords used:
E
Em
G
Bb
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] Thank you, Malcolm.
[E] Eric Johnson is a huge influence on me.
Crazy enough to say [Em] that.
I first [E] discovered Eric playing when I was a kid.
Guitar players used to give away these little vinyl records in the magazine.
They were like a piece of paper, but you put enough quarters on the needle.
And they had live at the Austin City Limits, the Cliffs of Dover.
And I remember putting that on there and going,
Oh my God, I'll never [G] be this good, ever.
[E] And like 30 years later, I'm still working.
[G] The [E] kind of mode that I use that sounds similar to Eric,
mostly they're just kind of like hybrid pentatonics.
You start the pentatonic, [Em] like say if you're in the key of E,
you start it on the 12th fret, and you finish the scale by moving down the neck
as opposed to just staying in the one position.
And [Bb] sometimes you double back and repeat the [E] same phrases.
And that kind of, if you put some delay on it and get the really warm pitch,
wood kind of tone, [Bb] it really pretty much [A] puts you.
[E] Yeah, the [Em] pentatonic, I mean like the stuff on
[E]
[Em] So I mean like that, all of it, really all of what it is, is just, you know
You kind of float out [Gb] in between.
You can see the pentatonic shapes.
Yeah, you can [Em] see the pentatonic shapes, and you float in between the modes.
And frankly, I just don't know what I'm doing very well to explain [Eb] it better, [G] Malcolm, sorry.
[E] But anyway, it's [Em] all basically
I think it's
[E] So it kind of gives you the blank canvas, just to kind of float in and out of it.
[E] Eric Johnson is a huge influence on me.
Crazy enough to say [Em] that.
I first [E] discovered Eric playing when I was a kid.
Guitar players used to give away these little vinyl records in the magazine.
They were like a piece of paper, but you put enough quarters on the needle.
And they had live at the Austin City Limits, the Cliffs of Dover.
And I remember putting that on there and going,
Oh my God, I'll never [G] be this good, ever.
[E] And like 30 years later, I'm still working.
[G] The [E] kind of mode that I use that sounds similar to Eric,
mostly they're just kind of like hybrid pentatonics.
You start the pentatonic, [Em] like say if you're in the key of E,
you start it on the 12th fret, and you finish the scale by moving down the neck
as opposed to just staying in the one position.
And [Bb] sometimes you double back and repeat the [E] same phrases.
And that kind of, if you put some delay on it and get the really warm pitch,
wood kind of tone, [Bb] it really pretty much [A] puts you.
[E] Yeah, the [Em] pentatonic, I mean like the stuff on
[E]
[Em] So I mean like that, all of it, really all of what it is, is just, you know
You kind of float out [Gb] in between.
You can see the pentatonic shapes.
Yeah, you can [Em] see the pentatonic shapes, and you float in between the modes.
And frankly, I just don't know what I'm doing very well to explain [Eb] it better, [G] Malcolm, sorry.
[E] But anyway, it's [Em] all basically
I think it's
[E] So it kind of gives you the blank canvas, just to kind of float in and out of it.
Key:
E
Em
G
Bb
A
E
Em
G
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
[Em] Thank you, Malcolm.
_ [E] Eric Johnson is a huge influence on me. _
Crazy enough to say [Em] that.
I first [E] discovered Eric playing when I was a kid.
Guitar players used to give away these little vinyl records in the magazine.
They were like a piece of paper, but you put enough quarters on the needle.
And they had live at the Austin City Limits, the Cliffs of Dover.
And I remember putting that on there and going,
Oh my God, I'll never [G] be this good, ever.
[E] And like 30 years later, I'm still working. _
[G] The _ [E] kind of mode that I use that sounds similar to Eric,
mostly they're just kind of like hybrid pentatonics.
You start the pentatonic, [Em] like say if you're in the key of E,
you start it on the 12th fret, and you finish the scale by moving down the neck
as opposed to just staying in the one position.
And [Bb] sometimes you double back and repeat the [E] same phrases.
And that kind of, if you put some delay on it and get the really warm pitch,
wood kind of tone, [Bb] it really pretty much [A] puts you.
[E] _ Yeah, the [Em] pentatonic, I mean like the stuff on_
_ _ _ _ _ [E] _
[Em] So _ _ _ _ I mean like that, all of it, really all of what it is, is just, you know_
You kind of float out [Gb] in between.
You can see the pentatonic shapes.
Yeah, you can [Em] see the pentatonic shapes, and you float in between the modes.
And frankly, I just don't know what I'm doing very well to explain [Eb] it better, [G] Malcolm, sorry.
[E] But anyway, it's [Em] all basically_ _ _ _ _
_ I think it's_
_ _ [E] So it kind of gives you the blank canvas, just to kind of float in and out of it. _ _ _ _
_ _ _ _ _ _ _
[Em] Thank you, Malcolm.
_ [E] Eric Johnson is a huge influence on me. _
Crazy enough to say [Em] that.
I first [E] discovered Eric playing when I was a kid.
Guitar players used to give away these little vinyl records in the magazine.
They were like a piece of paper, but you put enough quarters on the needle.
And they had live at the Austin City Limits, the Cliffs of Dover.
And I remember putting that on there and going,
Oh my God, I'll never [G] be this good, ever.
[E] And like 30 years later, I'm still working. _
[G] The _ [E] kind of mode that I use that sounds similar to Eric,
mostly they're just kind of like hybrid pentatonics.
You start the pentatonic, [Em] like say if you're in the key of E,
you start it on the 12th fret, and you finish the scale by moving down the neck
as opposed to just staying in the one position.
And [Bb] sometimes you double back and repeat the [E] same phrases.
And that kind of, if you put some delay on it and get the really warm pitch,
wood kind of tone, [Bb] it really pretty much [A] puts you.
[E] _ Yeah, the [Em] pentatonic, I mean like the stuff on_
_ _ _ _ _ [E] _
[Em] So _ _ _ _ I mean like that, all of it, really all of what it is, is just, you know_
You kind of float out [Gb] in between.
You can see the pentatonic shapes.
Yeah, you can [Em] see the pentatonic shapes, and you float in between the modes.
And frankly, I just don't know what I'm doing very well to explain [Eb] it better, [G] Malcolm, sorry.
[E] But anyway, it's [Em] all basically_ _ _ _ _
_ I think it's_
_ _ [E] So it kind of gives you the blank canvas, just to kind of float in and out of it. _ _ _ _