Chords for learning complex parts steve morse the essential

Tempo:
169.1 bpm
Chords used:

F

G

Ab

C

Eb

Tuning:Standard Tuning (EADGBE)Capo:+0fret
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learning complex parts   steve morse the essential chords
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[G] [E]
[N]
Next I'd like to talk about, well talk about and demonstrate what I go through when I'm
working on a section and I find that there's a roadblock or some kind of problem.
In other words, what do you practice?
If you've got a lick that's really hard to do, there's a, the common approach seems to
be to play the lick a million times.
And that kind of wins the war with, you know, overkill.
Because if you play the lick a million times, you will have played the hard part of the
lick a million times and that's really what you needed to practice.
So I'm going to show you how I go about trying to streamline that process.
In other words, like anything else, find the problem and treat it.
You don't, don't worry about the parts that you can do already or the parts that you can do okay.
Just go straight to the problem.
Some of the licks I normally practice that are hard to do on the spot, you know, where
you're playing one thing and then suddenly have to jump into a lick.
And Twigs approve one of the [G] hard licks.
[C] [G]
[F] [Bb] [C]
[F] [Db] [G]
[Bb] [C]
[F]
[G]
[F]
[A]
[F] [A] [F]
This is
The uncomfortable section I just uncovered was when I'm going down, picking down on the
D string and up on the A string.
And it's after I played it a few [Bb] times [Eb]
[F] [Gb] and
Played it slowly from the beginning to make sure, and made sure where my pick, pick action
was ending up, I noticed that down on the D and up on the A is pretty hard to do because
you're going down, up, down, up instead of up, down, up, down, which is more natural.
So now I've kind of isolated the problem, which is crossing strings when your pick is
in the wrong direction.
You know, imagine these are the strings.
If you're picking down here and your next note is up here, it's much harder to change
direction and get up here and pull it.
But if you use alternate pickings, you run across those kind of situations sometimes.
I do use alternate picking almost exclusively.
So what I'm going to try to do is come up with
I'm just going to practice the part that is the problem, which is crossing strings [F] in
the worst case, which is down and then opposite direction to pick up.
[Eb] [F] [Ab]
This is the problem area.
It's going down on the D, up on the A.
So I'm just going to keep doing this.
Just make a little exercise out of it so I don't get bored.
And if you get bored, you get violent.
And if you get violent, you get into problems.
And [F] then you're on TV for the wrong reason.
So [Eb] [F]
[Ab] now [Eb] [F]
[Eb] [Dm] [C] [F]
[Ab] [C] [Ab]
[Fm] [Eb] [Bb]
[Eb] [Ab] [Eb] [Fm]
[C] [Ab] [Bb]
[Eb] [F]
we're going to do exercises having to do with this problem, which I think is pretty common.
It's how hard it is to pick in opposite directions across strings.
And once again, to remind you, if you work on the hardest things, then the easier things
will be easy.
It's just that simple, at least in my mind.
So once again, I'm going to pick down on this exercise.
I'm going to pick down on the E string, the [E] first string, up on the G string.
The easier way to do it would be pick up on the E and down on G, because your pick action
brings you to the next string.
To make it a challenge, we're going to add some more complex left-hand fingerings, too,
and kind of give you something to think about while you practice the technique.
Okay, slowly I'm going to play through the exercise.
[D] [Db] [Gbm]
[G] [C] [Bm]
[Em] [F] [Bm]
[E] [Dm] [Eb]
[Am] [Ab] [G] [Cm]
[Db] [Gm] [Gb]
[F] [Bbm] [E] [Db] [Ab]
[Em] Even slower, I'm going to talk through it.
Down on the E, up on the G.
[E] Same thing again, only we're going to change notes so we don't get bored.
[Gbm]
[Bm]
[Abm] You notice the bottom note's [Em] going up, the top note's going down.
That's the opposing motion I was talking [B] about.
[Bm] [Abm]
Then finish it [Dbm] off with a resolution to C [A] sharp and A.
It's a real common, classical type of harmony.
[Ebm] [Ab] [A]
[E] [B] [Ab]
[Db] So you get [A] to A, make it [Db] a C [Gb] sharp to F sharp, then move positions to a [G]
C sharp and G [Em] from the beginning.
[B] [Bm] [Db] [A]
[Gb] [G]
What we have here is a tritone, and tritones beg to be resolved.
I know I'm mixing theory in with all this other stuff, but
So that [Ab] brings us to our new key [D] of D.
[Em] [Bm] So
[Gbm] [D] we went from E major to D, and we'll just keep [E] doing that in a cycle.
[Bm] [D] [Dbm]
[Gbm] [G] [D]
[C] [Bm] [C]
G, [B] G [C] seventh, C, [Bm] [E]
[Am] [F] F, F [Ebm] seventh, [Am] B flat, [Ab] [G] [Eb] B flat, [G] flat seventh, [Abm] A flat.
[Gm] [Gb] [F] [Db] [Bb]
[G] [Db] [Ab]
Just a way to [Em] end that.
It's not a piece of music, but it incorporates ideas that you could use to make pieces of music.
And that's always, to me, a more fun way to exercise a problem or work on a problem.
To me, it's interesting to come up with a musical sounding exercise, so you don't get so bored.
[Gm] [F] [E]
[B] [Eb]
[Em] [N]
[Am] [Bb] [C]
[Gm] [Dm]
[C] [D]
[G] [C] [D]
[Dm]
[D]
[Em]
[D] [Ab] [E]
[B]
[G]
[C]
[Em]
[A] [B]
[Am] [G]
Key:  
F
134211111
G
2131
Ab
134211114
C
3211
Eb
12341116
F
134211111
G
2131
Ab
134211114
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[G] _ _ [E] _ _ _ _ _ _
_ _ _ [N] _ _ _ _ _
_ _ _ Next I'd like to talk about, _ _ well talk about and demonstrate what I go through when I'm
working on a section and I find that there's a roadblock or _ _ _ some kind of problem.
In other words, what do you practice?
If you've got a lick that's really hard to do, _ _ there's a, the common approach seems to
be to play the lick a million times. _
_ _ _ And that kind of wins _ _ the war with, you know, overkill.
Because if you play the lick a million times, you will have played the hard part of the
lick a million times and that's really what you needed to practice.
So _ I'm going to show you how I go about trying to streamline that process.
In other words, _ _ like anything else, find the problem and treat it.
You don't, don't worry about the parts that you can do already or the parts that you can do okay.
Just go straight to the problem.
_ Some of the licks I normally practice that are _ hard to do on the spot, you know, where
you're playing one thing and then suddenly have to jump into a lick.
_ _ And Twigs approve one of the _ _ [G] hard licks. _ _ _
_ _ [C] _ _ _ [G] _ _ _
[F] _ [Bb] _ _ _ _ _ [C] _ _
_ _ [F] _ _ _ [Db] _ _ [G] _
_ _ _ _ _ _ _ _
_ [Bb] _ _ _ _ [C] _ _ _
_ _ _ [F] _ _ _ _ _
_ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ [F] _ _
_ _ _ _ _ [A] _ _ _
_ [F] _ [A] _ _ _ [F] _ _ _
_ _ _ This is_
The uncomfortable section I just uncovered _ _ _ was when I'm going down, _ picking down on the
D string and up on the A _ string.
And it's after I _ played it a few [Bb] times _ _ _ _ [Eb] _ _ _
_ [F] _ _ _ _ [Gb] and_
Played it slowly from the beginning to make sure, and made sure where my pick, _ _ _ _ _ pick action
was ending up, I noticed that down on the D and up on the A is pretty hard to do because
you're going _ down, up, down, up instead of up, down, up, down, which is more natural.
_ _ So _ _ now I've kind of isolated the problem, which is crossing strings _ when your pick is
in the wrong direction.
You know, imagine these are the strings.
If you're picking _ _ down here _ and your next note is up here, _ _ it's much harder to change
direction and get up here and pull it.
_ _ But if you use alternate pickings, you run across those kind of situations sometimes.
I do use alternate picking almost exclusively. _ _ _ _ _
_ _ So what I'm going to try to do is come up with_
I'm just going to practice the part that is the problem, which is crossing strings [F] in
_ the worst case, which is down and then opposite direction to pick up. _ _ _ _ _ _ _
_ [Eb] _ _ _ [F] _ _ _ [Ab] _
_ This is the problem area.
It's going _ down on the D, up on the A.
So I'm just going to keep doing this.
Just make a little exercise out of it so I don't get bored.
And if you get bored, you get violent.
And if you get violent, you get into problems.
And [F] then you're on TV for the wrong reason.
So _ [Eb] _ _ _ [F] _
[Ab] now _ _ [Eb] _ _ [F] _ _ _
[Eb] _ _ [Dm] _ _ _ [C] _ _ [F] _
_ [Ab] _ _ _ [C] _ _ [Ab] _ _
_ [Fm] _ _ [Eb] _ _ [Bb] _ _ _
[Eb] _ [Ab] _ _ [Eb] _ _ [Fm] _ _ _
[C] _ _ [Ab] _ _ _ _ _ [Bb] _
_ _ _ [Eb] _ _ [F] _ _ _
_ _ we're going to do exercises having to do _ with _ _ this problem, which I think is _ pretty common.
It's how hard it is to pick in opposite directions across strings.
_ _ _ And once again, to remind you, if you work on the hardest things, _ then the _ easier things
will be easy.
It's just that simple, at least in my mind.
_ So _ once again, I'm going to pick down on this exercise.
I'm going to pick down on the E string, the [E] first string, _ _ _ up on the G string. _ _
_ _ _ _ _ _ The easier way to do it would be pick _ up on the E and down on G, _ _ because your pick action
brings you to the next string.
To make it a challenge, we're going to add some more complex left-hand fingerings, too,
_ and kind of give you something to think about while you practice the technique.
_ _ _ _ Okay, _ _ slowly I'm going to play through the exercise.
_ _ [D] _ _ [Db] _ [Gbm] _ _ _
_ [G] _ _ _ _ [C] _ _ [Bm] _
[Em] _ _ _ _ [F] _ _ _ [Bm] _
_ [E] _ _ [Dm] _ _ _ _ [Eb] _
_ _ [Am] _ _ [Ab] _ [G] _ [Cm] _ _
_ _ [Db] _ _ _ [Gm] _ [Gb] _ _
[F] _ [Bbm] _ _ [E] _ _ [Db] _ _ [Ab] _
_ _ [Em] Even slower, I'm going to talk through it.
Down on the E, _ _ _ up on the G.
_ [E] Same thing again, only we're going to change notes so we don't get bored.
_ _ [Gbm] _
_ _ _ _ _ [Bm] _ _ _
_ _ [Abm] _ _ You notice the bottom note's [Em] going up, the top note's going down.
That's the opposing motion I was talking [B] about.
_ [Bm] _ [Abm] _ _
Then finish it [Dbm] off with a resolution to _ C [A] sharp and A.
_ _ _ It's a real _ common, classical type of harmony.
_ [Ebm] _ _ [Ab] _ [A] _ _ _
_ _ [E] _ _ _ [B] _ _ [Ab] _
_ [Db] So you get [A] to A, _ _ make it [Db] a _ C [Gb] sharp _ to F sharp, _ _ _ _ _ then move positions to a [G] _ _ _
C sharp and G [Em] from the beginning.
_ [B] _ _ _ [Bm] _ _ [Db] _ [A] _
_ _ [Gb] _ _ _ [G] _ _ _
_ What we have here is a tritone, and _ tritones beg to be resolved.
I know I'm mixing theory in with all this other stuff, but_
So that [Ab] brings us to our new key [D] of D.
_ _ [Em] _ [Bm] So _
[Gbm] _ _ _ [D] _ _ _ we went from E major to D, and we'll just keep [E] doing that in a cycle.
_ _ [Bm] _ _ [D] _ _ [Dbm] _
[Gbm] _ _ _ _ _ [G] _ [D] _ _
_ _ [C] _ _ [Bm] _ _ [C] _
G, [B] G [C] seventh, C, [Bm] _ _ [E] _
_ [Am] _ [F] F, F [Ebm] seventh, _ [Am] B flat, _ [Ab] _ _ [G] _ [Eb] B flat, [G] _ flat seventh, [Abm] A flat.
[Gm] _ _ [Gb] _ [F] _ _ [Db] _ _ [Bb] _
[G] _ _ [Db] _ _ [Ab] _ _ _
Just a way to _ [Em] end that.
It's _ not a piece of music, but it incorporates ideas that you could use to _ make pieces of music.
_ And that's always, to me, a more fun way to exercise a problem or work on a problem.
To _ _ me, it's interesting to come up with a musical sounding exercise, _ so you don't get so bored.
_ _ _ [Gm] _ _ _ _ _ [F] _ _ _ [E] _ _
[B] _ _ _ _ _ _ [Eb] _ _
[Em] _ _ _ _ _ _ [N] _ _
_ _ _ _ _ _ _ _
_ _ [Am] _ _ _ [Bb] _ _ [C] _
_ _ _ _ _ _ _ _
_ _ _ [Gm] _ _ _ [Dm] _ _
_ _ _ _ [C] _ _ [D] _ _
_ _ [G] _ _ _ [C] _ _ [D] _
_ _ _ [Dm] _ _ _ _ _
_ _ _ _ _ [D] _ _ _
[Em] _ _ _ _ _ _ _ _
_ _ [D] _ [Ab] _ _ [E] _ _ _
_ _ _ _ _ _ [B] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [G] _
_ _ _ [C] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Em] _ _
_ _ _ _ _ _ _ _
_ [A] _ _ [B] _ _ _ _ _
_ [Am] _ _ _ _ _ [G] _ _