Entry 11:
So we have the last part of the song, today.
It is a hard little bit filled with three-string arpeggios.
It starts with E, then goes A - D - B - D - G - C - A - C - F - Bb - G..
Once that is done we have a long arpeggio in C starting on the 8th fret of the 6th string.
The difference with this arpeggio is that once we get to the 15th we do a descending C9 arpeggio. Then up again in C and finally a bend from D to E on the 22nd fret.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Monday, March 15, 2010
Friday, March 12, 2010
Entry 10:
Almost done with the song, yet here is another section before this baby is over.
Today's section is short. We start with the same arpeggios from the very beginning; Em7add4, Fmaj6/9 and Am7b5add4. These are played exactly as they are in the beginning.
Then we have a sequence of A minor arpeggios on the first three strings. The first sequence ends with a 6th (F), the second sequence ends on the 4th (D) and the third sequence ends on the root (A). Then we start a series of diminished arpeggios in F#.
That is it, really! Best of luck!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Almost done with the song, yet here is another section before this baby is over.
Today's section is short. We start with the same arpeggios from the very beginning; Em7add4, Fmaj6/9 and Am7b5add4. These are played exactly as they are in the beginning.
Then we have a sequence of A minor arpeggios on the first three strings. The first sequence ends with a 6th (F), the second sequence ends on the 4th (D) and the third sequence ends on the root (A). Then we start a series of diminished arpeggios in F#.
That is it, really! Best of luck!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Wednesday, March 10, 2010
Perpetual Burn by Jason Becker
Entry 9:
This is by far the toughest cookie to break. Today's blog will go into one of the most finger twisting and irregular bits of shredding I have ever seen.
Of course we find all of this in Jason Becker's work, for a change... right? Nevermind.
Today's section starts with a downwards sequence in C Ionian. It consists of a repeating pattern where we, on the 1st string, play a starting note, then play its' third, second then the first and then play the 7th on the 2nd string. Then this 7th turns into a root, by shifting down to it on the 1st string and repeating the same pattern. All in the key of C major (Ionian).
The last pattern, which is C E D C Bb, is the only one that goes out of C Ionian, due to that Bb which is really more like C Mixolydian, or any Majb7 with a major 3rd and 2nd, right?
So after this we jump back into the general key of C major, starting on A on the 10th fret of the 2nd string, going up to it's 6th and then back down all the way to C on the 6th string, 8th fret, effectively doing a C Ionian run, with a little finger twiddling in between. The last note of the passage is D, just next to the last-mentioned C.
Then we do a F major broken sequence arpeggio. If you look at the tab you'll see what I mean. Basically, it starts on the "e" of the sixteenth note count. Look at the tab and marvel.
We continue on F major until we hit a Db or C#. Then we do a Fmaj7(b6) arpeggio and pick up again with a Am run ending on the triad with the root note.
Following this we have a C arpeggio sequence which skips around a bit. We finally end this section with an E Phrygian run.
Good luck!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
This is by far the toughest cookie to break. Today's blog will go into one of the most finger twisting and irregular bits of shredding I have ever seen.
Of course we find all of this in Jason Becker's work, for a change... right? Nevermind.
Today's section starts with a downwards sequence in C Ionian. It consists of a repeating pattern where we, on the 1st string, play a starting note, then play its' third, second then the first and then play the 7th on the 2nd string. Then this 7th turns into a root, by shifting down to it on the 1st string and repeating the same pattern. All in the key of C major (Ionian).
The last pattern, which is C E D C Bb, is the only one that goes out of C Ionian, due to that Bb which is really more like C Mixolydian, or any Majb7 with a major 3rd and 2nd, right?
So after this we jump back into the general key of C major, starting on A on the 10th fret of the 2nd string, going up to it's 6th and then back down all the way to C on the 6th string, 8th fret, effectively doing a C Ionian run, with a little finger twiddling in between. The last note of the passage is D, just next to the last-mentioned C.
Then we do a F major broken sequence arpeggio. If you look at the tab you'll see what I mean. Basically, it starts on the "e" of the sixteenth note count. Look at the tab and marvel.
We continue on F major until we hit a Db or C#. Then we do a Fmaj7(b6) arpeggio and pick up again with a Am run ending on the triad with the root note.
Following this we have a C arpeggio sequence which skips around a bit. We finally end this section with an E Phrygian run.
Good luck!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Sunday, March 7, 2010
Perpetual Burn by Jason Becker
Entry 8:
It's been a few days since my last entry, this is due to my getting sick and then working all day, yesterday, on some music for a video project my cousin is undertaking.
But I'm back with more Perpetual Burn!
Today's section is by no means a diminutive one in terms of the challenge. At a slow pace it's actually quite easy to play over and over, but kick in 5th gear and there is some finger twisting!
So, today's part starts with a G# minor arpeggio, followed by a Phrygian Dominant lick in D# (otherwise known as the 5th mode of G# Harmonic Minor). Then there is a bit of a dance with some bends, right before a fast lick which I like to think of as divided into two pieces.
The first piece is in D# Phrygian, starting on the 16th fret of the 1st string, up to the 18th fret and then down in a three-note-per-string motion to D# on the 4th string.
The second piece is in A# Locrian but really finishes in the 7th mode of G# Harmonic Minor with the leading tone (G). But I like to think of that as just a passing/leading tone and the run to be in A# Locrian since all the notes are part of that scale. So, this second piece is a bit of a back and forth with the notes, but that's not much of a challenge. I did it by sliding cause I like the sound and feel of it, but it can be done by shifting the hand down picking up three notes at a time.
After the leading tone, we go into a G# minor arpeggio again, this time skipping one note of the arpeggio and then back and the skip again etc. It looks like this:
E¡--------------------7-------------7----------------------------------¡
B¡-------------9---------9------9---------9----------------------9-----¡
G¡------8---------8----------8--------8------------8------8---------8--¡
D¡---------9-----------------------------------9--------------9--------¡
A¡--11------------------------------------------------11---------------¡
E¡---------------------------------------------------------------------¡
So this is a bit tricky due to the skipping but focus on your picking and on having your fretting fingers well placed and eventually it'll come easily.
Then there is a chromatic movement between the 2nd and 3rd strings finishing on a diatonic line on the 4th string.
Following this we have an A major arpeggio which plays with the top 5th and 6th of the tonality a few times towards its' end. Then the lick which is a pain in the ass. Specially if you haven't practiced it enough, like I haven't :p.
¡-12-7-9-7-------------------7-9-7-----20-15-17-15--------------------15-17-15-
¡------------9-7-------7-9---------------------------17-15------15-17----------
¡------------------9---------------x2-----------------------17-----------------x2
¡------------------------------------------------------------------------------
¡------------------------------------------------------------------------------
¡------------------------------------------------------------------------------
(Had to cut out the string 'names' cause the tab was too big for the space)
And that is all for today. Make sure to check out all my other blogs.
See you later!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
It's been a few days since my last entry, this is due to my getting sick and then working all day, yesterday, on some music for a video project my cousin is undertaking.
But I'm back with more Perpetual Burn!
Today's section is by no means a diminutive one in terms of the challenge. At a slow pace it's actually quite easy to play over and over, but kick in 5th gear and there is some finger twisting!
So, today's part starts with a G# minor arpeggio, followed by a Phrygian Dominant lick in D# (otherwise known as the 5th mode of G# Harmonic Minor). Then there is a bit of a dance with some bends, right before a fast lick which I like to think of as divided into two pieces.
The first piece is in D# Phrygian, starting on the 16th fret of the 1st string, up to the 18th fret and then down in a three-note-per-string motion to D# on the 4th string.
The second piece is in A# Locrian but really finishes in the 7th mode of G# Harmonic Minor with the leading tone (G). But I like to think of that as just a passing/leading tone and the run to be in A# Locrian since all the notes are part of that scale. So, this second piece is a bit of a back and forth with the notes, but that's not much of a challenge. I did it by sliding cause I like the sound and feel of it, but it can be done by shifting the hand down picking up three notes at a time.
After the leading tone, we go into a G# minor arpeggio again, this time skipping one note of the arpeggio and then back and the skip again etc. It looks like this:
E¡--------------------7-------------7----------------------------------¡
B¡-------------9---------9------9---------9----------------------9-----¡
G¡------8---------8----------8--------8------------8------8---------8--¡
D¡---------9-----------------------------------9--------------9--------¡
A¡--11------------------------------------------------11---------------¡
E¡---------------------------------------------------------------------¡
So this is a bit tricky due to the skipping but focus on your picking and on having your fretting fingers well placed and eventually it'll come easily.
Then there is a chromatic movement between the 2nd and 3rd strings finishing on a diatonic line on the 4th string.
Following this we have an A major arpeggio which plays with the top 5th and 6th of the tonality a few times towards its' end. Then the lick which is a pain in the ass. Specially if you haven't practiced it enough, like I haven't :p.
¡-12-7-9-7-------------------7-9-7-----20-15-17-15--------------------15-17-15-
¡------------9-7-------7-9---------------------------17-15------15-17----------
¡------------------9---------------x2-----------------------17-----------------x2
¡------------------------------------------------------------------------------
¡------------------------------------------------------------------------------
¡------------------------------------------------------------------------------
(Had to cut out the string 'names' cause the tab was too big for the space)
And that is all for today. Make sure to check out all my other blogs.
See you later!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Wednesday, March 3, 2010
Perpetual Burn by Jason Becker
Entry 7:
Hello readers! Tonight I bring you a tasty and fresh little section of the song that has just about worn me out! Though, after hard work and dedication I've actually come to understand how to play this little monster of a section of Jason Becker's "Perpetual Burn".
The section we'll be seeing today is the one that starts at just about two minutes into the song. It's at a minute and 58 seconds to be exact..... So, listen to it. Fast huh? Not only that, but the fingering is a challenge at first. Sure, the shapes don't feel that unfamiliar and demanding, but try playing it in time and clean.
So without further ado, let's see what we got here.
You don't know this but after writing that last sentence I've gotten up from my chair and picked up my guitar to decipher the theory and technique behind this bit.
Anyway.
So we start with a seven-beta repetition of the same note, G#. Then we do a fast ascending lick with three descending notes at the very end of it and then we have another lick after that one in a type of question/answer format. The licks are written below:
E¡---------------------9-12-11-9--------------------------------¡
B¡-----------9-11-12--------------------------------------------¡
G¡-8-9-10-----------------------------------8-11-9-8------------¡
D¡--------------------------------9-8-9-11-------------11-9-8---¡
A¡--------------------------------------------------------------¡
E¡--------------------------------------------------------------¡
The first half is a D# Phrygian run. The second half is an A# Locrian run.
After this we have a similar lick, also after a seven-beat repetition of G#;
E¡--------------------7-11-9-7--------------------------------¡
B¡-------------9-11-------------------------------------------¡
G¡-9-8-9-10--------------------------------8-9-8-6-8----------¡
D¡------------------------------9-8-9-11---------------9-8-6--¡
A¡------------------------------------------------------------¡
E¡------------------------------------------------------------¡
Here, the first half is also a D# Phrygian run. The second half is a G# Aeolian run starting on the third.
Following this we have seven-beat repetition of G instead of G#, and the same two licks from above are played, except the second one is played first and the first one is played second.
On the video I fudged up the second half of the first lick by playing an extra note on the G string, thinking that's how it was. Now that I look at it again I see that I fudged up. But that's O.K., it only means I have to worry less about it next time I play it.
So,that's it for today! Enjoy!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
---------------------------------------
Articulo 7:
Hola lectores! Esta noche les traigo una apetitosa y fresca seccion de la cancion que casi me ha desgastado. Aunque despues de harto trabajo y dedicacion he llegado a comprender como tocar este pequeño monstruo dentro de la cancion Perpetual Burn de Jason Becker.
Esta seccion que veremos hoy es la que empieza casi a los dos minutos en la cancion. Es en el minuto uno con 58 segundos, para ser exacto. Asique, escuchenlo. Rapido, no?? No solo eso, pero el dedaje es un desafio al principio. Seguro piensan que las figuras no se ven tan distantes y demandantes, pero traten de tocarlo a tiempo, y limpio!
Sin mas atraso, veamos lo que tenemos.
Ustedes no sabian esto pero despues de escribir la previa frase, me levante y fui a buscar mi guitarra para apropiadamente disectar la teoria y tecnica detras de esta seccion.
En todo caso.
Empezamos con una repeticion de siete ritmos en la misma nota, G#. Despues hacemos un 'lick' ascendente con tres notas en descenso en su final y despues tenemos otro lick en un formate pregunta/respuesta. Los licks estan escritos abajo:
E¡---------------------9-12-11-9--------------------------------¡
B¡-----------9-11-12--------------------------------------------¡
G¡-8-9-10-----------------------------------8-11-9-8------------¡
D¡--------------------------------9-8-9-11-------------11-9-8---¡
A¡--------------------------------------------------------------¡
E¡--------------------------------------------------------------¡
La primera mitad es un 'lick' en D# Frigio. La segunda mitad es en A# Locrio.
Despues de estos 'licks' tenemos otros similar, tambien despues de una repeticion de siete ritmos de G#;
E¡--------------------7-11-9-7--------------------------------¡
B¡-------------9-11-------------------------------------------¡
G¡-9-8-9-10--------------------------------8-9-8-6-8----------¡
D¡------------------------------9-8-9-11---------------9-8-6--¡
A¡------------------------------------------------------------¡
E¡------------------------------------------------------------¡
Aca la primera mitad es en D# Frigio tambien. La segunda mitad es en G# Eolico empezando en la tercera.
Siguiendo esto tenemos una repeticion de siete ritmos de la nota G en vez de G#, y los mismos licks anteriores son tocados, excepto que esta vez el segundo se toca primero y el primero va segundo.
En el video me equivoque al tocar la segunda mitad del primer 'lick' al tocar una nota extra en la cuerda G, pensando que asi se hace. Ahora que lo revise me doy cuenta que en efecto toque una nota de mas, pero eso esta bien solo significa que me podre preocupar menos la proxima vez que lo toque.
Eso es todo por hoy. Disfruten!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Hello readers! Tonight I bring you a tasty and fresh little section of the song that has just about worn me out! Though, after hard work and dedication I've actually come to understand how to play this little monster of a section of Jason Becker's "Perpetual Burn".
The section we'll be seeing today is the one that starts at just about two minutes into the song. It's at a minute and 58 seconds to be exact..... So, listen to it. Fast huh? Not only that, but the fingering is a challenge at first. Sure, the shapes don't feel that unfamiliar and demanding, but try playing it in time and clean.
So without further ado, let's see what we got here.
You don't know this but after writing that last sentence I've gotten up from my chair and picked up my guitar to decipher the theory and technique behind this bit.
Anyway.
So we start with a seven-beta repetition of the same note, G#. Then we do a fast ascending lick with three descending notes at the very end of it and then we have another lick after that one in a type of question/answer format. The licks are written below:
E¡---------------------9-12-11-9--------------------------------¡
B¡-----------9-11-12--------------------------------------------¡
G¡-8-9-10-----------------------------------8-11-9-8------------¡
D¡--------------------------------9-8-9-11-------------11-9-8---¡
A¡--------------------------------------------------------------¡
E¡--------------------------------------------------------------¡
The first half is a D# Phrygian run. The second half is an A# Locrian run.
After this we have a similar lick, also after a seven-beat repetition of G#;
E¡--------------------7-11-9-7--------------------------------¡
B¡-------------9-11-------------------------------------------¡
G¡-9-8-9-10--------------------------------8-9-8-6-8----------¡
D¡------------------------------9-8-9-11---------------9-8-6--¡
A¡------------------------------------------------------------¡
E¡------------------------------------------------------------¡
Here, the first half is also a D# Phrygian run. The second half is a G# Aeolian run starting on the third.
Following this we have seven-beat repetition of G instead of G#, and the same two licks from above are played, except the second one is played first and the first one is played second.
On the video I fudged up the second half of the first lick by playing an extra note on the G string, thinking that's how it was. Now that I look at it again I see that I fudged up. But that's O.K., it only means I have to worry less about it next time I play it.
So,that's it for today! Enjoy!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
---------------------------------------
Articulo 7:
Hola lectores! Esta noche les traigo una apetitosa y fresca seccion de la cancion que casi me ha desgastado. Aunque despues de harto trabajo y dedicacion he llegado a comprender como tocar este pequeño monstruo dentro de la cancion Perpetual Burn de Jason Becker.
Esta seccion que veremos hoy es la que empieza casi a los dos minutos en la cancion. Es en el minuto uno con 58 segundos, para ser exacto. Asique, escuchenlo. Rapido, no?? No solo eso, pero el dedaje es un desafio al principio. Seguro piensan que las figuras no se ven tan distantes y demandantes, pero traten de tocarlo a tiempo, y limpio!
Sin mas atraso, veamos lo que tenemos.
Ustedes no sabian esto pero despues de escribir la previa frase, me levante y fui a buscar mi guitarra para apropiadamente disectar la teoria y tecnica detras de esta seccion.
En todo caso.
Empezamos con una repeticion de siete ritmos en la misma nota, G#. Despues hacemos un 'lick' ascendente con tres notas en descenso en su final y despues tenemos otro lick en un formate pregunta/respuesta. Los licks estan escritos abajo:
E¡---------------------9-12-11-9--------------------------------¡
B¡-----------9-11-12--------------------------------------------¡
G¡-8-9-10-----------------------------------8-11-9-8------------¡
D¡--------------------------------9-8-9-11-------------11-9-8---¡
A¡--------------------------------------------------------------¡
E¡--------------------------------------------------------------¡
La primera mitad es un 'lick' en D# Frigio. La segunda mitad es en A# Locrio.
Despues de estos 'licks' tenemos otros similar, tambien despues de una repeticion de siete ritmos de G#;
E¡--------------------7-11-9-7--------------------------------¡
B¡-------------9-11-------------------------------------------¡
G¡-9-8-9-10--------------------------------8-9-8-6-8----------¡
D¡------------------------------9-8-9-11---------------9-8-6--¡
A¡------------------------------------------------------------¡
E¡------------------------------------------------------------¡
Aca la primera mitad es en D# Frigio tambien. La segunda mitad es en G# Eolico empezando en la tercera.
Siguiendo esto tenemos una repeticion de siete ritmos de la nota G en vez de G#, y los mismos licks anteriores son tocados, excepto que esta vez el segundo se toca primero y el primero va segundo.
En el video me equivoque al tocar la segunda mitad del primer 'lick' al tocar una nota extra en la cuerda G, pensando que asi se hace. Ahora que lo revise me doy cuenta que en efecto toque una nota de mas, pero eso esta bien solo significa que me podre preocupar menos la proxima vez que lo toque.
Eso es todo por hoy. Disfruten!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Tuesday, March 2, 2010
Perpetual Burn by Jason Becker
Entry 6:
Arpeggios a'hoy! Not only that but man Jason's speed with licks is incredible. You can slow down his music to about 25% with a program like Transcribe (for OSX) or Amazing Slow Downer (for Wind.) and still hear notes that sound are being played at 100% time except they are fast! Astounding........
So today's bit of dissection deals with the arpeggios and licks that follow the beautiful tapping section of the song. Sincerely, knowing the way that Becker actually fingered this stuff is a big advantage, because otherwise the movement between sweeps would become hectic for both hands, if it were done with the standard arpeggio shapes.
We start off with an arpeggio in D major! That's right! D major! I'm too excited. Ok I'm better now. This arpeggio is fragmented, in the sense that after the first 12 notes, we skip a few notes of it and pick it up again on the 17th fret of the 1st string, or A, and go down in D major, then up again.
We then start a sequence of A major arpeggios, creating a bit of a downwards spiral motion horizontally across the neck. In this part it is very important to stop each arpeggio at the right note. They're all inversion, the first one is a 1st inversion, then a root inversion, then a 2nd inversion to E on the 7th fret of the 5t string.
Then we start another arpeggio, this time in B minor. I held my excitement this time! So we start on B and go up and do the same fragmented idea, after playing 12 notes, we skip to the 5th of the arpeggio on the 14th fret of the 1st string, or F#.
Now, we have a little madness. There is a very fast lick that kicks in on the G on the 15th fret of the 1st string. It goes down six notes in the same position, then shifts down half a step to grab the F# on the 14th fret of the 1st string, and does a four-note run to C#.
When this little fast bugger is done, we start on G on the 8th fret of the 2nd string doing a scalar run up to the 6th then down to the 3rd and shifting our hands to make the F#nd the starting note and do the same pattern. So, up to the 6th, back to the 3rd, pick up pattern again on the correspondent 2nd. This is a fast lick....
Then the pattern breaks a bit to introduce another set of fast-paced arpeggios. Now we're going down in E minor. We shift all the way to the 3rd fret on the 1st string for the last E minor arpeggio, and we change to B minor, starting with B on the 7th fret of the 1st string, down one octave and up again, then shift accordingly as shown in the video in a typical three-string arpeggio sequence.
We get up to one octave above where the B minor started, and we change to F#, again with a three-string arpeggio sequence, until we get to a root movement at around position six on the neck. We finish this arpeggio and we jump to the B on the 12th fret of the 2nd string and repeat the same lick that previously was explained. You know, the one going up to the 6th, down to the 3rd.... you get the point.
And done. And relax, breathe. And do over!
Good luck!
-----------------------------------------------
Articulo 6:
A puro arpegio. No solo eso pero vaya que la velocidad de Jason en algunos licks es increible. Uno puede bajarle la velocidad a su musica a cerca de 25% con un programa como Transcribe para OSX o Amazing Slow Downer para Windows y aun asi escuchar notas que suenan a velocidad normal pero ademas rapidas. Impresionante...
La diseccion de hoy toma lugar sobre la seccion de arpegios que sigue a la hermosa seccion de tapping de la cancion. Sinceramente, sabiendo las figuras que Becker utilizaba para estos temas es una gran ventaja, porque si no los movimientos entre barridos serian problematicos para ambas manos, si estos fueran hechos con las figura estandar de arpegios.
Empezamos con un arpegio en D MAYOR! D MAYOR. Me emociona el tema. Ok, un relajo. Este esta fragmentado en el sentido que despues de las primeras 12 notas de el, nos saltamos unas notas para retomarlo enel 17mo traste de la 1ra cuerda, A, y bajamos de vuelta en D mayor, y volvemos a subir.
Ahora comenzamos una secuencia de arpegios en A mayor, creando algo como una espiral en descenso, horizontalmente por el cuello. En esta parte es muy importante para cada arpegio en la nota correcta. Son todos inversiones estos, el primero siendo una 1ra inversion, depues inversion en raiz, y despues una 2da inversion hasta E en el 7mo traste de la 5ta cuerda.
Despues empezamos otro arpegio, esta vez en B menor. Esta vez me aguante la emocion. Asique empezamos en B y subimos y hacemos la misma fragmentacion del comienzo, tocando las primeras 12 notas y saltando a la 5ta del arpegio en el 14vo traste de la 1ra cuerda, o F#.
Ahora comienza un poco de locura. Hay un 'lick' muy rapido que empieza en G en el 15to traste de la 1ra cuerda. Baja seis notas en la misma posicion, despues nos movemos un semi tono hacia abajo y agarramos el F# en el 14to traste de la 1ra cuerda y hacemos una corrida de cuatro notas a C#.
Cuando esta partecita termina, empezamos en G en el 8vo traste de la 2da cuerda haciendo un movimiento en escala hasta la 6ta de G despues bajamos a la 3ra y movemos la manopara hacer de F# la nota de inicio, repitiendo el mismo patron. Entonces, se sube a la 6ta, bajamos a la 3ra y agarramos el patron en la 2nda, correspondiente a la siguiente parte del patron.
Este patron termina cuando se presenta una nueva seccion de arpegios. Ahora empezamos a bajar con E menor. Bajamos hasta el 3er traste donde hacemos el ultimo arpegio de E mienor, y cambiamos a B menor, empeazando con B en el 7mo traste de la 1ra cuerda, bajando una octava y subiendo de vuelta. Ahora hacemos patrones de tres cuerdas de arpegios tipicos.
Llegamos a una octava de donde comenzamos en B menor, y cambiamos a F#, de vuelta con secuencia de arpegios de tres cuerdas, hasta que hacemos un movimiento a raiz alrededor de la 6ta posicion del cuello. Terminamos este arpegio y saltamos a B en el 12vo traste de la 2da cuerda y repetimos el mismo lick que previamente explique. Ya saben... el que sube a la 6ta, baja a la 3ra... ya entienden..
Listo. Relajense, respiren. Y comienzen de vuelta!
Buena suerte!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Arpeggios a'hoy! Not only that but man Jason's speed with licks is incredible. You can slow down his music to about 25% with a program like Transcribe (for OSX) or Amazing Slow Downer (for Wind.) and still hear notes that sound are being played at 100% time except they are fast! Astounding........
So today's bit of dissection deals with the arpeggios and licks that follow the beautiful tapping section of the song. Sincerely, knowing the way that Becker actually fingered this stuff is a big advantage, because otherwise the movement between sweeps would become hectic for both hands, if it were done with the standard arpeggio shapes.
We start off with an arpeggio in D major! That's right! D major! I'm too excited. Ok I'm better now. This arpeggio is fragmented, in the sense that after the first 12 notes, we skip a few notes of it and pick it up again on the 17th fret of the 1st string, or A, and go down in D major, then up again.
We then start a sequence of A major arpeggios, creating a bit of a downwards spiral motion horizontally across the neck. In this part it is very important to stop each arpeggio at the right note. They're all inversion, the first one is a 1st inversion, then a root inversion, then a 2nd inversion to E on the 7th fret of the 5t string.
Then we start another arpeggio, this time in B minor. I held my excitement this time! So we start on B and go up and do the same fragmented idea, after playing 12 notes, we skip to the 5th of the arpeggio on the 14th fret of the 1st string, or F#.
Now, we have a little madness. There is a very fast lick that kicks in on the G on the 15th fret of the 1st string. It goes down six notes in the same position, then shifts down half a step to grab the F# on the 14th fret of the 1st string, and does a four-note run to C#.
When this little fast bugger is done, we start on G on the 8th fret of the 2nd string doing a scalar run up to the 6th then down to the 3rd and shifting our hands to make the F#nd the starting note and do the same pattern. So, up to the 6th, back to the 3rd, pick up pattern again on the correspondent 2nd. This is a fast lick....
Then the pattern breaks a bit to introduce another set of fast-paced arpeggios. Now we're going down in E minor. We shift all the way to the 3rd fret on the 1st string for the last E minor arpeggio, and we change to B minor, starting with B on the 7th fret of the 1st string, down one octave and up again, then shift accordingly as shown in the video in a typical three-string arpeggio sequence.
We get up to one octave above where the B minor started, and we change to F#, again with a three-string arpeggio sequence, until we get to a root movement at around position six on the neck. We finish this arpeggio and we jump to the B on the 12th fret of the 2nd string and repeat the same lick that previously was explained. You know, the one going up to the 6th, down to the 3rd.... you get the point.
And done. And relax, breathe. And do over!
Good luck!
-----------------------------------------------
Articulo 6:
A puro arpegio. No solo eso pero vaya que la velocidad de Jason en algunos licks es increible. Uno puede bajarle la velocidad a su musica a cerca de 25% con un programa como Transcribe para OSX o Amazing Slow Downer para Windows y aun asi escuchar notas que suenan a velocidad normal pero ademas rapidas. Impresionante...
La diseccion de hoy toma lugar sobre la seccion de arpegios que sigue a la hermosa seccion de tapping de la cancion. Sinceramente, sabiendo las figuras que Becker utilizaba para estos temas es una gran ventaja, porque si no los movimientos entre barridos serian problematicos para ambas manos, si estos fueran hechos con las figura estandar de arpegios.
Empezamos con un arpegio en D MAYOR! D MAYOR. Me emociona el tema. Ok, un relajo. Este esta fragmentado en el sentido que despues de las primeras 12 notas de el, nos saltamos unas notas para retomarlo enel 17mo traste de la 1ra cuerda, A, y bajamos de vuelta en D mayor, y volvemos a subir.
Ahora comenzamos una secuencia de arpegios en A mayor, creando algo como una espiral en descenso, horizontalmente por el cuello. En esta parte es muy importante para cada arpegio en la nota correcta. Son todos inversiones estos, el primero siendo una 1ra inversion, depues inversion en raiz, y despues una 2da inversion hasta E en el 7mo traste de la 5ta cuerda.
Despues empezamos otro arpegio, esta vez en B menor. Esta vez me aguante la emocion. Asique empezamos en B y subimos y hacemos la misma fragmentacion del comienzo, tocando las primeras 12 notas y saltando a la 5ta del arpegio en el 14vo traste de la 1ra cuerda, o F#.
Ahora comienza un poco de locura. Hay un 'lick' muy rapido que empieza en G en el 15to traste de la 1ra cuerda. Baja seis notas en la misma posicion, despues nos movemos un semi tono hacia abajo y agarramos el F# en el 14to traste de la 1ra cuerda y hacemos una corrida de cuatro notas a C#.
Cuando esta partecita termina, empezamos en G en el 8vo traste de la 2da cuerda haciendo un movimiento en escala hasta la 6ta de G despues bajamos a la 3ra y movemos la manopara hacer de F# la nota de inicio, repitiendo el mismo patron. Entonces, se sube a la 6ta, bajamos a la 3ra y agarramos el patron en la 2nda, correspondiente a la siguiente parte del patron.
Este patron termina cuando se presenta una nueva seccion de arpegios. Ahora empezamos a bajar con E menor. Bajamos hasta el 3er traste donde hacemos el ultimo arpegio de E mienor, y cambiamos a B menor, empeazando con B en el 7mo traste de la 1ra cuerda, bajando una octava y subiendo de vuelta. Ahora hacemos patrones de tres cuerdas de arpegios tipicos.
Llegamos a una octava de donde comenzamos en B menor, y cambiamos a F#, de vuelta con secuencia de arpegios de tres cuerdas, hasta que hacemos un movimiento a raiz alrededor de la 6ta posicion del cuello. Terminamos este arpegio y saltamos a B en el 12vo traste de la 2da cuerda y repetimos el mismo lick que previamente explique. Ya saben... el que sube a la 6ta, baja a la 3ra... ya entienden..
Listo. Relajense, respiren. Y comienzen de vuelta!
Buena suerte!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Monday, March 1, 2010
Perpetual Burn by Jason Becker
Entry 5:
Wow. Have I got stock for you.
Today's entry picks up where we left-off on "Perpetual Burn" yesterday. This is a very special section of the song - not only because it is so melodic and evocative of of almost a baroque piece for the piano - because it has, technically, just about the hardest parts of the song, in my own opinion. Nevertheless it is completely approachable and with time, understanding, patience and dedication it should come from your fingers like wax from your ears! (that means naturally...)
So we start off with a lick that is by all means worth a ton of practice for it alone. The tonality is A major (Ionian), and we start on the 7th note (G#) on the 16th fret of the 1st string and descend all the way to A on the 5th fret of the 6th string with a certain pattern. Here is a tab for it:
E¡-16-14-12--------------------------------------------------------------------¡
B¡-----------15-14-12----------------------------------------------------------¡
G¡---------------------14-13-11-13-11-9----------------------------------------¡
D¡-----------------------------------------13-11-9-11-9-7----------------------¡
A¡----------------------------------------------------------11-9-7-------------¡
E¡-------------------------------------------------------------------9-8-7-5-5-¡
This is a very fast lick. It really takes place over exactly one bar of 4/4.
After this enticing lick, we have an three-string arpeggio sequence and a five-string arpeggio, all in A. Following this comes an arpeggio sequence in C#, ending on the 3rd of the arpeggio, on the 15th fret of the 4th string.
It is really important that, really as with everything else, this whole bit is made sure to be very clean so that one can really understand the progression taking place.
Following these arpeggios we have a fun tapping melody that follows a few arpeggios.
The tonalities accomplished by these tapping arpeggios are the following:
F#m - G#º - F#m - G#º - D - Bm - Dbsus4 - Db - F#m - F#º - D (with a chromatic movement) - E - Abm - G#º - Eb - E - Eb - E - Eb - E
Yep, that's it believe it or not. Very cool.
Then there's a last lick that works for suggesting the quality of the next section which will be covered in the next video.
Have fun!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
----------------------------------------------------
Articulo 5:
Esta vez si que les tengo de lo bueno.
El articulo de hoy embarca desde donde dejamos ayer en Perpetual Burn. Esta es una seccion muy especial - no solo porque es tan melodica y evocativa de movimientos barrocos para piano - ya que, tecnicamente, es casi la parte mas dificil de la cancion, en mi opinion. Pero aun asi es totalmente comprensible y con tiempo, conocimiento, paciencia y dedicacion deberia salir de sus dedos como cera de sus orejas! (eso significa que de forma natural...)
Asique, empezamos con un lick que es de por si merecedor de harta practica. La tonalidad de este es A mayor (Jonio) y empezamos en la 7ma nota (G#) en el 16to traste de la 1ra cuerda, y descendemos hasta A en el 5to traste de la 6ta cuerda con un particular patron. Aca he puesto un tab para el:
E¡-16-14-12--------------------------------------------------------------------¡
B¡-----------15-14-12----------------------------------------------------------¡
G¡---------------------14-13-11-13-11-9----------------------------------------¡
D¡-----------------------------------------13-11-9-11-9-7----------------------¡
A¡----------------------------------------------------------11-9-7-------------¡
E¡-------------------------------------------------------------------9-8-7-5-5-¡
Este 'lick' es muy rapido. De hecho, toma lugar sobre exactamente una barra de 4/4.
Despues de este entusiasmante 'lick' tenemos una secuencia de arpegios en tres cuerdas, en A. Siguiendo esto viene una secuencia de arpegios en C#, terminando en la 3ra de el arpegio, en el 15to traste de la 4ta cuerda.
Es muy importante, como con todo, que toda esta seccion de arpegios suene limpia y clara para que uno verdaderamente pueda escuchar y enteder la progresion que esta tomando lugar.
Despues de estos arpegios tenemos una divertida melodia de arpegios usando 'tapping'.
Las tonalidades presentes a travez de estos arpegios son:
F#m - G#º - F#m - G#º - D - Bm - Dbsus4 - Db - F#m - F#º - D (con un movimiento cromatico) - E - Abm - G#º - Eb - E - Eb - E - Eb - E
Eso, creanlo o no, es todo.
Depues de esto hay un pequeño 'lick' que sirve de introduccion para la siguiente seccion que veremos mañana en otro video.
Saludos!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Wow. Have I got stock for you.
Today's entry picks up where we left-off on "Perpetual Burn" yesterday. This is a very special section of the song - not only because it is so melodic and evocative of of almost a baroque piece for the piano - because it has, technically, just about the hardest parts of the song, in my own opinion. Nevertheless it is completely approachable and with time, understanding, patience and dedication it should come from your fingers like wax from your ears! (that means naturally...)
So we start off with a lick that is by all means worth a ton of practice for it alone. The tonality is A major (Ionian), and we start on the 7th note (G#) on the 16th fret of the 1st string and descend all the way to A on the 5th fret of the 6th string with a certain pattern. Here is a tab for it:
E¡-16-14-12--------------------------------------------------------------------¡
B¡-----------15-14-12----------------------------------------------------------¡
G¡---------------------14-13-11-13-11-9----------------------------------------¡
D¡-----------------------------------------13-11-9-11-9-7----------------------¡
A¡----------------------------------------------------------11-9-7-------------¡
E¡-------------------------------------------------------------------9-8-7-5-5-¡
This is a very fast lick. It really takes place over exactly one bar of 4/4.
After this enticing lick, we have an three-string arpeggio sequence and a five-string arpeggio, all in A. Following this comes an arpeggio sequence in C#, ending on the 3rd of the arpeggio, on the 15th fret of the 4th string.
It is really important that, really as with everything else, this whole bit is made sure to be very clean so that one can really understand the progression taking place.
Following these arpeggios we have a fun tapping melody that follows a few arpeggios.
The tonalities accomplished by these tapping arpeggios are the following:
F#m - G#º - F#m - G#º - D - Bm - Dbsus4 - Db - F#m - F#º - D (with a chromatic movement) - E - Abm - G#º - Eb - E - Eb - E - Eb - E
Yep, that's it believe it or not. Very cool.
Then there's a last lick that works for suggesting the quality of the next section which will be covered in the next video.
Have fun!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
----------------------------------------------------
Articulo 5:
Esta vez si que les tengo de lo bueno.
El articulo de hoy embarca desde donde dejamos ayer en Perpetual Burn. Esta es una seccion muy especial - no solo porque es tan melodica y evocativa de movimientos barrocos para piano - ya que, tecnicamente, es casi la parte mas dificil de la cancion, en mi opinion. Pero aun asi es totalmente comprensible y con tiempo, conocimiento, paciencia y dedicacion deberia salir de sus dedos como cera de sus orejas! (eso significa que de forma natural...)
Asique, empezamos con un lick que es de por si merecedor de harta practica. La tonalidad de este es A mayor (Jonio) y empezamos en la 7ma nota (G#) en el 16to traste de la 1ra cuerda, y descendemos hasta A en el 5to traste de la 6ta cuerda con un particular patron. Aca he puesto un tab para el:
E¡-16-14-12--------------------------------------------------------------------¡
B¡-----------15-14-12----------------------------------------------------------¡
G¡---------------------14-13-11-13-11-9----------------------------------------¡
D¡-----------------------------------------13-11-9-11-9-7----------------------¡
A¡----------------------------------------------------------11-9-7-------------¡
E¡-------------------------------------------------------------------9-8-7-5-5-¡
Este 'lick' es muy rapido. De hecho, toma lugar sobre exactamente una barra de 4/4.
Despues de este entusiasmante 'lick' tenemos una secuencia de arpegios en tres cuerdas, en A. Siguiendo esto viene una secuencia de arpegios en C#, terminando en la 3ra de el arpegio, en el 15to traste de la 4ta cuerda.
Es muy importante, como con todo, que toda esta seccion de arpegios suene limpia y clara para que uno verdaderamente pueda escuchar y enteder la progresion que esta tomando lugar.
Despues de estos arpegios tenemos una divertida melodia de arpegios usando 'tapping'.
Las tonalidades presentes a travez de estos arpegios son:
F#m - G#º - F#m - G#º - D - Bm - Dbsus4 - Db - F#m - F#º - D (con un movimiento cromatico) - E - Abm - G#º - Eb - E - Eb - E - Eb - E
Eso, creanlo o no, es todo.
Depues de esto hay un pequeño 'lick' que sirve de introduccion para la siguiente seccion que veremos mañana en otro video.
Saludos!
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Sunday, February 28, 2010
Perpetual Burn by Jason Becker
Entry 4:
This entry is coming in a little late. The reason for that is that I spent a few days in New Jersey recording with this great band I joined. There will be more details about the band later. I had an awesome time in NJ and got to visit "The Stone Pony" which is an incredible events parlor/bar with some great audio engineers. I actually saw this band called "Cycle of Pain" which is lead by the ex-bassist of Black Label Society, J.D. All-in-all a great time.
Today's video further continues into the song "Perpetual Burn" by Jason Becker. This time we start of with a familiar figure of sweeps. The difference is we have modulated to another Key over the course of the song, so far. The key is - drum roll - F#m!
There's actually a bit of a discrepancy as it would really be F# Phrygian, but that's a minor key. Then it shifts to F# Aeolian.
So, we start off with the same shape of sweeps from the very intro, except this time we don't play the third half-diminished/oriental arpeggio, but rather skip to a series of beautiful sequence arpeggios, instead, in the same Key. There is also a bit more of a challenge this time as the sweeps are rapidly interwoven with some quick alternate picking. I think this is one of the funner parts of the song. But who am I kidding I think the whole song is extremely fun.
After a journey through a series of F#m arpeggios, there is a G# Locrian run starting on the 6th (E). Then we have an arpeggio in Bm with some downwards sliding, which is followed by a B Aeolian lick. Then we go into F#m again with a series of three-string arpeggios which are followed by a Dm arpeggio. After this Dm arpeggio there is a modulation into C major but on it's Dorian mode; D. The lick starts on B on the 19th fret of the 1st string and ends on D, on the 12th fret of the 4th string.
That's it for today. This is a bit of a challenging but extremely fun bit. Special attention to the lick in B Aeolian right after the Bm arpeggio.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
--------------------------------------------------------------------
Articulo 4:
El articulo de hoy viene con un poco de tardanza. La razon de eso es que pase unos dias en Nueva Jersey grabando con una gran banda a la cual me uni. Habran mas detalles sobre esa banda mas adelante. La pase buenisimo en NJ, incluso fui a "The Stone Pony" que es un local de eventos/bar con ingenieros de sonido increibles. Me toco ver a una banda que se llama Cycle of Pain la cual es liderada por el ex-bajista de Black Label Society, J.D. Todo estuvo bueno.
El video de hoy continua el desarrollo de la cancion "Perpetual Burn" de Jason Becker. Esta vez empezamos con unas figuras conocidas. La diference esta en que hemos modulado a una nueva Llave durante el transcurso de la cancion. La nueva Llave es - redoble de tambores - F#m!
Asi, empezamos con la misma figura de barridos de la introduccion, con la excepcion que esta vez no tocamos el tercer arpegio semi-disminuido/oriental, y en vez saltamos a una serie de arpegios en secuencia, en la misma Llave. Hay un pequeño desafio extra ya que esta vez los barridos estan entrelazados con algo de uñeteo alternado. Me parece que esta es una de las partes mas divertidas de la cancion. Pero a quien engaño... me parece que toda la cancion es divertida.
Despues de un viaje por una serie de arpegios de F#m, hay una corrida en G# Locrio empezando en la sexta nota (E). Despues tenemos un arpegio en Bm con unos deslizes en descenso, lo cual es seguido por un 'lick' en B Eolio. Despues pasamos a F#m de vuelta con una serie de arpegio de tres cuerdas que son seguidos por un arpegio en Dm. Despues de esta arpegio en Dm, tenemos una modulacion a C mayor pero en su modo Dorico; D. Este 'lick' empieza en B en el 19o traste de la 1ra cuerda y termina en D, en el 12vo traste de la 4ta cuerda.
Eso es todo por hoy. Es una seccion un poco desafiante pero muy divertida. Presten atencion especial a el 'lick' en B Eolio justo despues de el arpegio en Bm.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
This entry is coming in a little late. The reason for that is that I spent a few days in New Jersey recording with this great band I joined. There will be more details about the band later. I had an awesome time in NJ and got to visit "The Stone Pony" which is an incredible events parlor/bar with some great audio engineers. I actually saw this band called "Cycle of Pain" which is lead by the ex-bassist of Black Label Society, J.D. All-in-all a great time.
Today's video further continues into the song "Perpetual Burn" by Jason Becker. This time we start of with a familiar figure of sweeps. The difference is we have modulated to another Key over the course of the song, so far. The key is - drum roll - F#m!
There's actually a bit of a discrepancy as it would really be F# Phrygian, but that's a minor key. Then it shifts to F# Aeolian.
So, we start off with the same shape of sweeps from the very intro, except this time we don't play the third half-diminished/oriental arpeggio, but rather skip to a series of beautiful sequence arpeggios, instead, in the same Key. There is also a bit more of a challenge this time as the sweeps are rapidly interwoven with some quick alternate picking. I think this is one of the funner parts of the song. But who am I kidding I think the whole song is extremely fun.
After a journey through a series of F#m arpeggios, there is a G# Locrian run starting on the 6th (E). Then we have an arpeggio in Bm with some downwards sliding, which is followed by a B Aeolian lick. Then we go into F#m again with a series of three-string arpeggios which are followed by a Dm arpeggio. After this Dm arpeggio there is a modulation into C major but on it's Dorian mode; D. The lick starts on B on the 19th fret of the 1st string and ends on D, on the 12th fret of the 4th string.
That's it for today. This is a bit of a challenging but extremely fun bit. Special attention to the lick in B Aeolian right after the Bm arpeggio.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
--------------------------------------------------------------------
Articulo 4:
El articulo de hoy viene con un poco de tardanza. La razon de eso es que pase unos dias en Nueva Jersey grabando con una gran banda a la cual me uni. Habran mas detalles sobre esa banda mas adelante. La pase buenisimo en NJ, incluso fui a "The Stone Pony" que es un local de eventos/bar con ingenieros de sonido increibles. Me toco ver a una banda que se llama Cycle of Pain la cual es liderada por el ex-bajista de Black Label Society, J.D. Todo estuvo bueno.
El video de hoy continua el desarrollo de la cancion "Perpetual Burn" de Jason Becker. Esta vez empezamos con unas figuras conocidas. La diference esta en que hemos modulado a una nueva Llave durante el transcurso de la cancion. La nueva Llave es - redoble de tambores - F#m!
Asi, empezamos con la misma figura de barridos de la introduccion, con la excepcion que esta vez no tocamos el tercer arpegio semi-disminuido/oriental, y en vez saltamos a una serie de arpegios en secuencia, en la misma Llave. Hay un pequeño desafio extra ya que esta vez los barridos estan entrelazados con algo de uñeteo alternado. Me parece que esta es una de las partes mas divertidas de la cancion. Pero a quien engaño... me parece que toda la cancion es divertida.
Despues de un viaje por una serie de arpegios de F#m, hay una corrida en G# Locrio empezando en la sexta nota (E). Despues tenemos un arpegio en Bm con unos deslizes en descenso, lo cual es seguido por un 'lick' en B Eolio. Despues pasamos a F#m de vuelta con una serie de arpegio de tres cuerdas que son seguidos por un arpegio en Dm. Despues de esta arpegio en Dm, tenemos una modulacion a C mayor pero en su modo Dorico; D. Este 'lick' empieza en B en el 19o traste de la 1ra cuerda y termina en D, en el 12vo traste de la 4ta cuerda.
Eso es todo por hoy. Es una seccion un poco desafiante pero muy divertida. Presten atencion especial a el 'lick' en B Eolio justo despues de el arpegio en Bm.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Wednesday, February 24, 2010
Perpetual Burn by Jason Becker
Entry 3:
Today's section of this song involves, excitingly, more string skipping, more sweeps and some decorative notes to a F#m arpeggio.
The first part of this section is a string skipped D arpeggio starting on the 10th fret of the 6th string, followed by a 1st inversion D arpeggio starting on the 9th fret of the 5th string. It really grabs my deep attention how Jason chooses very distinct notes to make one arpeggio sound like two distinctly separate ideas. Clearly, this is just a matter of inversions, which procure a minor or major quality depending on the starting note.
Then we have a very melodic Bº7 arpeggio which skips one note once the 1st string is reached in order to jump to the 16th fret (Ab) and then down in that position but this time with a triplet feel, and up two notes again to the Ab but this time on the 3rd string. This resolves to an F#m arpeggio which has a few 9s (G#) in there and then a C#m6 to beautify it and really make a wonderful melody .
The next part is a simple finger twister of fun. That's what I call it.
It starts on F# on the 5th string and follows it with a minor arpeggio of that root. Then begins this back and forth on the first three strings between F#m and Bm. After that we move up a minor 3rd and repeat the same relationships this time with Am and Dm and then after another minor 3rd up we have C, Em, D, C, F#m, C, F#m. All of these are six-note arpeggios on the first three strings.
Since this section only plays once in the song and has a very distinct quality due to the three-string arpeggio ping-pong I've always thought of it as a very memorable part of the song. One of those sections that randomly starts playing in my head.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
--------------------------------------------------------------------------
Articulo 3:
La seccion de hoy de esta cancion consiste, entuasiasmantemente, de mas saltos de cuerdas, mas barridos y algunas notas decorativos para un simple arpegio en F#m.
La primera parte de esta seccion es un arpegio en D usando salto de cuerdas, empezando en el 10mo traste de la 6ta cuerda, seguido por una 1ra inversion en D empezando en el 9no traste de la 5ta cuerda. Me llama la atencion el profundo detalle que Jason presto para meticulosamente elegir notas que hagan que un arpegio suene de como dos ideas totalmente unicas. Claramente, esto es simplemente un asunto de inversion, las cuales procuran una cualidad mayor o menor dependiendo de la nota de partida.
Despues, tenemos un arpegio en Bº7 muy melodico que salta una nota una vez que llega a la 1ra cuerda en orden de saltar al 16o traste (Ab) y despues bajar en esa posicion pero esta vez con tresillos y de vuelta dos notas en ascenso hasta al Ab esta vez en la 3ra cuerda. Esto resuelve a un arpegio de F#m al cual le añade unos 9s (G#) y despues un C#m6 para embellecerlo y crear una verdaderamente bella melodia.
La siguiente parte es un simple tuerce-dedos de diversion. Asi me gusta llamarle.
Empieza en F# en la 5ta cuerda y sigue esta nota con su arpegio menor. Despues comienza un va y viene en las primeras tres cuerdas entre F#m y Bm. Despues de eso nos movemos una 3ra menor hacia arriba y se repite la misma relacion pero esta vez entre Am y Dm, y despues otro movimiento de 3ra menor hacia arriba donde tenemos C, Em, D, C, F#m, C, F#m. Todos estos arpegios son de seis notas en las primeras tres cuerdas.
Debido a que esta seccion se presenta solo una vez en la cancion y el hecho que tiene una cualidad distintiva debido a los arpegios de tres cuerdas haciendo "ping-pong", siempre he considerado esta seccion bastante memorable. Es de esas melodias que espontaneamente comienzan a sonar en mi cabeza.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Today's section of this song involves, excitingly, more string skipping, more sweeps and some decorative notes to a F#m arpeggio.
The first part of this section is a string skipped D arpeggio starting on the 10th fret of the 6th string, followed by a 1st inversion D arpeggio starting on the 9th fret of the 5th string. It really grabs my deep attention how Jason chooses very distinct notes to make one arpeggio sound like two distinctly separate ideas. Clearly, this is just a matter of inversions, which procure a minor or major quality depending on the starting note.
Then we have a very melodic Bº7 arpeggio which skips one note once the 1st string is reached in order to jump to the 16th fret (Ab) and then down in that position but this time with a triplet feel, and up two notes again to the Ab but this time on the 3rd string. This resolves to an F#m arpeggio which has a few 9s (G#) in there and then a C#m6 to beautify it and really make a wonderful melody .
The next part is a simple finger twister of fun. That's what I call it.
It starts on F# on the 5th string and follows it with a minor arpeggio of that root. Then begins this back and forth on the first three strings between F#m and Bm. After that we move up a minor 3rd and repeat the same relationships this time with Am and Dm and then after another minor 3rd up we have C, Em, D, C, F#m, C, F#m. All of these are six-note arpeggios on the first three strings.
Since this section only plays once in the song and has a very distinct quality due to the three-string arpeggio ping-pong I've always thought of it as a very memorable part of the song. One of those sections that randomly starts playing in my head.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
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Articulo 3:
La seccion de hoy de esta cancion consiste, entuasiasmantemente, de mas saltos de cuerdas, mas barridos y algunas notas decorativos para un simple arpegio en F#m.
La primera parte de esta seccion es un arpegio en D usando salto de cuerdas, empezando en el 10mo traste de la 6ta cuerda, seguido por una 1ra inversion en D empezando en el 9no traste de la 5ta cuerda. Me llama la atencion el profundo detalle que Jason presto para meticulosamente elegir notas que hagan que un arpegio suene de como dos ideas totalmente unicas. Claramente, esto es simplemente un asunto de inversion, las cuales procuran una cualidad mayor o menor dependiendo de la nota de partida.
Despues, tenemos un arpegio en Bº7 muy melodico que salta una nota una vez que llega a la 1ra cuerda en orden de saltar al 16o traste (Ab) y despues bajar en esa posicion pero esta vez con tresillos y de vuelta dos notas en ascenso hasta al Ab esta vez en la 3ra cuerda. Esto resuelve a un arpegio de F#m al cual le añade unos 9s (G#) y despues un C#m6 para embellecerlo y crear una verdaderamente bella melodia.
La siguiente parte es un simple tuerce-dedos de diversion. Asi me gusta llamarle.
Empieza en F# en la 5ta cuerda y sigue esta nota con su arpegio menor. Despues comienza un va y viene en las primeras tres cuerdas entre F#m y Bm. Despues de eso nos movemos una 3ra menor hacia arriba y se repite la misma relacion pero esta vez entre Am y Dm, y despues otro movimiento de 3ra menor hacia arriba donde tenemos C, Em, D, C, F#m, C, F#m. Todos estos arpegios son de seis notas en las primeras tres cuerdas.
Debido a que esta seccion se presenta solo una vez en la cancion y el hecho que tiene una cualidad distintiva debido a los arpegios de tres cuerdas haciendo "ping-pong", siempre he considerado esta seccion bastante memorable. Es de esas melodias que espontaneamente comienzan a sonar en mi cabeza.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Tuesday, February 23, 2010
Perpetual Burn by Jason Becker
Entry 2:
Today I've been looking at when the 'hook' melody is introduced. It's surrounded by sliding arpeggios and fast sweep picking. There are some fast alternate picking sections, as well. Particularly hard on this is that there are plenty of jumps, not only vertically but also horizontally across the neck. For example, after the first set of sweeps and runs the hook melody resumes which means jumping from the 4th fret on the 6th string to the 17th fret on the 1st string.
There is lots of string skipping involved, I guess the part that stands out the most is when the A minor arpeggio is highlighted with a root movement, then a 1st inversion (starting on C), then a 2nd inversion (starting on E) and then another root movement right before the long run down A harmonic minor to G#...
I understand that it is very important to get this down slowly first, with every note clear. Albeit in my recording I did not hit every note but alas that is the challenge presenting itself. If every note can be certified going slow, then faster and faster, by the time the actual speed is attempted then the only challenge is in dexterity which can easily be worked with a few hours of practice.
The video is best viewed on Youtube as the right margin gets cut in this post. Maybe it's on some computers only, I'm not sure.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Today I've been looking at when the 'hook' melody is introduced. It's surrounded by sliding arpeggios and fast sweep picking. There are some fast alternate picking sections, as well. Particularly hard on this is that there are plenty of jumps, not only vertically but also horizontally across the neck. For example, after the first set of sweeps and runs the hook melody resumes which means jumping from the 4th fret on the 6th string to the 17th fret on the 1st string.
There is lots of string skipping involved, I guess the part that stands out the most is when the A minor arpeggio is highlighted with a root movement, then a 1st inversion (starting on C), then a 2nd inversion (starting on E) and then another root movement right before the long run down A harmonic minor to G#...
I understand that it is very important to get this down slowly first, with every note clear. Albeit in my recording I did not hit every note but alas that is the challenge presenting itself. If every note can be certified going slow, then faster and faster, by the time the actual speed is attempted then the only challenge is in dexterity which can easily be worked with a few hours of practice.
The video is best viewed on Youtube as the right margin gets cut in this post. Maybe it's on some computers only, I'm not sure.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
Monday, February 22, 2010
Perpetual Burn by Jason Becker
Entry 1:
I have memorized most if not all the song and am now beginning to practice each part at full speed. It's not an easy task at first, as with any Jason Becker song, since there is a lot of finger twisting, dramatic speeds, chewed-up yet clear notes which I want to get with exactitude.
The sweeps at the very beginning prove exhaustive enough to get with exactitude, but every time I get them perfectly it seems like there is no effort at all. This is common with anything really, once muscle memory sets in.
The challenging bit about them is the third set which is a Am7b5 with a Kokinjoshi flavor to it. Jason knew that the key to amazing shred-based songs was to create warped yet melodic sounds. Sweeping is a great way to do this since it adds a very fluent tone to a otherwise very enigmatic quality.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
I have memorized most if not all the song and am now beginning to practice each part at full speed. It's not an easy task at first, as with any Jason Becker song, since there is a lot of finger twisting, dramatic speeds, chewed-up yet clear notes which I want to get with exactitude.
The sweeps at the very beginning prove exhaustive enough to get with exactitude, but every time I get them perfectly it seems like there is no effort at all. This is common with anything really, once muscle memory sets in.
The challenging bit about them is the third set which is a Am7b5 with a Kokinjoshi flavor to it. Jason knew that the key to amazing shred-based songs was to create warped yet melodic sounds. Sweeping is a great way to do this since it adds a very fluent tone to a otherwise very enigmatic quality.
Perpetual Burn GP5 tabs can be found here:
http://www.megaupload.com/?d=3J1I8EP6
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