John McLaughlin's ~Birds Of Fire~ Arpeggios |
Here you may play the two primary vamp arpeggios for Sections [A],[B],&[C] attacked in either pure crosspicking or, hybrid Pick and roll style, where: A] K\/k are alternate flatpick strokes B] r)a)m) refers to the 3 free right hand fingers. |
.........[E_A_D_G_B_E] [E_A_D_G_B_E]......... ...NUT...{0\x - - 0 0} {0/x - - 0 0}...NUT... ..........________\#/. .________\b/.......... .....Root[R___1 - ] 4th Fret [- - - ] 4th Fret .........[2/ / 3 ] [- - - ] 5th Fret .........[ ] Root[R___1 - ] 6th Fret .........[ *4* ] [2\4* 3 ] 7th Fret .........[^Ab7___#9#5] [ *Opt ]......... .........[ ] [^Bb___b9b5/]......... |
The [A][B][C] VAMP meter is 18/8= 3 x (5/8)+ (3/8) for each chord. Here's a chance to compare: CROSSPICKING= K\/k Versus Hybrid PICK AND ROLL K\/__r)a)m). Picking both styles, the downstroke upstroke pattern K\/k varies in this vamp, with each chord calling for reverse pick direction on the second repeat of the chord k/\K, on the 3rd upbeat, in a flowing manner,and back to the K\/k |
[E|--------K0|E\.... [E|--------K0|E\..... [B|----K0++++|B \... [B|----K0++++|B \.... [G|------k5++|G 3x.. [G|------k7++|G 3x... [D|--k4++++++|D...\. [D|--k6++++++|D...\.. [A|,---,---;-|A_& \ [A|,---,---;-|A_& \. [E|K4++++++++|E k4K5k0 [E|K6++++++++|Ek6K7k0 [~`Ab7+9b13 ..Birds Of Fire [~`Bb7b9b5 Birds Of Fire Hybrid PICK AND ROLL [E|--------r0|E\.... [E|--------r0|E\...... [B|----a0++++|B \... [B|----a0++++|B \..... [G|------m5++|G 3x.. [G|------m7++|G 3x.... [D|--k4++++++|D...\. [D|--k6++++++|D...\... [A|,---,---;-|A_& \ [A|,---,---;-|A_& \.. [E|K4++++++++|E k4K5k0 [E|K6++++++++|Ek6K7k0. [~`Ab7+9b13__________ [~`Bb7b9b5____________ ~ |
John McLaughlin suggests, in the scores, seen at ~Pages Of Fire~ tribute book section "The Music Of JM ...and The MO", that soloing be done in the following modes for these two chords. |
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You should refer to his Scales and Synthetic Modes as well. |
These are my OW-n guitar simulated versions in TAB and grids of Jan Hammer's Keyboard 'bridge' Chords . Play at own risk!!! :-) __________ _________ \\\\\\\\\ ~E_A_D_G_B_E~ E|r0++++|E E|r0++++|E E|r11+++|E [- x - - 0 -] B|-a0+++|B B|-a0+++|B B|-a0+++|B [ fifth fret] G|--m12+|G G|--m10+|G G|--m11+|G [1* - - -] D|-k11++|D D|-k9+++|D D|-k9+++|D [1** - - -] A|,---;-|A A|,---;-|A A|,---;-|A [1***- - -] E|K11+"+|E..grip.\E|K9++"+|E......\ E|K678_+|E [$ 2 - -] _________in frame \________in frame\__________ [ - -] __________\ \________\ \_________ [ 3 4] ~`Eb7b9+5.!\below~ `Db7+9 .!/below...~`BMaj/***C...Warning:Stretch!~ _________ |
^^^^^^^\ ^^^^^^^^^^^^^^^^^^^ __________ ^|^|^| ~BIRDS~^\ /^^^^^^^^^^^^^^^^^^^ / ________ \^^^^^^ ~~OF~~~^^\ /^^^^^^^^^^^^^^^^^^^^ / / ______ \ \grips ~~FIRE~~^^\ /^^^^^^^^^^^^^^^^^^^^^ / / / ____ \ \ \^^^| ^^^^^^^^^^^\ /^^^^^^^^^^^^^^^^^^^^^^ / / / / __ \ \ \ \^^| ^^^^^^^^^___\/___^^^^^^^^^^^^^^^^^^^^ / / / / / \ \ \ \ \^| ____________Guitalife____{Eb7!_Db7!} / / / / / /\ \ \ \ \ \| ~E_A_D_G_B_E~ ______E|Z0++|Z0++|E/ / / / / /~E_A_D_G_B_E~ {- x - - 0 0} / _____B|Z0++|Z0++|B_/ / / / / {- x - - 0 0} [- Eb7! ] / / ____G|Z12+|Z10+|G__/ / / / [- Db7! ] [ _POS_X ] / / / ___D|Z11+|Z9++|D___/ / / [- POS_VIII ] [1 2 Fr 11] / / / / __A|....|....|A____/ / [1 2 Fret9] [ 3 ]/ / / / / _E|Z11+|Z9++|E_____/ [ 3 ] #\ \ \ \ \ \/ / / / / /######### [ . . . . . ] g-\ \ \ \ \__/ / / / /-Tablature_____________________________ r;;\ \ \ \____/ / / /;;;;;;;;;;;----------------------------- i---\ \ \______/ / /--Tablature-_____________________________ p::::\ \________/ /:::::::::::::----------------------------- s-----\__________/!Tablature!!!!_____________________________ |
Notes on ~BIRDS OF FIRE Bridge~ chords As with the [A} and [B] section chords, the Eb7 alt and Db7alt voicings here with open strings are explored. The lowest fret (number) is stopped by the 1rst Left hand finger in both cases. These are two typical rythym chords grips, triple-stop R_7th_10th voicings, played with the open strings E & B interspersed, giving the "altered" sensibility in their respective modes. Open strings [0] at {nut} here. Note position, and distinct Root, 7th, 10th, altered 5ths and 9th (# or b)are referred to in either voicing. The B Major/..C, R_5_10th/$ here? The bass chromatic ascent ...................... Bb...B..C..... is a wicked stretch if nothing else. :-) |
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