No one can play like Eric Johnson, his sound is the result of phenomenal picking technique, precise left and right hand synchronisation and fingering, note choice etc. Not only is his technique hard to duplicate - but his sound is almost impossible. Mr Johnson has extremely sensitive ears, to the point he claims he hears the difference between different battery manufactures. So simply buying his amp setup won't help you (to my knowledge he sometimes switches between five different amplifiers) - you have to get the right batteries for your distortion pedal too! ;)
Because the technical aspects of his sound can get quite tricky, we are instead going to focus on the things which will make your playing sound more like Eric Johnson, regardless of your set-up. In this lesson we will break down an Eric Johnson style solo, later on we will have an "Eric johnson tricks" lesson in the matserclass. By nailing some of the licks in this solo, you will have taken your very first steps towards Johnson land...!
Theory-wise the solo revolves around A-minor and D-minor pentatonic and really hasn't got any rhythmic or tonic structure - it's more of a floating thing. The main idea here is for you to get some Eric Johnson style licks under your fingers.
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Here follows
1 - Two boxes of D minor pentatonic
2 - Two boxes of A minor pentatonic
This kind of string skipping arpeggios is very common to Eric Johnson. Once your right hand has got use the string skip, they should be farely easy to execute.
Make sure no two notes are ringing at the same time - to avoid this, lift your left hand finger as soon as you hit the next note.
To create different sounding ascents Eric Johnson often uses wide-strecth arpeggiated patterns, here they are derived all picked from the Aminor scale.
We are also starting to get our first taste of the string skip phrases which are so typical to Eric Johnson.
If you study this mess of notes closely, you will find that the notes of the lick all can be found in the A aelion scale:
Here we go - Mr Johnson truly is the king of fast pentatonics, I haven't heard anybody play them clearner than he does.
It is important to understand that guitarists like Paul Gilbert and Zakk Wylde may play their pentatonics faster than Eric Johnson, but once again I can assure you Eric has put several extra years of practice to get the right tone out of his pentatonics.
The descending part of this run uses one of Eric's most common patterns - it can almost be found in every descending pentatonic speed run you hear him do.
This ending melody is taken from chord notes/arpeggios with some "extra"/passing notes.
When playing this kind of melody, and in general when trying to emalute Eric's tone, you should hit the notes very hard with your left hand, even though you are using the pick. The pick strike should however arrive only milliseconds later.
Here follows:
Dminor triad arpeggio
Eminor triad arpeggio
A7 arpeggio
wow Kris that was great really felt it
was Eric.. I love this kind of playing
it has a style that I never heard from someone
else beside Eric and you did it great
triple amp setup that consists of Fender Amplifiers, Dumble Amplifiers, and Marshall amplification along with effects pedals such as a Dallas Arbiter Fuzz Face, TC Electronic Stereo Chorus, Dunlop Cry Baby wah-wah, Electro-Harmonix Memory Man Delay, an MXR Digital Delay, a Line 6 Echo Pro Studio Modeler, and a Maestro Echoplex tape delay of which all are connected to an A/B box to create sounds and tones that are both clean and distorted.
Thats his gear....