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Connect the dots is a V, ii, V, IV, I chord progression for the verses,
in the key of G, where the V goes to a Vsus4 hammer-on and the ii goes to a
ii7 hammer-on. The chorus is vi, V, IV, vi, V, IV, I. The intended feel is
to create a bit of tension and resolve on the I. The rhythm of the verse is
more jazz oriented, and the chorus and musical bridge are intended to drive
more, with a straight forward rock beat.
In the chorus, the electric guitar supplements by playing triads of vi, V,
IV, vi, V, IV, I on the g,b, and high e strings.
In the verses, there is a repeating pattern of electric guitar notes
intended to supplement the tension with F# to G and B to D hammer ons,
ending E,D,A.
The lead on the musical bridge and the theme in the ending lead are the
same, an arpeggio in G using the C form of chord shapes or starting with the
G on the 10th fret, A string. The ending lick of the theme is a hammer on on
the high E, B to C, to the G on the B string to the E on the G string. The
theme and the other lead lines were not intended to show spead but to build
up a melody around the repetitive pattern of hammer ons that existed in the
verse. I very much intended to build on that repetitive pattern with a
sweeping arpeggio and tension provoking hammer ons and pull offs playing at
the same time as the other guitar without ever drowning it out or competing
with it.
The acoustic is a Jumbo Tacoma Acoustic. I went back and forth between a Gibson
335 and a Les Paul for the electric accents and leads. The bass player used
a wonderful fretless bass he built himself from Carvin equipment. I went
directly from a Digitech guitar processor into a Yamaha MD8 mixer/recorder
for the electric. I was able to get a very hot sound on the electric that
way, good delay. My bass player then downloaded all my tracks analog into
his pc and used pro tools to separate out the main lead into two tracks with
a slight delay, to great effect.
I hope you like it! |
