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Posts: 1,773
Reply with quote  #1 
Thought you guys might enjoy reading this new interview with Eric Johnson in VORTEX magazine.
He mentions Ted and Chord Chemistry.

Here's the excerpt:
For listeners, the concurrency of Johnson’s new release and the Ah Via Musicom tour are a rare gift, a sweeping career retrospective from both poles. With hope, they may also find newfound appreciation for the hidden gems of Johnson’s 1990 opus: the spiritual, volcanic majesty of Johnson’s solos on “Desert Rose,” the Ted Greene-inspired chord chemistry of “Forty Mile Town,” and “Trademark”'s undulating 12/8 rhythm.

Something else that stands out—and has always stood out—is your facility with chords: the wide intervals and extensions. What does that go back to?

Obviously, Chord Chemistry by Ted Greene, and also just studying piano players.

If you study piano players, then you’ll open up your limitations as to how you approach chords. I think, a lot of times, chords on guitar are boxed into what’s so readily available on the fretboard. But if you listen to some piano voicings, they’re more wide open, and renditions of those can be done on guitar.

And that’s what’s so cool about Ted Greene. I mean, he was all over that. To me, I like that kind of chordal work. Maybe a little more than just playing the standard voicings that you would on the guitar.

Because I think that there are some voicings that are your expected go-to voicings on guitar. Which, if you had a choice, you’d probably go, “Well, I’m going to voice it differently, because it’s not the best voicing that I might think of.” You know what I mean?

There are some possibilities—maybe not as many as on a piano—but surely there are some possibilities that can get you out of that boxed-in thing.


Posts: 4
Reply with quote  #2 
Great article - Thanks Paul
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