Lords of Karma
Let's cover the chordal figure of this 2 guitar excerpt first.
For the typical lydian touch and the slightly mysterious flavor Satriani adds the #11 to a regular A power chord.
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A5(#11) - click to enlarge |
Next we have an A13sus chord.
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A13sus - click to enlarge |
Practice slowly!
Practice the switch between these 2 chord voicings slowly at first. You need to "program" your fingers so that they'll be able to make the transition at the required 160 bpm tempo effortlessly and smoothly.
Remember...
You want to let the chords ring as long as possible. If it takes an eternity to get your fingers in place then you have a problem and Houston won't be able to help. ;-)
A study in contrast...
The second guitar part consists of a single note line played on the low "E" string.
Don't look down on this innocent looking little single note line. It plays an important role in the grand scheme of things.
The G# for instance is necessary to add the major 7th to the A5(#11) from guitar 1, pushing the chord more towards a fully grown up Amaj7#11 chord.
Matter of fact, that change from G# to G is the defining modal moment of this figure.
Since Lydian and Mixolydian both are major modes (having a major 3rd) we really do need to hear the 7th in order to distinguish between the lydian major 7th and the mixolydian minor 7th interval.
And that's exactly what Satriani is doing here. He really brings out the difference between those two modes.
Additionally...
Have a look at the rhythmic syncopation and how the tied note into beat 3 adds rhythmic drive and interest.
So we have contrast between the 2 guitar parts through
 | a different texture
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| a difference in rhythmic approach
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| different sounds
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| different registers |
A good lesson for your own songwriting and good for your Karma too... but only if you practice. ;-)
