Chops: Intermediate Theory: Intermediate Lesson Overview: • Create new drop-2 chord shapes from close-voiced triads. • Learn how to use the hexatonic scale. • Develop a more accurate right hand with string-skipping and hybrid-picking techniques. Eric Johnson has earned the title of one of the most respected guitarists on the planet with his countless hours of dedication. Johnson’s exacting demands can sometimes border on OCD—he claims to hear the difference between various battery brands used in his pedals and requires a specific number of string wraps on each tuner post.

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His inherent perfectionism set the preconceptions of guitar technique to an all-time high with two groundbreaking albums from 1986 and 1990— Tones and Ah Via Musicom, respectively. Both catapulted this Texan to the status of Grammy award-winning guitar god.

Today, we’ll examine a few of the techniques that have taunted our ears, muddled our minds, and focused our phalanges for decades. Along with his technical pentatonic flash and 500-pound, violin-like tone, Johnson’s quintessential contribution to modern guitar soloing is the use of string skipping to imply harmonic contours that are independent of his rhythm section. Johnson effectively does this via vertically stacked triads that span the fretboard, also known as drop-2 chords. A drop-2 chord is created by taking any close-voiced chord (where all three notes are within an octave) and lowering the second-highest note by an octave. 1 you can see how this process works with three inversions on string set 5-4-2.

Move these voicings to string sets 6-5-3, 4-3-1, and 5-3-1 for all major, minor, and diminished triads (if you’re bold), and then memorize the shapes of each to master them. Now that you know how Johnson visualizes the fretboard, let’s take a look at how he applies this to some actual music.

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When his “Cliffs of Dover” became a widespread phenomenon, attracting musicians and listeners alike, he began extending the live intro by delaying the recorded intro’s identifying statement. He did this by using drop-2 chords to play chord melodies over a synthesized G pedal. 2 is a free-time, voice-leading idea in the key of G, where the chord’s melody is the top note while the bottom notes move in intriguing counterpoint. The harmonics in measure four are played by fretting the G6/9 chord while picking the appropriate string with your thumb as your index finger gently touches the harmonic above the fret in parentheses. 3 arpeggiates drop-2 chords in a single-note soloing approach over a static D harmony (the triads used are shown between the staves). This is reminiscent of the first solo from Johnson’s “Desert Rose.” In order to fit the three-note shape in a 4/4 rhythm, we add an extra note on the final 16th-note of each beat. Notice that the “extra note” is a chord tone of the next triad (i.e., G is the b7 of Am7/E).