# Can someone explain to me how to play long, flowy legato fusion licks?



## Charles (Jul 30, 2011)

Seriously, maybe I'm just an idiot (actually, no question about that one  ) but I can't for the life figure out how to do this kind of stuff:



Plenty of it starting at 1:10



All over Tom Quayle's playing



This, basically.

Thanks in advance!


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## KingAenarion (Jul 30, 2011)

First video is definitely not Fusion... It's more Satriani meets Rush.

If you want Fusion guitar... Jeff Beck. You're confusing fusion with a modal approach to playing Rock.

Master your legato first... then learn the theory of Chord and melody relationships (although Fusion really doesn't really have rules of this type, Jazz and funk do. So learn the theory from those styles.)

As my guitar master friend told me. If he was going to teach fusion, he'd make you learn Jazz guitar in the style of Wes Montgomery, Herb Ells et al. Then he'd make you play it all with distortion. When you hated that he'd tell you to find a balance.


Or... alternatively... Learn Jeff Beck's "Blow by Blow" backwards, at which point you'll be a master


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## Charles (Jul 30, 2011)

Thanks for the input!

When you say the theory of chord and melody relationships, do you mean what notes the melody is utilizing and how they correspond to the chords? (For example, an E being played over a C major 7 and recognizing it as the third?)

And as for a modal approach to rock...how would I go about learning to play like that?


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## McCap (Jul 30, 2011)

The lines you are talking about are mostly played over a static chord, or at least a chord that last for a couple of beats. 
Those lines use the things learned from Jazz, i.e. what to play over a chord, but as the changes are going by much slower there's more time to play those long lines and you can pack lot's of stuff into these, cause it's the lines that have to be interesting, as the chords pass by slowly.

Basically look what chord you have and look what scales, arps etc. would fit over these, then make up long lines. 
-Maybe even build a little outside part into the line, leaving the underlying harmony for a short moment then coming back. 
-Or approach normal scale tones from half steps below or above.
- Add chromatics in good taste.
- And mix this with flowing legato, sweeping, hybrid, or whatever technique.

If I find the time I could make a short video lesson about this, though I am no Brett Garsed or Tom Quayle.


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## Charles (Jul 30, 2011)

Hey man, thanks for the response. That'd be really cool if you could do that!


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## KingAenarion (Jul 31, 2011)

Charles said:


> Thanks for the input!
> 
> When you say the theory of chord and melody relationships, do you mean what notes the melody is utilizing and how they correspond to the chords? (For example, an E being played over a C major 7 and recognizing it as the third?)
> 
> And as for a modal approach to rock...how would I go about learning to play like that?



What I mean by chord and melody relationships is this.

Knowing what Key you are in (e.g. F# minor). Knowing what chord you are playing over (e.g A Major) and knowing what Chord number that is in the key you are playing (Chord III) and then knowing what scales/arpeggios you can play over that chord to make it sound a certain way. Playing a major scale over a Blues chord progression sounds crap, but playing a Blues scale over a Major chord can sound good. Things like that. Jazz has a huge amount of that.

A Modal approach to Rock soloing... It's the same kind of thing as above. Soloing using modes rather than just the scale of the key. So learn your modes which are pretty easy, then learn which ones you like to solo with to start with. It would take WAY too long to explain in detail.


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## StratoJazz (Jul 31, 2011)

I think alot of the guys like Brett Garsed and Allan Holdsworth would hammer on more than pull off. Petrucci legato however is really clear all the time, which i'm guessing is not what you are going for.

This video may explain it better:


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## Skyblue (Jul 31, 2011)

I'm a bit confused- is this question regarding note choice, or technique? Both have been answered, but you might like to focus it up a bit for more focused answers. If you have and I missed it, sorry, I might be too tired


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## Skanky (Jul 31, 2011)

StratoJazz said:


> I think alot of the guys like Brett Garsed and Allan Holdsworth would hammer on more than pull off. Petrucci legato however is really clear all the time, which i'm guessing is not what you are going for.
> 
> This video may explain it better:






Wow! I need to practice more.


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## Charles (Aug 1, 2011)

Skyblue said:


> I'm a bit confused- is this question regarding note choice, or technique? Both have been answered, but you might like to focus it up a bit for more focused answers. If you have and I missed it, sorry, I might be too tired



More of the former. Apologies for the lack of clarity. In terms of the latter, from what I can infer an abundance of great legato technique is pretty necessary in pursuing this style.


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## McCap (Aug 1, 2011)

Hey Charles!

I made a video lesson. You can find it here:
http://www.sevenstring.org/forum/mu...15-creating-fusion-lines-1-a.html#post2598196

I hope this helps and thanks for the lesson idea


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## Charles (Aug 3, 2011)

^^ Thanks man, you're awesome


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## FrancescoFiligoi (Aug 3, 2011)

Do yourself a favor and watch Brett Garsed's legato masterpiece "Rock Fusion", that's all you need to know.


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## Zamm Bell (Aug 3, 2011)

FrancescoFiligoi said:


> Do yourself a favor and watch Brett Garsed's legato masterpiece "Rock Fusion", that's all you need to know.




+1


Or get involved with some of Deryl Gable, or Guthrie govans stuff, even if its not note for note, just feel what their doing, and emulate it. Eventually it will become your own voice!


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## simulclass83 (Aug 3, 2011)

>




0:52 <3

EDIT: Nevermind, whole video <3


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