Higher Landrons - Eric Johnson's Fretting Mechanics and Strategies

[Tom_Gilroy]

When asked what the name of his song “High Landrons” means, Eric Johnson has replied that it is a metaphor for reaching a higher state of consciousness.

People here will know me for my analysis on positioning and mechanics for the fretting hand, including efficiency concerns and optimisations. What people may not know, is that I began my conscious study of these topics as a teenager when I began analyzing Eric Johnson’s playing.

I’d like to share an article I have written about Eric Johnson’s fretting mechanics and strategies and how they are synergistic with his fretboard organisation, his line construction, and of course, his picking mechanics.

Higher Landrons - Eric Johnson’s Fretting Mechanics and Strategies.pdf (230.5 KB)

This is, by far, the longest and most detailed analysis I have written on guitar. It has taken many hours of preparation and approximately twenty years of study and practice. It is not an easy read, and I expect that many of the concepts discussed will take months, if not years, for readers to fully implement into their playing.

The next comment will contain supporting files which are referenced in the main article.

The article may be updated in future. All feedback is welcomed; question, comment or correction.

Thank you Eric for taking me to Higher Landrons.

[Tom_Gilroy]

This comment contains supplementary files and links to my other posts.

Supplementary Files

1 - Pentatonic Boxes.pdf (10.8 KB)
2b - EJ’s Pentatonic Patchwork.pdf (22.2 KB)
2c - EJ’s Pentatonic Patchwork (Colour).pdf (22.7 KB)
3 - Pentatonic Octaves.pdf (8.5 KB)
4 - Mixolydian Pentatonic Boxes.pdf (11.0 KB)
5 - Spread Triads.pdf (59.9 KB)
6b - Cell Structure.pdf (22.7 KB)
6c - Cell Structure (Colour).pdf (23.2 KB)
3nps_bw_complete.pdf (16.9 KB)
3nps_col_complete.pdf (17.6 KB)
8 - Pentatonic Cells.pdf (8.5 KB)
spectrum_solfege.pdf (21.2 KB)

Links to Posts

Efficient Digital Cycles

I have been preparing a post about the left hand postures and fretting strategies I use in my playing, after reading through the following thread: That promised post is still in preparation, and I will present it when I’m satisfied with it. In preparing that post, I watched through several instructional videos and CTC interviews again. While re-watching Shawn Lane’s Power Licks for the first time in a while, I realized something about his fretting sequences that I felt was extremely interes…

The Fastest Lane - Video Lessons on Efficient Fretting Mechanics in Shawn Lane's "Power Licks"

It was suggested by our moderator @tommo that I come up with a title that more clearly reflected the content of my posts so they may be found more easily in future and which which may draw some more attention. The title I’ve come up with feels like clickbait to me, but I think it serves those ends specifically. I hope the content merits the lofty title. I present a series of videos on the concept of Efficient Digital Cycles, which is a principle I’ve discovered which underlies most of Shawn Lan…

Videos on fretting principles

On @tommo’s recommendation I’ve decided to re-post this video from my book thread to the Show and Tell category, so that it might be viewed by more of the community. This video introduces an important gripping concept that to my knowledge, has not been discussed in depth in previously available guitar instruction. [Grip] If there are questions about this concept I will answer them here. I intend to make short videos highlighting some things I look for when studying a player’s fret…

[Scottulus]

Oh wow! Awesome, Tom. Thanks for sharing this. Goldmine!

[Tom_Gilroy]

You’re very welcome.

I expect that it will take some time for you and the other members of the forum to read.

Any questions, comments or corrections would be appreciated.

[SquidBisquit838]

just noodling around with playing with my finger pads and going through some of the movements and positions you are outlining and I’m pretty blown away by all of the cool things that can be done. This came just in time for me as ive decided to do a deep study on Erics style this year. Had been working on Trademark for a while and had noticed my usual Schenkeresque slanted position had been inconsistent moving between adjacent strings on the same fret with finger 2 and 3. finger rolling in general could be difficult for me at times, its wild for me right now how effortless it is with this technique, and so unwanted string noise from surrounding strings as a bonus! Thanks for this, this document is having me re evaluate my approach to technique already. Excited to continue working with it. I hope I’ll be able to give back to the community someday in the same way you have with this!

[Tom_Gilroy]

Hi @SquidBisquit838. Thank you for your comment, it’s much appreciated.

@SquidBisquit838

just noodling around with playing with my finger pads and going through some of the movements and positions you are outlining and I’m pretty blown away by all of the cool things that can be done.

Eric’s fretting posture and contact points open up a wide array of possible movement solutions. I suspect that most guitarists aren’t even aware of the possibilities.

I have never seen these mechanics taught or discussed elsewhere, with the exception of the basic roll. I’ve certainly never seen any other analysis of this depth.

@SquidBisquit838

This came just in time for me as ive decided to do a deep study on Erics style this year.

I started studying these mechanics (and Eric’s USX picking technique) in late 2005 and early 2006 when Eric’s 1988 Austin City Limits performance and his instructional videos (Total Electric Guitar and The Fine Art of Guitar) were released on DVD (I was 16 years old at the time).

Before that, the only video resource I had of Eric’s playing was the 1996 G3 DVD, which really wasn’t enough to work with. I had the official tab books. The notes are correct, but the fingerings clearly weren’t accurate to how the notes were actually played.

Hopefully, the Cascade seminar and this article will help you in your study.

@SquidBisquit838

Had been working on Trademark for a while and had noticed my usual Schenkeresque slanted position had been inconsistent moving between adjacent strings on the same fret with finger 2 and 3.

The Schenker approach is powerful, but it doesn’t really fit a lot of Eric’s lines. I remember that when I started trying to modify the fingerings in the official tab books, I always had this bizarre feeling that I was “running out of fingers”. Watching the G3 DVD and seeing Eric primarily using (1 3) combinations totally conflicted with my experience of trying to play his lines. It was like watching masterful sleight of hand.

If you’ve been working on Trademark, you might find this thread worth reading:

Eric Johnson Trademark Solo Question

I’ve been working on Trademark for years. In the past it was hopeless because I had no clue about USX/DSX. Now that I sort of know what I’m doing I am getting close. The only challenging part for me is here: [Eric Johnson - Trademark] Curious on the best fingering approach as I’ve found 2 ways to play it that follow the USX rules. I’ve indicated where the economy picking and slurs happen, at least that’s how I’m hearing it! lol! [image] I can play each ‘half’ at tempo but conne…

@SquidBisquit838

finger rolling in general could be difficult for me at times, its wild for me right now how effortless it is with this technique, and no unwanted string noise from surrounding strings as a bonus!

I definitely wasn’t a “natural” finger roller either.

Eric’s vocabulary is so optimized around his mechanics and vice versa that it’s frighteningly difficult to replicate some lines if you don’t directly imitate his form, and almost eerily easy if you do.

@SquidBisquit838

Thanks for this, this document is having me re evaluate my approach to technique already. Excited to continue working with it.

Let me know how it goes!

[Ruefus]

Good Lord, @Tom_Gilroy !!

This is amazing.

[Drew]

I’m going to come back to this when I have a guitar in hand and plenty of time to digest - thanks in advance, Tom, as I’m sure this will be an absolute goldmine.

[Robpick]

Hi Tom, thank you very much for this masterpiece of analysis, it is very detailed, well structured and has lots of practical applications in it, much respect!
I’ll send you a donation via PayPal for putting all the hours and effort into it.
All the best from Germany, Robert

[garbeaj]

Just beautiful work Tom! I relate strongly to the labor of love that this is…very, very well done!

[Tom_Gilroy]

@Ruefus

Good Lord, @Tom_Gilroy !!

This is amazing.

Thank you @Ruefus .

@Drew

I’m going to come back to this when I have a guitar in hand and plenty of time to digest - thanks in advance, Tom, as I’m sure this will be an absolute goldmine.

Thanks, @Drew. This is how I intended the article to be read.

@Robpick

Hi Tom, thank you very much for this masterpiece of analysis, it is very detailed, well structured and has lots of practical applications in it, much respect!

Thank you @Robpick .

I put a lot of work into wrting this article, but any constructive feedback on content and structure is welcomed.

Somethings I could do in future versions include:

• Breaking Section 3 “Fretting Mechanics and Strategies” into subsections. It’s currently 15 continuous pages.
• A hyperlinked table of contents at the beginning of the document, and hyperlinks thoughout the document.
• An FAQ section towards the end of the document, if there are any frequently asked questions.

@garbeaj

Just beautiful work Tom! I relate strongly to the labor of love that this is…very, very well done!

Thank you. I know you’ve also put a lot of work into your EVH transcriptions.

I have no plans to use the fretting principles in this article and the principles of USX picking to produce tabs for EJ’s catalogue that are consistent with his mechanics. I don’t have the time and I’m not interested in doing it in any case.

[garbeaj]

Understood…but you’ve given more than enough information that will really help anyone who would like to tackle such a project! Bravo!

[Tom_Gilroy]

I’d be happy to act as a consultant on such a project, if anybody reading is interested in undertaking such an endeavor. I just can’t be the person to lead it.

[Mcgaffer12]

Shameless plug for Tom- I engaged Tom to help me tackle my poor picking mechanics developed over 35 years of playing. My left hand was fine, but I relied too much on legato. My goal was to completely rebuild my picking motion to play EJ lines, as well as all the other things I couldn’t do over the years. I unsuccessfully tried a number of avenues over the years (including hiring Tom Hess who never bothered to diagnose my string hopping even after seeing many clips of my playing). I found Troy’s work on YouTube, which led me here for an “ah ha” moment. I figured out what I was doing wrong through self study, but needed to gut rehab 35 years of muscle memory. Tom offered lessons a few years back on CTC and I jumped on it. It’s taken 3 years of work, but Tom was critical in reshaping my mechanics. I can use both USX snd DSX, more importantly, I can play the EJ lines at tempo. Tom is now coaching me on better controlling string noise and dampening, 300 level type stuff.

I highly recommend engaging Tom as his eye for mechanical flaws with solutions is incredible. Tom- feel free to add anything about our progress from your lens

I appreciate all you do, amigo!

Cheers,
David
/Mcgaffer12

[Ruefus]

Tom Hess is a charlatan and a crook.

Period.

[Tom_Gilroy]

@Mcgaffer12

Tom- feel free to add anything about our progress from your lens

One thing about your playing that really stood out to me when we started working together was the contrast between your rhythm and lead playing. They were totally dissimilar.

David (@Mcgaffer12) is a damn good Van Halen style rhythm player. When riffing, his picking hand is great. Loose, but powerful, accurate and locked to his time feel. For whatever reason, his picking technique when playing lead was a very different thing, very tense and stiff. He looked like a completely different guitarist.

I didn’t “fix” the picking technique that wasn’t working for him, I helped him to modify his rhythm technique into a form suitable for lead playing, with excellent results. The seed of a great picking technique was already there.

@Mcgaffer12

It’s taken 3 years of work, but Tom was critical in reshaping my mechanics.

We can’t remove decades worth of habitual tension overnight. Some of my students have noticed very rapid improvements, but what I teach is a process.

I can only show the path, the students have to walk it themselves.

@Mcgaffer12

I appreciate all you do, amigo!

I appreciate you too buddy!

[Ruefus]

Process is the part people don’t recognize.

Good or bad technique - NONE of this happens overnight.

[Mcgaffer12]

I will add that the past three years have not been without major progress. There have been plenty of milestones along the way. I agree with Tom that my project required more runway than other people will need. 35 years of muscle memory required a lot of work.

[jptk]

Great work as always Tom!

[eric_divers]

@Tom_Gilroy

Some of my students have noticed very rapid improvements, but what I teach is a process.

Hi, I’m one of these, I never contacted you for a second lesson because applying the principles you taught me to things I was already playing made for an almost instant transformation. I’m pretty much satisfied with my picking technique now – or at the very least, satisfied with my ability to learn lines that used to seem completely out of reach. I was so amazed I’ve considered writing up a post about how dramatic the transformation was.