Transcription Cracking Code Episode 4

Harmony & Theory
#1

Hey, everyone. I am new here so be patient.
I was wondering if anyone could transcribe a song for me. This is a song from Cracking the Code Episode 4: “Speed Trap.” The song he plays at 09:36. I would also like to apply music theory to the ideas behind the tab. I assume Troy wrote this one, so this should be fun.

I have been trying at it myself. I can figure out the intro lick, but my ear seems to fail me on the high speed descending lines. I can tell the song is in E minor. Maybe E harmonic Minor to be more specific.

So we have intro riff, then into the solo. At the start of the solo he hits an E, then plays the 2nd interval F# and then bends up to the b3 G. He then plays a fast descending line. To me it sounds like a E harmonic minor/B Phryg Dom. In the video he mentions the trilogy shape, it seems to fit but I cannot figure out Troy’s descending pattern. I also think some of the notes are not in E harmonic Minor/B PhryDom.

Maybe this is like the blackstar line at measure 66.

I know it is a simple descending lick but I need help at a basic starting point. All the descending licks I have seen feel like exercises more than practical application. Maybe that is my Jazz background. I am new to this atl picking metal idea. I want to know how to apply descending lines like this to my solos so this is a great song to start with.

#2

Trilogy shape is a harmonic minor with additional tricky note (flat 7).
As for descending lick. To me it seems like trilogy shape with some chuncks on some strings played back and forth.
C-B-A (1st string)
G-F#-E-D#-E-F#-E-D (2nd string)
D-C-B-C-D-C-B (3rd string)
A-G-F#-G-A-G-F# (4th string)
E-D# (5th string)

Despite what people might tell you, in reality it looks like this: you take the shape you like and squeeze out everything you can from it )

2 Likes
#3

Yeah the day it clicked that I’m playing “shapes” and essentially building a comprehensive “house” out of all of my mastered “blocks” everything snapped into place.

Those shapes can go anywhere, be altered slightly at will and can sound completely different but still only require one memorized mechanic.

#4

Yep. After all, as one of my teachers in musical school said, any melody is nothing but whether parts of scale or arpeggios with occasional jumps. So, with enough “shapes” in your inventory you may play almost everything you want.