Cliffs Of Dover Guitar

Above speed, I like to see fluency in note inflection/bend/vibrato/slurs/pitch/tempo. I find most seasoned players have that in spades, regardless of how quickly they pick. • • • • • • •.

Placing the Echoplex in the signal chain between the guitar and the Tube Driver causes the delay/echo effects to only be prominent on more sparse and percussive parts and “duck” or sound more like reverb when playing faster and more aggressive lines. GET THE SOUND, CHEAP! • Epiphone Limited Edition ES-335 PRO • Marshall Origin20C 20-watt 1x10 combo • Dunlop Echoplex Delay • TC Electronic Tube Pilot overdrive.

Cliffs of Dover By Eric Johnson is a subtle song, but considered to be one of the most amazing songs in the game, being an incredible song overall with a very catchy melody and a blast to play. 'Cliffs of Dover' was voted number 17 in Guitar World magazine's list of 100 Greatest Guitar Solos, placing it between 16, 'Heartbreaker' (by Led Zeppelin) and 18 'Little Wing' (by The Jimi Hendrix Experience). These Cliffs Of Dover guitar lesson videos will take you through every note of Eric Johnson's classic instrumental, one of the most popular rock instrumentals ever recorded. It is an extremely demanding piece of music to perform. The Cliffs Of Dover guitar lessons videos is a series of 6 videos, some of them almost 20 minutes long. But, that is what it takes to show note-for-note how to play this monster. Take your time.

In this free video guitar lesson, you learn how to play a few verses and choruses to the song “Cliffs of Dover” by Eric Johnson. This advanced level guitar lesson includes use of pentatonic scales, major sales, CAGED chord forms and arpeggio patterns, hammer-ons, pull-offs, slides, bends, alternate picking, sweep picking, and hybrid picking.

(Image: © Clayton Call/Redferns/Getty Images) TONE TIP: Start with the Marshall’s Tilt control at “5” to simulate using both Marshall channels at once, and dial to the left if you desire more warmth. If you can afford it, adding a Dunlop Echoplex Preamp will get you even closer to Johnson’s violin-like warmth and sustain.

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This studio rig was relatively simple, mainly employing a Maestro EP-3 Echoplex, Paul C.’s/Chandler Tube Driver and a 100-watt Marshall half stack. Johnson used two different guitars in the studio while recording the song: an early-Sixties Gibson ES-335 for most of the song and a 1954 Stratocaster used for 25 seconds of the intro (before the rhythm section joins in) and for the first 10 seconds of the solo starting around 2:45. Several details are crucial for generating Johnson’s violin-like tone, including turning the amp’s presence and treble controls all the way down, using a Y-cable to access both channels turned all the way up and dialing in the Tube Driver (still made today by B.K. Butler and highly recommended) so its gain provides smooth compression without overly distorted sizzle. Johnson’s “bounce” picking technique, where he brushes upstrokes on the strings instead of plucking them, is also a key element of his smooth, violin-like tone that minimizes the percussive attack.