Practice Studio

Eric Johnson - Manhattan Pt.3 - Second A & B Sections - Guitar Lesson

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Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

About Manhattan Pt.3 - Second A & B Sections


The second A and B sections of "Manhattan Pt.3" sit at 120 BPM in standard E tuning, but don't let that fool you into thinking the tempo makes things comfortable. Eric Johnson writes guitar parts that demand clean articulation at every dynamic level, and these sections are no exception. The B section in particular tends to be where phrasing falls apart for most players, because the melodic lines ask for precise pick attack and smooth position shifts simultaneously. Work through each section in isolation before linking them, and use the Practice Toolbar to loop the B section slowed down until the hand position changes feel automatic. The A section rewards attention to tone and touch as much as technique, so listen carefully to how notes decay rather than just whether you hit the right pitches. This is Progressive Rock writing at its most detail-oriented, where the difference between a competent run and a musical phrase is almost entirely in the right hand.

  • At 120 BPM in E Standard tuning, the challenge is not raw speed but maintaining clean articulation and consistent pick attack across both sections.
  • The B section involves melodic position shifts that benefit greatly from slow, isolated repetition, making the Practice Toolbar's loop and slow-down feature especially useful here.
  • Right-hand control and touch sensitivity are central to this piece, as Johnson's phrasing relies heavily on dynamic shading within each phrase.

How to Play Manhattan Pt.3 - Second A & B Sections

Tuning: E Standard · Tempo: 120 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 120 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

Eric Johnson's primary instrument, with vintage single-coils and a rolled-back tone knob that deliver warm, articulate lead tones and dynamic range. His signature model features a 1-meg volume pot preserving high-end clarity, essential for his layered clean and overdriven tones.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Johnson uses original PAF humbuckers on his 1958/1959 model for heavier, mid-rich lead work, providing thicker sustain and compression on songs like 'Cliffs of Dover' when pushed through his Marshall head.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

While not explicitly mentioned in Johnson's primary setup, this model shares PAF humbucker characteristics that would deliver similar thick, creamy lead tones and compressed sustain for heavier passages.

Gibson ES-335
Guitar

Gibson ES-335

Johnson switches to this semi-hollow body for jazzier passages mid-song, its balanced tone bridging his bright Strat clarity and Les Paul warmth for sophisticated, articulate lead work.

Fender Twin Reverb
Amp

Fender Twin Reverb

Johnson's core clean and light-crunch amp, run at volumes 5-6 for shimmering clarity and natural reverb that blends with his Marshall's grit to create his signature layered tone.

Ibanez Tube Screamer TS9
Pedal

Ibanez Tube Screamer TS9

Set with low gain and high level as a clean boost, Johnson's TS9 pushes his amps into natural breakup while preserving the dynamic articulation crucial to his playing style.

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