Solo Trouble Tagged: teachingsyn This topic contains 204 replies, has 25 voices, and was last updated by Ted Hoffman 3 days, 2 hours ago. Viewing 10 posts - 196 through 205 (of 205 total) ← 1 … 13 14 Author Posts November 14, 2018 at 2:36 pm #181011 Alina PetersonParticipant Yes, remembering the melody is fine at most times but the shredding and embellishments are difficult. Do you record yourself often? If yes, how often? 0 likes November 14, 2018 at 2:44 pm #181012 Ids SchiereParticipant No I honestly don’t. I’m very much an ‘improvisational’ guitarist so things change pretty much every time I play it untill I really found something I like a lot! 0 likes December 2, 2018 at 4:50 pm #181451 Ids SchiereParticipant Dammit I’m slacking a bit😅 0 likes December 7, 2018 at 5:39 pm #181719 Ids SchiereParticipant So, I just found this incredibly good solo lesson by Paul Gilbert. It’s a bit long but a lot better than I could ever explain it. 2 likes January 1, 2019 at 10:41 am #182657 Ids SchiereParticipant I’ve been wanting to make this one for a while but could never figure out how to paint the whole picture in 1 minute so I finally just figured heck I’ll just make it however long I want it to be and don’t post it on Instagram. Happy New Year! 0 likes January 8, 2019 at 4:30 pm #182958 Robert KorcokParticipant I try to summarize below my “knowledge” on how to write licks or solos but please correct me if I’m wrong or feel free to add anything what you think can be helpful. I would really, really appreciate that. So, the 2 choices I have while improvising/soloing are: Relates to all I can play the same scale over the chord progression – if the progression is in E minor, for example i – iv – v / Em – Am – Bm – I can play the E minor scale for the whole thing. Treat each chord like different event For the same progression I would play for each chord it’s own scales. For example over the Em chord the E minor scale, over the Am the A minor scale and over the Bm the B minor scale / or any of the minor modes over each chord. (over Em the E Dorian, over Am the A Dorian etc… ) But how to chose the right notes in the scale, to build licks and solos, and not just play random notes and wish that whatever I’m playing makes at least a little sense… in Wayne Riker’s book, The Complete Electric Blues Guitar Method, he gives few tips how to use each note of the blues scale ( I guess it’s the same for any scale, so if you don’t play the blues scale and you don’t have the b3 but 3rd, it’s not a blues note, but the below is still true ) The Root – Chord tone. Strong starting and ending note. The b7 – Chord tone. Primary blues tone, very strong ending note. The 5th – Chord tone. Strong. The b5 -Primary blues tone. Effective mainly as a passing note. The 4th – Neither a blues tone or a chord tone. Suspended tone, the weakest note of the scale, best used as a passing tone. The b3 – Primary blues tone. Very strong. Best used in the middle or at the start of the lick. Also in the same book there is another perspective, like “There are only twelve notes you are messing with, just play all of them and make sure you land on the right ones.” So basically by the ‘right ones’ they mean the chord tones, (R, 3rd, 5th, 7th) I would be really grateful if you could add more or explain this in more depth… I started analyzing few solos if they follow the above and which note is used and how… I can share those notes here too if you want, but in the meantime I would like to see your thoughts on the above Thanks in advance 0 likes January 8, 2019 at 4:52 pm #182959 Ids SchiereParticipant Tbh usually I don’t really treat each chord as a new event. Personally I prefer to have a good flow in my solos as a whole. Treating each chord as a new event can mean you just play a collection of licks the whole way true which can sound incredibly messy to my ear. As far as playing each respective scale and minor/major modes over each chord. That mostly gives you a bit more option but what you should be wary of is that sometimes modes can have a lot of wrong notes in them too. So you should be cautioned by which mode you use. For example when playing Em-Am-Bm you can do B minor scale and A minor scale over the respective chords because they different only by 1 note with respect to the E minor scale so most notes on those scales will work. But for example A phrygian over the A minor can sound a little bit off when you look at the harmony. So be wary with the modes(take into account that Em scale is G major so over Am it would be A Dorian and over B minor it would be B phrygian). As for the notes you chose. That is really all up to your ear. For example your book says to use the chord tones but I really like to use 2nds,4ths and 6ths sometimes as well either because it can create a certain tension or a sound I really like over the chord. Using 7ths is the one which should be used with caution because that one can really sound horrible sometimes. I use that one mostly to grab attention of the listener(or the John Mayer trick as I soemtimes call it). I think note choice is not something a book can tell you because the book is probably something someone else really liked too. Happy experimenting! 0 likes January 13, 2019 at 7:54 pm #183041 Ted HoffmanParticipant Nice, Ids! For me, with my Parkinson’s problems – it really might be a blessing in disguise, as it’s forcing me to think less like a Ritchie Blackmore wannabe and more like a George Harrison wannabe… short, concise, and something simple that augments the song. I’ve always said one of the best and most effective solos ever recorded was Neil Young’s “Cinnamon Girl” …one note. Cue in to 2:06… Another screamingly effective minimalist solo is Duncan Sheik’s “White Limousine” (cue in to 2:30) One of my favorite gee whiz guitarists (and there are many!) is Toto’s Steve Lukather… while he routinely peels paint off the walls with his solos – this one is is short, to the point, and melodic as heck.. cue in to 3:11 Back in 2004, as a result of the tsunami that devastated Thailand and Indonesia, some members of another forum decided it would be cool (since there were members from all over the world) to put something together – write a song that we could have people download and donate the proceeds to the cause, sort of a “we are the world” deal. Well, I wrote a melody and a verse, and figured I’d let everyone else have at it to write subsequent verses, add vocals and instruments, and, of course, the solo section. We offered to sort of hold a contest to see who could come up with a solo for the song. Amazingly, most of the entries were based out of a minor pentatonic blues scale, which (and you’ll hear why if you listen to the tune) just did not work whatsoever. Finally, EQ Magazine columnist Phil O’Keefe (who was assembling the final track) suggested that I put my Rick 360-12 to use on the solo. So that’s what I did. Sadly, the cooler version of this with the many people playing on it got lost when my old hard drive bit the dust…so what I’m posting here is my working track with just me and Jak’s brother Drew on drums. Copies of the good version still exist – I just don’t have any myself. For anyone that is curious, the solo section begins at 1:55 … I guess my point is some very simple solos can be quite effective. 1 person likes this January 14, 2019 at 9:38 am #183046 Ids SchiereParticipant Oeh! George Harrison is one of my heroes! I do really love his playing and songwriting! Solos in for example Something and Let It Be fit those songs like a glove! I’ll listen to those links you shared later, I’m in my magnetic properties of solids lecture right now😅 1 person likes this January 14, 2019 at 1:08 pm #183059 Ted HoffmanParticipant Ahhh, phun with physics, huh? 0 likes Author Posts Viewing 10 posts - 196 through 205 (of 205 total) ← 1 … 13 14 You must be logged in to reply to this topic.