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My solo philosophy

idssdi

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Nov 11, 2019
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I'm supposed to read an article called 'hydrophobicity influence on swimming performance of magnetically driven miniature helical swimmers' but I don't really feel like it that much so I figured I'd share my philosophy on soloing with you. We used to have a solo trouble thing with lessons of one minute but I can't possibly explain this in one minute so I'm just gonna do it like this. If you have any questions you can always ask.

First thing I want to talk about is melody/motif. Personally I'm more of a melody guy than I am into shredding, I do really like lyrical players a lot. Basically what I do is find a whole lot of melodies/motifs and work around them. Yes, I do multiple in one solo because you have to change it up every once in a while and just the same melody with a different landing tone can bore me a little bit.

Second thing I want to talk about is landing tones(https://syngates.com/lessons/landing-tones-lesson-3.165/) and color tones(https://syngates.com/lessons/color-tones-lesson-4.166/). I use the chord tones of all the chords I play over but mostly avoid landing on the root note until I get near the end this is because that one always gives me a sense of 'hey, this solo is over' so it's not really Nice to use it a lot in the middle of my solo because it starts feeling like it's dragging on a little bit. However, near the end the root note is mind of my go to because an end is an end and I don't want to give anyone, including myself, the idea that there's more stuff coming, an example of that is Roman Sky for me because every time I listen to it I go like 'theres more coming right?' at the end of the solo and it just kinda ends. Another thing I like to do is not land on chord tones but on intervals I know kinda work with the chord but aren't in the chord(2nds, 4ths, 6s, 7ths). Not all of them sound nice but some do and it's a pretty nice trick to grab the listener's attention.

Last but not least there's the shreddy stuff. When I have all the above settled I sometimes do little shreddy bits in between it all.

Of course it's important to play stuff that fits over the backingtrack you're playing over. If I would play over a slow blues for example I would leave the shredding out because it sounds a little out of place to me
 

Jacques

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  • Nov 29, 2019
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    Dude, you had me going into a google worm hole with that introduction lol

    Super intriguing read though!! I am going to do a whole lot more research and try to apply this to my playing! I have not yet made it to the lessons you referenced so i have alot of work to do, Im getting ready to start the CAGED lessons myself!
     
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    idssdi

    Sold-out Crowd Surfer
    Nov 11, 2019
    5,336
    6,754
    Groningen
    11
    Dude, you had me going into a google worm hole with that introduction lol

    Super intriguing read though!! I am going to do a whole lot more research and try to apply this to my playing! I have not yet made it to the lessons you referenced so i have alot of work to do, Im getting ready to start the CAGED lessons myself!
    CAGED is a pretty big part of it too. I just kinda use it unconsciously so I forgot to mention it😅
     
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    Andrew Milner

    Campfire Attention Holder
  • Nov 11, 2019
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    That intro was college summed up in one paragraph.

    I think it's important to be able to adapt to the backing tracks, as you have mentioned. Technique wise, I do believe that to some extent it's nice to be able to play some fast stuff alongside the melodic ones. That being said, Brian May never really excelled at fast passages and he is a very good guitarist because he's able to write very very good melodies. It all depends on who you want to become as a guitarist.

    I'm guilty of landing on the root note of a chord from time to time, but that's just how I roll at the moment. Imma have to figure out a way to avoid doing this so often. I'm also too stuck in pentatonics for my own good, but I've slowly gone away from them. the CAGED system is a good starting point.

    As with speed and melodic lines, I try to do a little bit of both. For the longest time, I have been unable to play speedy stuff. I can write it and it sounds amazing and I want to become better at playing it as well. It's a weird feeling, I have all these melodies in my head and the only way they consistently come out as good as I want them to be is if I write them in a tab editor first and then learn to play them. It's really weird :LOL:.
     
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