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  • Lessons

  • The gentle art of ripping someone's face off

The solo. Two little words, that when used together, inspire fear and loathing in many a guitarist/musician still on their musical journey. It is usually accompanied with things along the lines of "Well, I would if I could", or "I'm not good enough" or "I wish I could solo like you/him/her/famous artist". In three words or less, "That is bullshit!"... kind of has a nice ring to it. We all have to start somewhere, and you can only get better the more you do it. If your song calls for a solo, then do it you must.

Pitfalls
  • You think you suck
  • Almost every guitarist starts with getting jam tracks... you know who you are... you have 4 minute or 5 minute jam tracks and think this will magically solve all your problems
  • You think you need modes cos they will also magically solve all your problems
  • You think you need to know a shitload of scales
  • You think every chord needs a new scale
  • You think you need to have monstrous speed and technique
If any of these fall into your span of thinking (and as time goes on with updates to this thread, there will be more points), then you are waging war with your creativity. Let's tackle these things one by one:
You think you suck
This is the worst way to go about anything. This, alone, stifles creativity to the point of killing it off for good. You have come this far in your journey, so why create a mental barricade? What you have achieved to this point in your musical journey is a milestone in itself. You have your current knowledge and current creativity level, so use it. Use it to its breaking point. What happens at breaking point? Well, a new development occurs... a new level is achieved, another tier to conquer... brand new possibilities in all its forms. How can that ever be a bad thing?

How do you make use of your current creativity? By letting go of whatever is holding you back. (If someone is going to throw a family excuse as a barrier, then this is not the thread for you... stagnate elsewhere). You have to let go. Once you have banished that hindering thought process, you will be flooded with ideas and you can begin exploring them.

"Well, I can only write when I'm inspired" Bullshit!!! You will never learn with this barrier either. You cannot wait for inspiration because it always takes a detour to Ethiopia. Muse's also have their own agenda. You will never see it if you wait for it. Just write... and continue writing. You are better than any form of inspiration or muse. Do it like Nike.
Almost every guitarist starts with getting jam tracks... you know who you are... you have 4 minute or 5 minute jam tracks and think this will magically solve all your problems
A good old family favourite. So I ask you this question... In all your favourite songs you listen to, how long is the solo? Clicked yet?

"But I mostly listen to instrumental stuff" - Riiiight. Guess what... the track may be 5-6-7 minutes long, but it is not one whole solo. Each section is its own entity. The actual solo is still only 16 to 32 bars at most. The verse has its own section and melody, as does the chorus section. Go listen to it again. There will be parts that are instantly recognisable as repeats, but there is one section that stands out on its own. Has it lost its magic now? Definitely not! Now you just understand more of the construction process.

This thread will help you write solo's... you will have 8 bar solo's, 16 bar solo's and 32 bar solo's. But only as time goes on. So yes, this thread will be updated... it has to be, otherwise its pointless.
You think you need modes cos they will also magically solve all your problems
No, you don't. Modal music is higher grade. Also antiquated. But mostly higher grade. Case in point - Miles Davis. Are we at that level yet?

"I saw you have a thread that has modal jam tracks" - Yes... because they are modal and are there to learn the sound each actual mode invokes. It won't magically help you solo if you can't understand the underlying progression.

"But I read that if I separate my major scale into seven parts, they all get mode names" - well, it still is only a major scale from a different point. If your teacher said they are modes... get a new teacher. For modes to actually work, it (let's say E Dorian) needs to have a sustainable harmonic progression (chords) that never ever ever resolves to its parent scale (your D major scale). And as far as proper modes are concerned, they don't have a parent scale because they are their own entity... and they cannot be altered in any way - because then it is not modal (it's breaking the chain of command and we just can't have that).

Confused yet? Good... stay away from thinking you're playing modally... cos you're not. Learn how your chords function, how the notes you are playing flavour or compliment the chords/progression and work from there.
You think you need to know a shitload of scales

Nope... just the major and the minor keys. Two scales, all across the fretboard. One tiny adjustment for the melodic minor. If you've learned your fretboard, knowing where these scales are will not be a problem.
You think every chord needs a new scale
Nope. If you're doing jazz, this is not the thread for you. Chord scale theory is complicated and most often a waste of time. For the average guy just wanting to solo, all he needs is the major scale. When you know how chords are constructed, and know how an altered chord affects your progression - then one note change within your major scale will compensate for the single chord. Most times it is not even needed as you may be playing a note which is the chords 3rd or 7th, so the altered 5th won't even come into play so there is no need to adjust your scale. So don't even bog yourself down with learning a list, pee on it instead and stick to your major and minor scales.
You think you need to have monstrous speed and technique
Nope, you don't. All the skills you have achieved so far will do just fine. Bends, hammers, pulls and slides. You don't need to have a serious speed to pull off a well thought out solo either... or even a well improvised solo. Speed is a by-product of a lot of playing and a lot of practice. Your current speed you have is the speed you need to play at now. Your next level barrier will come when it needs to, and your technique/speed will adjust itself.

******************************************************************

So there is a bit for you to let sink in. This will give me time to make the necessary tracks to learn from. Various parts of the anatomy to a track will be looked at... so until then, get over yourself and whatever it is that is holding you back. Once a track is posted, you can make a recording of yourself and I will gladly listen to it and give some guidance if needed. All help is good help. NO high quality tracks will be listened to. Your production finesse will not impress me as it won't be listened to. Good solid workout sessions will be listened to and the tracks will be tiny to begin, and no repeats. You only have the allocated time to have your say and that is it.

For those who are going to put this on the backburner, this thread is not for you either. Kindly vacate this thread and find something else to do.
    10 days later
    evolucian wrote: So yes, this thread will be updated... it has to be, otherwise its pointless.
    Don't leave us hanging Evo ! Show us how to rip off faces at 30 paces ?
      evo. i'd like to point out one major error in your post. i'd like to, but i simply can't. at least, not as far as i'm concerned.

      if you don't mind - and i'll wait for your consent - i'd like to copy this, print it out and stick it up on the wall in my studio. it's just plain brilliant, and every point applies directly to me and where i am currently. not only is it accurate and applicable, but it's really rather inspirational.

      let me know. this is the most relevant post i've read on this forum in a long while - and that is really, really saying something.
      dh|
        Lol, got sidetracked into other planning. I'll start working on the examples just now and post it soon. I also wanted the message to sink in, to let people work on their inner demons - whatever they were. I know it takes more than a day so I thought I'd give you some time as there is a lot to take in... a lot to accept.

        @ dom - you are more than welcome to print it out. And you are more than welcome to point out the error too, hehe. And I'm glad its inspirational to you ?
          evolucian wrote: @ dom - you are more than welcome to print it out. And you are more than welcome to point out the error too, hehe. And I'm glad its inspirational to you ?
          great evo, thanks. as for the error - there isn't one i can see. just meant it tongue-in-cheek. ?

          EDIT: and thanked.
            Great post... thanked.
              ^ You're welcome ?

              Rules for the track - rip it at 128k pls. No repeats. My mix might be crap, its ok. The cymbals in the 2nd part came out super duper trebly so I had to flatline this thing and do my best. It is still usable. Tempo 120bpm. A one bar count in is provided for you to sync it up in your daw. So without further ado, something for you to fondle:

              https://www.box.com/s/s6rb3whuu7ohq3fjqbsr

              Ok. First up is a 16 bar example. This is, of course, completely out of context as you need the rest of the song (not made yet) to compliment it. BUT - it is not necessary for now as you focus on these little sections that will be posted.

              The chords:
              Dm - Csus2 - G (played twice - so its 8 bars)

              Dsus2 - Bb5 - G5
              Dsus2 - Bb5 - C5

              The interpretation is left up to you. But I want you to think about this piece. How are you going to create a melody and support it. How are you going to climax it. Look at the chords, feel the piece... where is it going to?

              Think in theory or think in feel. Good luck
                Somebody give this man a bells.

                Evo have you never thought of doing your own online lessons ala that other dude on YouTube, Justin somethingorother?
                  ^ hehe, yeah don... I have. Finances prevent/prevented me from doing anything. Got the hd camera, fixed a halogen light to one of my shelves... short of a lapel though. I don't like the sound coming from the cam so quite set on getting the lapel. Why'd you ask?
                    bugger the bell's. give that man a jack. this is a great thing you're doing evo - echo - this is a great thing you're doing evo. i'm gonna be spending a good long while with this little ditty, trying to nail the best solo i can, with the tools i have at my disposal.

                    thanks again evo
                    dh|
                      Evo - you da man!

                      Thanks & Thanked. I'll admit guilt to the majority of the points you've listed.

                      That was good fun & I really liked the feel of the progressions...allow me to be the first to sacrifice my ol' face after a hour of trying this morn : https://www.box.com/s/br9a42mmn24k0jgnbqfv

                      Feel free to face-rip away! This is how we learn.

                      10% Theory, 90% Feel - ran outta ideas from 26-32s though. What little I recall of theory, I used notes from C Dorian for the 1st 16 bars, then mucked around in 'D Blues' for the next 16. Was an excellent exercise in keeping it succinct and (trying to) maintain a little of the melody through the 32 bars.

                      in the words of Han Solo..."Sorry about the mess" ?
                        V8 wrote: Evo - you da man!

                        Thanks & Thanked. I'll admit guilt to the majority of the points you've listed.

                        That was good fun & I really liked the feel of the progressions...allow me to be the first to sacrifice my ol' face after a hour of trying this morn : https://www.box.com/s/br9a42mmn24k0jgnbqfv

                        Feel free to face-rip away! This is how we learn.

                        10% Theory, 90% Feel - ran outta ideas from 26-32s though. What little I recall of theory, I used notes from C Dorian for the 1st 16 bars, then mucked around in 'D Blues' for the next 16. Was an excellent exercise in keeping it succinct and (trying to) maintain a little of the melody through the 32 bars.

                        in the words of Han Solo..."Sorry about the mess" ?
                        ha ha. han solo. that was pretty cool - got a bit lost, had to listen to it a few times to separate what was you and what was evo, but it was pretty cool. my nose kinda twitched, so that's pre-rip type stuff, i suppose. i preferred the second bit, it felt more intuitive. but you're right, this is how we learn. i'm hoping to give this a bash tonight.

                        kudos for being first up!
                        dh|
                          V8 wrote: Evo - you da man!

                          Thanks & Thanked. I'll admit guilt to the majority of the points you've listed.

                          That was good fun & I really liked the feel of the progressions...allow me to be the first to sacrifice my ol' face after a hour of trying this morn : https://www.box.com/s/br9a42mmn24k0jgnbqfv

                          Feel free to face-rip away! This is how we learn.

                          10% Theory, 90% Feel - ran outta ideas from 26-32s though. What little I recall of theory, I used notes from C Dorian for the 1st 16 bars, then mucked around in 'D Blues' for the next 16. Was an excellent exercise in keeping it succinct and (trying to) maintain a little of the melody through the 32 bars.

                          in the words of Han Solo..."Sorry about the mess" ?
                          Ok, so what was your thought process while doing this? Did you capture the feel you were after? Answer these two first before reading on.

                          I'm not going to give anything until you've answered those two q's...
                            evolucian wrote: ^ hehe, yeah don... I have. Finances prevent/prevented me from doing anything. Got the hd camera, fixed a halogen light to one of my shelves... short of a lapel though. I don't like the sound coming from the cam so quite set on getting the lapel. Why'd you ask?
                            My silly little youtube channel with my bad mods and horrid recordings is over 130,000 views.The ads are "Paying" around R50 a month and I haven't touched it for 2 years. Should get a cheque from google next month.

                            If you keep it up to date, and have good, usable content that people like. Then there is money to be made. Don't try be TV quality, just be good enough. People are more concerned with quality of message than quality of medium.

                            As a side note, the most viewed videos of mine are mods of a Squier. So you have an idea of the market out there. People want to do stuff on a budget.
                              Donovan Banks wrote: My silly little youtube channel with my bad mods and horrid recordings is over 130,000 views.The ads are "Paying" around R50 a month and I haven't touched it for 2 years. Should get a cheque from google next month.

                              If you keep it up to date, and have good, usable content that people like. Then there is money to be made. Don't try be TV quality, just be good enough. People are more concerned with quality of message than quality of medium.

                              As a side note, the most viewed videos of mine are mods of a Squier. So you have an idea of the market out there. People want to do stuff on a budget.
                              That's cool. I actually wanted to build a subscription site but I really ran out of cash. I was thinking of doing the youtube thing in support of getting subscriptions if they liked it. You see, you like, you get interested in paying for the service. You see, you don't like... other choices from other channels.

                              Justin's site is primarily based on a donation side. The guy claims to need cash to support the site, or pay if you like it. He is, however, very well supported by Katie Melua - wrote two of his own tracks with her and they were hits. It did take his site a super long while to get huge numbers - and very well helped by being featured in Total Guitar or Guitar Techniques magazine and a glowing recommendation from Vai himself.

                              Now, I know people want things for free but it gets ridiculous. I'm from the school of thought that if you want to improve your education in any field, pay for it with lessons or pay for it through books and do it yourself. But pay for it you must if you want to improve to a higher level. I'm broke so I can't handle that when I offer a service. But I've digressed too much in a thread meant for something else. But I'll look into it. Thanks dude.
                                evolucian wrote:
                                V8 wrote: Evo - you da man!

                                Thanks & Thanked. I'll admit guilt to the majority of the points you've listed.

                                That was good fun & I really liked the feel of the progressions...allow me to be the first to sacrifice my ol' face after a hour of trying this morn : https://www.box.com/s/br9a42mmn24k0jgnbqfv

                                Feel free to face-rip away! This is how we learn.

                                10% Theory, 90% Feel - ran outta ideas from 26-32s though. What little I recall of theory, I used notes from C Dorian for the 1st 16 bars, then mucked around in 'D Blues' for the next 16. Was an excellent exercise in keeping it succinct and (trying to) maintain a little of the melody through the 32 bars.

                                in the words of Han Solo..."Sorry about the mess" ?
                                Ok, so what was your thought process while doing this? Did you capture the feel you were after? Answer these two first before reading on.

                                I'm not going to give anything until you've answered those two q's...
                                Excellent questions Evo,

                                Thought process(es)
                                1. Rhythmically it has to work.
                                2. What style/genre I am going for here - pulled up a few patches on guitar rig, settled on a 'crazy randy' patch, sounded appropriate & I liked the rock feel with the progression.
                                3. Am I playing in key (not logically, but using my ears - does it sound ok/interesting or am I grimacing)
                                4. In the 1st 16bars (verse?) using some jimi-esque octaves, I wanted to establish a little melody that I'd refer back to when I (tried to) let loose and rip out a rocking solo - which I wanted to start with something that came in with a bang (ala SRV) along with the 1st of the 8bar 'chorus(es)' - but I ran outta ideas after that chasing something shreddy/fast.

                                Did I capture the feel?
                                Errrr...kinda. Felt a bit wooden rhythmically on the first 16bars, thought the bang worked in the chorus, although could have used a little something to bridge the gap between verse and chorus. Then lost the way completely 26s onwards attempting a bit o' speed - I just wasn't finding licks/ideas that worked, Finally I would have liked a little delay to fade out with the cymbals.

                                Thanks Evo!

                                P.s. Beers are on me


                                  V8 wrote: Excellent questions Evo,

                                  Thought process(es)
                                  1. Rhythmically it has to work.
                                  2. What style/genre I am going for here - pulled up a few patches on guitar rig, settled on a 'crazy randy' patch, sounded appropriate & I liked the rock feel with the progression.
                                  3. Am I playing in key (not logically, but using my ears - does it sound ok/interesting or am I grimacing)
                                  4. In the 1st 16bars (verse?) using some jimi-esque octaves, I wanted to establish a little melody that I'd refer back to when I (tried to) let loose and rip out a rocking solo - which I wanted to start with something that came in with a bang (ala SRV) along with the 1st of the 8bar 'chorus(es)' - but I ran outta ideas after that chasing something shreddy/fast.

                                  Did I capture the feel?
                                  Errrr...kinda. Felt a bit wooden rhythmically on the first 16bars, thought the bang worked in the chorus, although could have used a little something to bridge the gap between verse and chorus. Then lost the way completely 26s onwards attempting a bit o' speed - I just wasn't finding licks/ideas that worked, Finally I would have liked a little delay to fade out with the cymbals.

                                  Thanks Evo!

                                  P.s. Beers are on me
                                  Ok, first off, this is a solo excerpt as it would be used in a real song. The two sections in the clip don't portray verse chorus sections... it is one complete 16 bar section reserved for the solo. So perhaps rethink your initial approach. And think about the track - that tail section in the last bar is meant to be where the final chorus is. So you have to think about your solo's execution and exit at that point.

                                  1) think about the key... what key is it? Are there borrowed chords (chords not from the initial key but some other key)?
                                  2) If there are borrowed chords, how would I cater for them. Not chord scale theory, but keeping it inline with my melody without detracting from it. Do I have to play an altered note or are there notes in the present key that can make the chord stand out without me altering anything?

                                  3) A solo has many variations it can draw from, but I will give three properties from which you can draw your own solo construction map from.
                                  a) Melodic - pertains to a melody within the progression itself and gets enhanced and stands out from the crowd of notes

                                  b) Antithesis - forgets the melodic aspect and does a total turnaround where everything is the opposite. A lot of metal solo's suffer from this trait but it is sometimes required. Using diminishing qualities or augmenting qualities to portray a certain emotion, most notably the confused indivudual, or angry or mentally deluded. The individual I mention is not the player, but the character portrayed in the solo itself. It doesn't follow any part built within the song prior to its (the solo's) introduction

                                  c) Thematic - pertains to melody but creates a theme. Something hinted at in the song earlier and here brought to fruition in its big ass sumo form. It continues its current status through the final chorus section too. Not detracting from the chorus's melody but merely making it bigger than what it ever was.

                                  4) The approach centers - will you do a lead in from the bar prior to the start of the solo? Or will you start the new section as it comes and accentuate the movement?

                                  5) Every solo has a call and response theme to it. This particular clip uses the two 8 bar sections as contrasts to each other but building on from each other too. Inside the 8 bar sections are 2 more call and response requests. Think about this as you give it another shot. In the first 8 bars' final section, you can have a response that builds into a climax to accompany the next 8 bar section and be explored in a bigger way to have abigger climax. I'll let Zakk Wylde's solo's come to mind (Mama I'm coming home, I don't wanna change the world, Back on earth, No more tears... listen to them now without the wow factor. Really listen. Listen to how he approaches the intro of it, the build up, two contrasting sections complimenting each other and building on the previous theme and what it culminates into followed by the climax and departure). He goes with the flow, against the flow and comes back with the flow that sets your heart beat into overdrive.

                                  6) The solo creates a story within a story. It holds severe drama whether it is a flurry of notes or one long held mutilated note. More on this later if I need to

                                  Your track: The octave harmonising was cool, but it didn't accentuate the progression much. It had a nice call and response aspect to it. Following it with the doublestops gave it the contrast needed. The short bends section was very cool to me although you admit you lost it after that. The ending you played faster than you could manage. You were pushing yourself in your lost state and that was the result... think about it.

                                  In a practice session, keep on pushing yourself. In performance, play within your means - but play it like you mean it!!!! Nothing here should be taken negatively though, so don't feel shamed or anything. Just some things to remember for your journey ?

                                  *edit* Btw, this post is for everyone.
                                    ok, *holds breath* this is my take.

                                    what was i thinking?!? i mean, seriously? ok, but if you're wondering what i wanted to achieve, i was looking for a bit of a motif, something to catch the ear's attention. i think i got that in the first 16 bars, not so much with the balance maybe. also, on listening back, not sure the initial double stop (which is most of the motif, in essence) although it resolves over the Csus2 and the G, is necessarily the best bet over the Dm.

                                    i kinda like what happens in the lead up to the second part of the progression. if the drums and the other instruments don't tell you the music is moving somewhere else, the way the guitar moves forward should be all the clue you need.

                                    over the last part, all i really wanted to do was have a little fun, and i hope that came through. i think the thing tells a musical story, it works over the progression, and it's lekker rustig too. (translation: i am fully aware of my speed limitations. and this nasty little cut on my ring finger ain't helping none either.)

                                    well, i enjoyed, and i'm really looking froward to everyone's feedback. shew. been here nearly 1.25 years, and this is my first share. hey! like a vi-i-i-irgin... maybe i'll start getting more and more brave as time goes by.

                                    lord, for all y'all's sake i hope not...
                                    dh|
                                      @ Dom - your speed limitation isn't too slow. its perfect for what you want to achieve and what you went for.

                                      In this particular scenario, with the approach you laid out, you need to let your lines breathe. A smooth gentle vibrato on notes that linger will do the trick. You have a constant wall of sound and no rests. Now, rests don't have to mean silence. That vibrato thing I mentioned lets it breathe just as good as rest.

                                      You'd want to seperate your phrasing, be consistent with your theme. I liked your motive. In the second part of the track you could bring it up a 5th and then into the octave. But attack your notes, play a note hard, dig into it. Let it breathe with a bend and vibrato. Bends are such an emotional thing in music and it just makes one pay attention. End on a bend going high... you want a climax - not a descending line because that brings it, the music down. Think about the ending of the rhythmic piece, does it sound like its going into an acoustic jangle chorus or a heavy chorus with a full sound? Think about it as you attempt another one... if you plan on it that is. Keep practicing with the track, incorporate as many ideas as you can. Find new ways to say the same thing. Eventually you'll land up with an idea that soars and screams to be listened to over and over again.

                                      As mentioned in the post to V8, check out those songs of Zakk Wylde's soloing. It doesn't matter if we can play like him or not... what matters is that we learn the principle behind it. Seriously forget the wow factor of any famous artist and just listen to flow and understand how to incorporate it.