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.
