Soloing - Revision history

Meambobbo at 01:43, 12 June 2015

2015-06-12T01:43:21Z

Meambobbo: /* Chord soloing */

2015-06-06T20:37:32Z

‎Chord soloing

Meambobbo: /* Current Chord */

2015-06-06T20:35:38Z

‎Current Chord

Meambobbo: /* Current Chord */

2015-06-06T20:34:56Z

‎Current Chord

Meambobbo: /* Current Chord */

2015-06-06T20:34:10Z

‎Current Chord

Meambobbo: /* Guidelines for Good Phrasing */

2015-06-06T20:27:09Z

‎Guidelines for Good Phrasing

Meambobbo: /* Guidelines for Good Phrasing */

2015-06-06T20:26:14Z

‎Guidelines for Good Phrasing

Meambobbo: /* Guidelines for Good Phrasing */

2015-06-06T20:24:10Z

‎Guidelines for Good Phrasing

Meambobbo: /* Guidelines for Good Phrasing */

2015-06-06T20:23:26Z

‎Guidelines for Good Phrasing

Meambobbo at 20:21, 6 June 2015

2015-06-06T20:21:42Z

@@ Line 1: / Line 1: @@
 {{Top-Level Crumbs|1}}
+{{Lesson Crumbs|3}}
 {{Advanced Lesson Crumbs|6}}

@@ Line 663: / Line 663: @@
 == Chord soloing ==
-A popular soloing method in jazz is a ''chord solo''.  It is particularly effective when there is no rhythm guitar or piano to fill in the harmony, particularly extended "jazz" chords.  It uses a combination of melody lines and chords to create the solo.  Some notes of the chord may be sustained while others are moved as a melody.  Alternate voicings of the chord may be used to follow the energy of the solo or allow easier manipulation of melody lines.  Not all chords may be played - sometimes the melody may simply accent the chord's root or an important voice of the chord not being played by another instrument.
+A popular soloing method in jazz is a '''chord solo'''.  It is particularly effective when there is no rhythm guitar or piano to fill in the harmony, particularly extended "jazz" chords.  It uses a combination of melody lines and chords to create the solo.  Some notes of the chord may be sustained while others are moved as a melody.  Alternate voicings of the chord may be used to follow the energy of the solo or allow easier manipulation of melody lines.  Not all chords may be played - sometimes the melody may simply accent the chord's root or an important voice of the chord not being played by another instrument.
 {{top}}

@@ Line 103: / Line 103: @@
 In the example below, we can see that all of the notes from the chords belong to C Major.  However, rather than playing all of the notes from C Major over each chord, we can limit ourselves to or emphasize those that belong to the current chord.
 {|
 | Chord # || Chord      || C || D || E || F || G || A || B || C
 |-

@@ Line 107: / Line 107: @@
 {|
-! Chord # !! Chord      !! C !! D !! E !! F !! G !! A !! B !! C
+| Chord # || Chord      || C || D || E || F || G || A || B || C
 |-
 | I || C major chord    || C ||   || E ||   || G ||   ||   || C

@@ Line 104: / Line 104: @@
 In the example below, we can see that all of the notes from the chords belong to C Major.  However, rather than playing all of the notes from C Major over each chord, we can limit ourselves to or emphasize those that belong to the current chord.
-  Progression    I  vi  IV  V7  I
+  Progression - I  vi  IV  V7  I
- C Major scale  C  D  E  F  G  A  B  C
+{|
+! Chord # !! Chord      !! C !! D !! E !! F !! G !! A !! B !! C
- C major chord  C     E     G        C
+|-
- A minor chord  C     E        A     C
+| I || C major chord    || C ||   || E ||   || G ||   ||   || C
- F major chord  C        F     A     C
+|-
- G dominant 7th    D     F  G     B
+| vi || A minor chord   || C ||   || E ||   ||   || A ||   || C
- C major chord  C     E     G        C
+|-
 In particular, we want our tension and release to align with the harmony.  A phrase that ends on the tonic note will be less effective over the vi and IV chords than the I.  It will be confusing and conflicting to play that phrase over the V{{7}}.  We can also emphasize the harmonic movement by moving from mutually exclusive notes between adjacent chords.  For example, playing G on the last beat of the C major chord, then playing A on the downbeat of the A minor chord.  Then E -> F for A minor -> F major, A -> B for F major -> G major 7, and B -> C for G major 7 -> C major.

@@ Line 74: / Line 74: @@
 === Guidelines for Good Phrasing ===
 * Each phrase or consecutive group of phrases should create a complete musical thought (create and relieve tension).
 * Each phrase should use altered sustained notes, accents, rests, or otherwise alter rhythmic/pitch patterns between phrases to create contrast.  You could repeat the entire phrase exactly but altering just one note may be enough.
@@ Line 87: / Line 85: @@
 * Avoid simply ascending or descending a key with a near-constant rhythm, unless you do so quickly in a run, or the timing aligns very well with the harmony.  This often sounds meaningless and amateur.  Think how even simple melodies, even children's nursery rhymes, use such sparingly.   Jumps, doubled notes, accidentals, sustained notes, accents, rests, embellished notes, off-time playing, and advanced techniques sound far more interesting and engaging to the listener.
 {{top}}

@@ Line 74: / Line 74: @@
 === Guidelines for Good Phrasing ===
 <span class="indieflower">
 * Each phrase or consecutive group of phrases should create a complete musical thought (create and relieve tension).
@@ Line 84: / Line 85: @@
 * Try to make phrases different numbers of notes and durations of time.
 * Question/Answer phrasing is simple and works well, but avoid multiple consecutive sequences of such, unless purposefully doing so to build tension.  Otherwise, it can begin to sound mechanistic and simple, or forced.
-* Avoid simply ascending or descending a key with a near-constant rhythm, unless you do so quickly in a run, or the timing aligns very well with the harmony.  This often sounds meaningless and amateur.  Think how even simple melodies, even children's nursery rhymes, use such sparingly.   Jumps, doubled notes, accidentals, sustained notes, accents, rests, embellished notes, off-time playing, and advanced techniques sound far more interesting and engaging to the listener.</span>
+* Avoid simply ascending or descending a key with a near-constant rhythm, unless you do so quickly in a run, or the timing aligns very well with the harmony.  This often sounds meaningless and amateur.  Think how even simple melodies, even children's nursery rhymes, use such sparingly.   Jumps, doubled notes, accidentals, sustained notes, accents, rests, embellished notes, off-time playing, and advanced techniques sound far more interesting and engaging to the listener.
 {{top}}

@@ Line 3: / Line 3: @@
 {{Advanced Lesson Crumbs|6}}
-A '''solo''' is a section of a song that focuses on a single instrument.  It is the '''lead''' instrument in the arrangement; hence solo'ing is often called playing ''lead'' (as opposed to ''rhythm'').  An instrument may "solo" over other parts of the song, such as the chorus; or multiple instruments can "solo" at the same time - "solo'ing" is more about a style of play that is emphasized during solo sections.  For guitar, this is usually playing single note melodies, scale iterations, or arpeggios, in higher registers than commonly found in rhythm playing.  While rhythm-playing is more associated with repetitive riffs or chord progressions, solo'ing usually features non-repeating phrases.
+A '''solo''' is a section of a song that focuses on a single instrument.  It is the '''lead''' instrument in the arrangement; hence soloing is often called playing ''lead'' (as opposed to ''rhythm'').  An instrument may "solo" over other parts of the song, such as the chorus; or multiple instruments can "solo" at the same time - "soloing" is more about a style of play that is emphasized during solo sections.  For guitar, this is usually playing single note melodies, scale iterations, or arpeggios, in higher registers than commonly found in rhythm playing.  While rhythm-playing is more associated with repetitive riffs or chord progressions, soloing usually features non-repeating phrases.
 A solo section is often designed to showcase the performer's ability and personal style.  It often features distinctive speed, techniques, phrasing, accents, and tone that differentiate it from the rest of the song.
@@ Line 17: / Line 17: @@
 == Goals ==
-Your main goal in solo'ing should always be to enhance the song.  Within those bounds, you can do anything you want; however, you have to be aware of the solo's ''context'' within the song to understand what is appropriate.  For instance, if you are solo'ing on a slow, soft ballad, it's not appropriate to come in guns blazing shredding at warp speed.  Similarly, if the song has a sad tone, it's inappropriate to make your solo sound festive or goofy.
+Your main goal in soloing should always be to enhance the song.  Within those bounds, you can do anything you want; however, you have to be aware of the solo's ''context'' within the song to understand what is appropriate.  For instance, if you are soloing on a slow, soft ballad, it's not appropriate to come in guns blazing shredding at warp speed.  Similarly, if the song has a sad tone, it's inappropriate to make your solo sound festive or goofy.
 Things to be aware of:
@@ Line 654: / Line 654: @@
 {{top}}
-== Chord Solo'ing ==
+== Chord soloing ==
-A popular solo'ing method in jazz is a ''chord solo''.  It is particularly effective when there is no rhythm guitar or piano to fill in the harmony, particularly extended "jazz" chords.  It uses a combination of melody lines and chords to create the solo.  Some notes of the chord may be sustained while others are moved as a melody.  Alternate voicings of the chord may be used to follow the energy of the solo or allow easier manipulation of melody lines.  Not all chords may be played - sometimes the melody may simply accent the chord's root or an important voice of the chord not being played by another instrument.
+A popular soloing method in jazz is a ''chord solo''.  It is particularly effective when there is no rhythm guitar or piano to fill in the harmony, particularly extended "jazz" chords.  It uses a combination of melody lines and chords to create the solo.  Some notes of the chord may be sustained while others are moved as a melody.  Alternate voicings of the chord may be used to follow the energy of the solo or allow easier manipulation of melody lines.  Not all chords may be played - sometimes the melody may simply accent the chord's root or an important voice of the chord not being played by another instrument.
 {{top}}
@@ Line 726: / Line 726: @@
 [[Category: Lessons]]
 [[Category: Advanced Lessons]]
-[[Category: Solo'ing]]
+[[Category: soloing]]
 [[Category: Shred]]
 [[Category: Arpeggios]]
 [[Category: Scales]]