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Phrases could also be distinguished by modulating keysSo what is "good" phrasing? Think of it the same way as writing or poetry. It should feel like each phrase is saying something, alternating techniques (legato vsnot spouting random words or rambling on and on. staccato Each phrase from one to the next should feel connected, even though different and distinct notes vs. bends/whammy/slide), changing guitar tone, The listener should be able to appreciate what you are trying to express through your playing faster or slower, changing volume.- phrasing is the best method to do so..really anything It breaks a solo down into blocks that can be used individually consumed and understood, with each block building into something greater than they could achieve independently. The same way verse, pre-chorus, and chorus melodies all fit together to make a great song, phrases should fit together to noticeably create contrast between different groups of notesmake a great solo.
So what is "good" phrasing? Think of it the same way as writing or poetry. It should feel like each phrase is saying something, not spouting random words or rambling on and on. Each phrase from one to the next should feel connected, even though different and distinct. The listener should be able to appreciate what you are trying to express through your playing - phrasing is the best method to do so. It breaks a solo down into blocks that can be individually consumed and understood, with each block building into something greater than they could achieve independently. The same way verse, pre-chorus, and chorus melodies all fit together to make a great song, phrases should fit together to make a great solo.{{top}}
Progression I vi IV V7 I
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{{Top-Level Crumbs|1}}
{{Lesson Crumbs|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 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 - "solo'ingsoloing" 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 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.
== Goals ==
Your main goal in solo'ing 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 solo'ing 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:
A B C
--2--4--5----------5--4--7-------7-7-75-(x)-0-----
Phrases A, B, and C are clearly distinguishable by their rhythms - they all consist of several short notes and one longer, sustained note. This is a classic way to develop identifiable phrasing.
A B C
--t12p4-h7-t12p4-h7-t12p4-h7-t12p5-h9-p5\4h5h7p5p4h5--
Here, phrases A, B, and C are more ambiguous, flowing directly into each other without strong rhythm changes. Phrases A and B can be considered distinguishable because they are tapping different arpeggios. Phrase C is distinguishable because it is not an arpeggio. Phrases could also be distinguished by modulating keys, alternating techniques (legato vs. staccato, distinct notes vs. bends/whammy/slide), changing guitar tone, playing faster or slower, changing volume...really anything that can be used to noticeably create contrast between different groups of notes. This is not an exact science, and it's not necessary to analyze all playing as distinct phrases. We might consider the above example to be a single phrase.
=== Question/Answer Phrasing ===
Question Answer Answer 2
--0--2--4------5--7--0------4--2--0---
{{top}}
=== Guidelines for Good Phrasing ===
Even if the piece features numerous non-diatonic chords in the harmony, it's still a good idea to know what key the piece is in, and particularly if there is a strong tonic note. This is the basis of your phrasing - creating tension by moving away from the tonic and releasing it by ending a phrase on it.
{{top}}
=== Current Chord ===
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.
{||colspan="8"| Progression - I C Major scale vi IV V7 I|-||-| Chord # || Chord || C || D || E || F || G || A || B || C |- | I || C major chord || C || || E || || G || || || C |-| vi || A minor chord || C || || E || || || A || || C |-| IV || F major chord || C || || || F || || A || || C |-| V7 || G dominant 7th || || D || || F || G || || B|| |- | I || 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.
3 |o|-|o|x|-|
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We know from the prior [[1st String|1st string lesson]] that for a given major/minor scale, there are 2 of each pattern that occur, plus one additional whole-whole (<tt>|o|-|o|-|o|</tt>) pattern. As we ascend from low (thick) string to high (thin), the patterns go in order - 1(x3), 2(x2), 3(x2), then repeat. As you go from the #1 pattern to #2, you shift up one fret; and as you go from the G to B string you shift up one fret. As you can see in the last scale map above, when these both occur on the same string transition, you end up shifting up 2 frets.
{{top}}
=== Moving Diagonally between Octaves ===
{{top}}
== Chord Solo'ing soloing ==A popular solo'ing 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}}
== Using Delay ==
Modern delays have the ability to sync their delay times to the song's tempo, either through beat detection or tap tempo. With the delay synced to the tempo, you can do some interesting things in playing off the delay trails, creating harmonies while playing fast melodies. Or you can use mutes and allow the delay trails to fall between the current notes, creating a seamingly super fast string of notes.
{{top}}
== Tone ==
Lead tones often differ from rhythm tones, especially for hard rock/metal genres. For jazz and blues, where the rhythm guitar tone is often dark and warm, the lead tone has more brightness and bite to stand out. For metal, rhythm guitars are often treble-boosted into distortion, getting a very tight and biting sound, which is harsh when applied to higher-register leads. A fatter, warmer tone is more desirable to sound sweet instead of harsh, achieved by disabling boosts and/or using the neck instead of bridge pickup. Also, lead tones tend to have greater emphasis on midrange than rhythm tones.
Effects-wise, leads are very often enhanced with [[Delay|delay ]] and [[Reverb|reverb ]] to make them sound more natural, sweeter, and spacious. [[Modulation Effects|Chorus or other modulation ]] can be used to help leads stand out where they don't otherwise do so (playing in the same register as the rhythm; using fewer notes than common for solo's).
Many amplifiers provide a '''solo boost''' accessible via footswitch. This typically provides +2 - +6 db of volume, which helps to have your leads stand out above the mix.
{{top}}
== Embellishing Your Playing ==
The key to sounding like a guitar master vs. a novice is how you are able to embellish your playing. This mainly involves using a variety of techniques:
* [[Touch, Dynamics, and Accents]]
* [[Legato (Hammer-on, Pull-off)|Legato/Slides]]
* [[Bending]]
* [[Vibrato]]
* [[Palm Muting]]
* [[Artificial Harmonics]]
* [[Whammy Bar]]
* [[Double and Triple Stops]]
{{top}}
== Shredding ==
== Homework ==
* Understand the idea of phrasing.
* Practice making some question-answer phrases - see how the tonic note is related to tension and release.* Try making phrases with different methods to create contrast between them.* Play a basic diatonic chord progression on a music player, either one off the internet or one you've recorded. Solo in the same key. Solo in alternate keys. Notice how the solo seems to fit best in the current key.* Try to emphasize tones from the current chord in your solo. Try movement from tones that are mutually exclusive to the chords during transitions.* Play a chord progression that involves one or more chromatic chords. Try different scales, including synthetic ones, over the non-diatonic chords.* Try to incorporate various non-diatonic notes into a solo. Try chromatic, whole, octatonic, and blues runs, as well as sharped/flatted 3rds, and 6ths.* Practice moving up and down the fretboard diagonally following the octaves.* Randomly pick various keys to play in - use the CAGED method to find root notes and fingering patterns, and try to move between positions without playing any non-diatonic notes.* Practice playing the same notes in multiple positions, gradually increasing the size of the position shifts.* Repeat but try to ascend/descend octaves, using the 2, 3, and 4 string patterns for octaves.
* Come up with a chord progression. Improvise a solo over it.
* Come up with another chord progression. Write a solo for it.
{{top}}
{{Advanced Lesson Crumbs|6}}
[[Category: Guitar]]
[[Category: Lessons]]
[[Category: Advanced Lessons]]
[[Category: Solo'ingsoloing]]
[[Category: Shred]]
[[Category: Arpeggios]]
[[Category: Scales]]