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→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. 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.
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.
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.
=== Question/Answer Phrasing ===
* Sometimes phrases or series of phrases can be repeated 100% exactly multiple times - this in itself is a method to create tension that will eventually need to be relieved by a contrasting phrase.
* Each phrase should be an independent musical expression, although it may be weak or unresolved by itself.
* Phrases should naturally connect into each other, even when they belong to separate ideasor use different keys/scales.
* Each phrase must be mindful of the harmonic context it occurs over, such as targeting accented notes from the harmony, or seeking to extend the harmony with "outside" notes.
* Try to make each phrase distinct from the others in the same solo.
* 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.
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