8,720
edits
Changes
m
→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. 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.
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.