Here’s another short lesson that may keep you busy.
One thing to consider in any of the material I’ve ben presenting is that all of the modes, scales and other materials that I’ve presenting are all just tools to get to making music.
So here’s an example where I’m “breaking” few of the rules I’ve previously posted to get the sounds I’m looking for.
Here’s a lick I threw out over a C minor 7 vamp:
Here’s the audio:
(If the play button doesn’t work – just click on the title and it’ll load in a new window).
Some “Broad Stoke” notes.
- Contrasts play a critical role in having a good solo. In the case of soloing over a vamp like this, I would either start spare and build into something rhythmically active or hit the gas out of the gate and then wind down (or further up) into something. Since I’m playing something rhythmically active in the example above, I’d probably phrase a series of short sparse lines after this and then build it back up again.
- Speaking of rhythm, I usually try to start long passages off the beat. It just allows the phrases to breathe a little more and starting fast passages on the beat makes me think of ’80’s metal. Not a bad thing – but not what I’m always going for. ; ) Also the patterns are based around 4-note patterns so I’ll typically play them as sextuplets to make the phrasing less well… ’80’s metal.
- The Paul Gilbert-ish pattern (ascending phrases that descend on a note and then ascend again) is one I use a lot. Part of that use here is pedagogical. By using the same rhythmic idea, it allows people to focus more on the notes being employed. (Part of this is hoping that if I keep putting Paul Gilbert tags in my columns that he may find this blog eventually!)
- The best thing I could do in this context might be to play nothing – but that makes for a boring lesson. Typically in soloing I want to be pretty deep in the song after a lot has already been said before I start putting my $.02 in. When I see people starting to solo before they even know what the melody is, I kind of know what to expect.
- The first chord is a C minor 7, so one of my first thoughts is to superimpose a G minor idea over it, and my initial thought was G Harmonic Minor. To extract the “not-peggio” I start with a three-note per string harmonic minor scale from Bb….
and then remove the first and third note on the low E, D and B strings.
I’ve notated this below as both 1/16th notes and sextuplets.
- As I mentioned in part 16, with this approach, I tend to keep the arpeggio shape in position which means moving the shape on the highest two strings down. So instead of starting on the pitch G on the B string I start on the F#.
Conceptually it’s a small shift but it changes the six-string extraction to the following:
- Chromatic alterations. If you look at the initial lick, you’ll see I alternate between the F# and the F natural. Again, these patterns should just be viewed as a launching off point to develop your own ideas.
At the end of the phrase I slide up to an F and then descend on a Bb arpeggio. For visualization purposes, here’s a version that starts on the beat:
Notice that on the bottom three strings I incorporate an encircling motive where instead of landing directly on the note D on the D string, I land on an Eb, go down to C and then hit the chord tone D. This is a great way to add some zip to arpeggios and get a little extra mileage from a well worn melodic device.
This is a short lick that may take a while to get under your fingers! I’m only playing it around 100 bpm or so as that’s the pocket I felt, but if you’re unfamiliar with sweep picking or the encircling idea with the arpeggios even getting it clean at 90 might take a while. Just go slowly and work on the 3 T’s (Timing, Tone and Hand Tension).
That’s it for now! I hope this helps and I hope that this lesson gives you some inspiration in developing your own melodic devices!
p.s. – The Rest of the “Not-peggio” posts can be found below:
p.s.s. – If you like this approach – the following books may be of interest to you!