Cover feature

SOARING SOLOS
When its time to take the lead,
make sure youre ready to shine
our essential soloists guide will lick
your playing into shape in no time

49

on
your disc
Find full and
backing mixes for
every example on
your Guitar
Skills CD

Words Richard Barrett Photography Joe Branston / Neil Godwin

Take The

Lead!
Take your solos to another level with our 10-page guide. Whether you fancy yourself
as the next Van Halen or BB King is more your style, weve got you covered with our
essential tips across a range of genres to get you the biggest and best sound
june 2017 ToTal GuiTar
february
 scales TRACKS 23-24

1 1 1 1 1 1 1 1 1
3 4
2 2 2 1 2

3 3 3 3
4 4 4 4 4 4 4 3 3
4

Minor
pentatonic scale
Scale notes (in G): G B b C D F
Intervals: 1 b 3 4 5 b7
When to use it: Play G minor
pentatonic over a G5-C5-D5
powerchord progression for
blues-rock with attitude
Mixolydian
scale
Scale notes (in A): A B C# D E F# G
Intervals: 1 2 3 4 5 6 b7
When to use it: Try A Mixolydian
over an A7-D7-E7 blues progression
for a brighter sound than the minor
pentatonic or blues scale.

blues and This is usually the first scale shape

learned by aspiring lead guitarists.
Also known as a mode, the A
Mixolydian scale is just like the A
major scale (A B C# D E F# G#) but

classic rock
Its also a core part of the styles
of players such as Chuck Berry,
Jimmy Page, Slash and many more.
Start on a G note, as shown here,
and youll be playing G minor
featuring a b 7th. That means the
seventh note is a semitone lower
than in the major scale so instead
of G# you play G natural. It sounds

Start your journey to improving your solos pentatonic; start on A and its A
minor pentatonic, and so on for
less bright than the major scale
perfect for bluesy noodling over
powerchords and dominant chord
50 with some essential blues basics other key signatures.
progressions (A7, D7 etc).

1 Quarter-tone bend 2 two-fret bend 3 Vibrato

If there is a technique that will immediately give your lead
playing some blues and rock authenticity, this is it! There
simply isnt a blues player out there who doesnt use this
device all the time. Often, it is the second note of the
minor pentatonic scale (aka the minor 3rd) that is pulled
or pushed slightly sharp, blurring the lines between major
and minor moods.
The two-fret bend is another almost universal technique
that can take a while to master. As a general rule, most
players push up on the three treble strings and pull down
on the fourth, fifth and sixth strings, so you dont end
up pushing/pulling off the edge of the fretboard. Bracing
two or three fingers together can really help with
strength and accuracy.
Another way of manipulating pitch, vibrato can be slow
and shallow, fast and wide, or a combination of these.
Stevie Ray Vaughan used a medium speed wide vibrato;
Paul Kossoff and Angus Young combine speed and depth
for a striking effect. Eric Clapton and BB King lift the
thumb away from the back of the neck, allowing the
fretting hand to rock to and fro.

BLueS yOu cAN uSe TRACKS 25-26

#4 ~~~~~~~ ~~~~~~~~~~~~~~~~~
j b j
q =120 1/4 1/4

& 4 .. j
n . b . ..
~~~~~~~ ~~~~~~~~~~~~~~~~~
. .
1/4 1/4

T
. .
BU BD

A 3 3 5
3
5
3 5 (7) (5) 3
5 5
B 5 5 5

This Eric Clapton style line is derived from the G minor pentatonic scale, using quarter tone and whole tone bends with a thick overdriven tone. Notice how the lick can be
repeated over the I and IV chords of a I-IV-V blues chord progression; thats G-C-D in the key of G.

ToTal GuiTar june 2017

 Take The lead!

MIx Of ROck ANd BLueS TRACKS 27-28

q = 108
A5 A 7sus 4
~~~~~~~
D/A F5 G5 A5

## n w n ~~~~~~~
& # 44 ..

j

n w ..
~~~~~~~ ~~~~~~~
. .
BU
5
T
. .
5 8 8 (10) 8 5 5
A 7
6 7 7
7 5 7
B

This Free and AC/DC inspired lick is played using the A Mixolydian scale (A B C# D E F# G). Try swapping the 6th fret C# note in bar 1 for a 5th fret C and youll be in the
noticeably moodier A minor pentatonic scale (A C D E G). Its a one-note change which you can easily exploit in your own blues jams.

Choose a Quick Get the

suitable amp type
Blues and classic rock vary from clean
tones to fairly well overdriven with plenty
of midrange and not too much bass. This is
partly down to the equipment that was
available back in the late 60s through to
the mid 70s, as well as what was
stylistically popular at the time. For a rock
tone opt for a British Marshall stack any
digital modeling amp will have a suitable
tone. For clean sounds a Fender
Twin Reverb model is a good
bluesy choice.
tricks right drive tone
In the late 60s, fuzz-style distortion
Essential tips for pedals were the latest thing, often with
blues soloists misleading names like Tone Bender and
Big Muff. These pedals gave quite a
different sound to the natural valve amp
overdrive they sound much, er, fuzzier.
Jimi Hendrixs Foxey Lady and (I Cant Get
No) Satisfaction by the Rolling Stones are
classic examples. Again, digital
modelling amps and effects will 51
have a suitable patch.

Scale-wise, Learn the

its a no brainer I-IV-V progression
Many solos and almost as You may already know
many riffs from the genre rely the staple blues I-IV-V chord
heavily on the minor pentatonic progression following A-D-E chords
scale and its closely related cousin, the in the key of A for example. A good step to
blues scale. The blues scale simply adds a improve your blues and rock lead is to learn
b 5th interval to the minor pentatonic, so the minor pentatonic scale for each chord,
G blues scale becomes: G B b C D b D F. ie, the A, D and E minor pentatonic scales.
Its by no means confined to old-style This gives you a bigger arsenal of licks to
music either these are two of try out as the chords change, rather than
the most commonly used Use powerchords sticking to the root position A minor
scales in rock. for an easy jam pentatonic scale throughout.
x x x x Powerchords contain just two
notes: a root note and a 5th
1 thats the fifth note of the
major scale. These chords
sound ultra-steady which
allows you to jam over the top
3 with almost any scale that
shares the same root note. By
using powerchords in the
backing music the soloist
gets to choose
the colourful notes.

june 2017 ToTal GuiTar

 scales TRACKS 29-30

1 1 1 1
7 1
6
2 2 2
2 2 1 1
3 3
3 2
4 4 4 4 4
3 3 3
4 4 4 4

Phrygian scale
Scale notes (in E): E F G A B C D
Intervals: 1 b 2 b 3 4 5 b 6 b7
When to use it: Metal, especially
thrash and also where you see two
powerchords one semitone apart.
E5 and F5, for example.
Phrygian
dominant scale
Scale notes (in E): E F G# A B C D
Intervals: 1 b 2 3 4 5 b 6 b7
When to use it: Try it over E5 and

Hard rock &

Another modal choice, this is F5 powerchords or for a biting lick
essentially a minor scale with a over a dominant chord E Phrygian
dissonant twist. Its exotic sound is Dominant over an E7 chord.
often heard in traditional Egyptian

HeaVy metal
and Latin music, but also hard rock
and metal from the likes of Kirk
Hammett, Marty Friedman and
more. The shape provides an
Just one different note (G#)
changes the Phrygian scale to
Phrygian Dominant. A more major
tinged sound, though still retaining

Aggressive rock and metal styles demand accessible finger pattern with a
useful selection of notes to solo
with, especially where E5 and F5
52 a certain level of technique and timing chords appear together.
the dramatic E to F semitone start,
it has more of a progressive vibe so
its used by bands like Dream
Theater, Symphony X and Haken.

1 Palm muting 2 alternate Picking 3 taPPing

This technique is a staple in rock and metal in both lead
and rhythm parts. Rest the side of your picking hand
against the strings where they cross the bridge saddles
and play some downstrokes youll hear a much more
focused, chunky sound than just picking the string and
letting it ring. This is great for keeping clarity on riffs and
low register solo lines.
Many of the faster lead lines youll hear in rock and metal
are a result of alternate down and upstrokes with the
pick, aka alternate picking. Generally, onbeat phrases
should start with a downstroke this helps with timing
and feeling the pulse of the music. You may find it helpful
to angle your pick slightly for a smoother motion across
the strings. Aim to keep your grip firm but relaxed.
Most people first heard this technique from the mighty
Eddie Van Halen in the late 70s. By using a picking hand
finger to tap the string on to the fretboard its possible
to create complex, fast lines with ease. It works best
with a distorted sound, though this isnt essential. When
youve tapped and created a note, pull your finger away
with a slightly sideways motion rather than just lifting off.

BRItISh SteeL TRACKS 31-32

q =159

~~~~~~~~~~~~~~~~~~
E5 5 F5 E5 D5 E5 F5 E5 D5 E5

n ~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~
D

# . n n . w
& 44 .. ..
~~~~~~~~~~~~~~~~~~ PM
~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~
T . .
A
B
. 9 10 9 10 9
12 10 12
9 10 12 10 12 10 9
.
Inspired by the heavy metal of the late 70s/early 80s, this Phrygian line uses a touch of finger vibrato and palm-muting to embellish what is actually quite a simple line. Its
easy to play this kind of line faster, or add more notes, but does it add intensity? You decide

ToTal GuiTar june 2017

 Take The lead!

IN the phRyG TRACKS 33-34

q =128 Half time feel

E5 F5

#4 n # #
& 4 ..

T .
.
9 10 12 13 12 10 9 10 12 13 12 10 9 10 12 13 12 10
A 9 10

B
1

# # n #
E5 F5
n ..

3

&
PM

T .
.
9 10 9
A 10 9 [9 ] 10 13 10 13 10 9 7 9
12 9
B
3

Its easy for a lead line to sound small against the backdrop of huge drums and rhythm guitars, but a little more midrange and a few more notes help this lick stand out.
Bars 2 and 4 feature tapping in a relatively slow controlled way. Once youve mastered this, its a breeze to speed things up for most impressive results.

Scooping out
your midrange
wont always work
Quick Improve your
tightness and timing
53
The classic mid-scooped tone
particularly associated with late 80s and
tricks Rock and metal lead playing is a highly
skilled art that leaves little room for

90s thrash metal is great for rhythm parts

Five top tips for
but can leave lead tones sounding weedy.
If youre using a scooped tone for your
rhythm its worth setting up a mid
boost for solos. You could use a wah
pedal, like Metallicas Kirk Hammett.
Alternatively, an EQ pedal will do the
job or a distortion pedals tone
control may also suffice.
sloppiness. The best way to make
improvements is the time-honoured method
metal solos of slow practice with a metronome, drum
machine, or any reference point that stops
you drifting out of time. Choose a lick that
challenges you and start playing at a tempo
where you make no mistakes. Repeat it
over and again, increasing the
speed in roughly 5bpm steps as
you gain confidence.

How much gain? Picks and strings

Listening to classic metal recordings
youll find the amount of distortion is
lower than you might presume, with
perceived saturation and sustain more
often a result of sheer volume. There are
exceptions to the rule, of course
Gary Moore used a lot of gain on Run For
Cover and Wild Frontier. Why not try going
lower than you feel you need, only edging
the gain up if its essential? Youll fatten
your lead tone and reduce hiss
and handling noise.
improve your tone.
And your performance!
The picks and strings you use are among
the most crucial factors responsible for
your tone. The sound of a super-light set of
Think about strings played with a thin pick will be
dynamics and pace markedly different to a heavier set of
In the search for more brutal sounding strings, perhaps made of a different
solos, its good to remember to use material and played with a thicker pick.
light and shade. This can be achieved Spend time finding a setup that suits
by varying your guitar tone; perhaps you and youll likely find yourself
a slow, sustained line on the playing at your best.
neck pickup then switching
to the bridge pickup for a
harder sound. Dont feel
you must fill every space
with fast playing. Its more
impressive to mix fast
lines into a structure.

june 2017 ToTal GuiTar

 scales TRACKS 35-36

Mixolydian scale
1 1 Scale notes (in D): D E F# G A B C
4
Intervals: 1 2 3 4 5 6 b7
2 2 2 1 1 When to use it: For a relaxed, but generally

americana
major key vibe. Over a I-IV-V progression
(such as G-C-D) where the V chord is the
root (D-C-G).
Weve already seen one Mixolydian shape in

and singer-
4 4 4 3 3 our lesson. No surprises there it is a
versatile scale. Its sonic signature is
4 4 generally relaxed not as bright as the

songwriters
major scale, less moody than any minor
scale yet still leftfield enough for
progressive and psychedelic lines. Played
over a D-C-G progression you have a scale
that works better than a standard D major
Use chords and arpeggios for a sweeter scale line would.

approach to soloing. Heres how Major scale in 6ths

Scale notes (in G): G A B C D E F#
1 4 4 1 1 4 4 Intervals: 1 2 3 4 5 6 7
When to use it: For sweet, soulful melodies with a relaxed vibe. You cant
really play these two-note shapes quickly!
2 3 3 2 2 3 3
Using the first and third strings, this arrangement of the G major scale uses
pairs of notes separated by six steps in the scale. Play with a fairly clean
sound and youll quickly be in soul, folk and Americana territory. Notice
54 some of the notes are on the same fret, but some are staggered a fret
apart this is so that all the notes come from the same scale.
3

1 using 6tH interVals 2 Hybrid Picking 3 fingerstyle lead

Viewing these as two-note movable chords albeit on
non-adjacent strings makes it easy and quick to play
interesting lines that outline the harmony of a chord
progression in a way single notes rarely can. Generally,
use your first and second fingers for one shape to leave
your third and fourth fingers free for the second shape.
While holding your pick between thumb and forefinger,
try adding in those spare pick hand fingers. Its a great
way to play simultaneous notes on different strings,
but being able to play two or three notes together,
exploring bass and treble in one lick. Its a staple
country technique used by Albert Lee and Brad Paisley.
In the Mark Knopfler/clawhammer style position,
thumb and forefinger take the place of alternating up
and downstrokes, but offer a more tactile experience
and a softer tone, unless you pick up and outwards,
causing the string to slap back against the frets. John
Mayer and Jeff Beck are great fingerstylists too.

fLy LIke AN eAGLe TRACKS 37-38

# 4 .
J J
q =120

& 4 . J J J ..
J J J J J
let ring let ring let ring let ring

T . 5 7 3 5 7 3 5 8 7 5 3 5
.
A
B
. 5 7 4 5 7 4 5 9 7 5 4 5
.

This clean tone line mixes simultaneous and staggered 6th intervals to create a melody that arguably suits this style better than more conventional rock or blues soloing.
Try different pickup selections and a splash of reverb and youre ready to go. Bernie Leadon of the Eagles had a nice touch with this kind of soloing.

ToTal GuiTar june 2017

 Take The lead!

MIxOLydIAN MeLOdy TRACKS 39-40

q =101
D Cadd 9 G/B D Cadd 9 G/B D Cadd 9 G/B
~~~~~~~D Cadd 9 G/B

~~~~~~~~~~~~ n
j w
#

& # 44 .. n
3

n ..
3

~~~~~~~~~~~~ ~~~~~~~[ ]
T . 8 8 10 10
.
. .
7 8 10 10
A 4 5 7
5 7 5
7
5 7

This line shows just how good the Mixolydian scale can sound over a basic D-C-G chord progression. The major scale sometimes sounds too bright, too happy and just not
moody enough. The recurring C note lends a note of tension, acting as a b 7 over the D major root chord and as an 11th over the G chord.

Texture and
melody rule
If you choose to use a cleaner tone,
perhaps you might want to consider a
more textural approach to your playing.
Crowded House famously created an
unusual phasing sound on Weather With
You, partly the result of a studio effect but
also from two E notes ringing out together.
In Tracy Chapmans Baby Can I Hold
You Tonight the vocal melody in the
last chorus is doubled with an almost
sitar-like guitar tone, proving
less is often more.
Quick A little bit of music
tricks theory goes a long way
Knowing the notes of the key signature
All you need for youre in can transform your solos. The key
sweeter solos signature tells you the right notes notes
that form coherent chord progressions
and solos that fit over the top. For
example, our 6th interval lick uses notes
from the G major scale (G A B C D E F#).
6ths are pairs of notes played six steps
apart in the scale, G-E, A-F# or B-G for
example. Its a simple pattern find 55
the notes on the fretboard and
the pattern unfolds.

Learn to recognise Blurred lines

chords by ear
Playing the individual notes of a chord is
known as an arpeggio. Its a tuneful
alternative to scale-based soloing,
guaranteeing that youll be in tune with the
backing youre using the same notes,
after all. Major and minor arpeggios are
easy to memorise by ear and its really
worth the effort. Play G-B-D to outline a
G chord; C-E-G spells out a C chord;
A-C#-E gives you an A; A-C-E is Am; and
E-G-B is Em. Play the arpeggios on
your guitar then sing them
back to yourself.
Mixing up lead and
rhythm guitar
Listen to 1989 by Ryan Adams and youll
hear a wide range of guitar tones, textures
and melodies. These are often simple
arpeggios embellished with a few easy to
reach notes. Keep the idea simple and
youve got a tasteful and textural rhythm
part to sing over; add a note or two into the
mix and youve got a lead break to take the
song somewhere new. In this style,
Arpeggios and two-note shapes such as
solos really dont need to be a technical
6ths will give your solos a sweeter sound workout when youve got a
than any blazing scale run solid melodic idea.

june 2017 ToTal GuiTar

 scales TRACKS 41-42

Major arpeggio in a
1 1 1 1 1 minor scale
7
Arpeggio notes (in G): G B D
2 2 Intervals: 1 3 5

melodic
When to use it: As an alternative to scale
3 3 3 runs, while ensuring you stay in key
Here, weve highlighted the root, 3rd and 5th
4 4 4 4 (a mix of G, B and D notes in this case) within

tricks
the larger framework of the E natural minor
scale. This is a major point to grasp; many
useful scale and arpeggio shapes co-exist in
certain scale shapes on your fretboard!

Brighten up your solos and bust out of

G minor pentatonic
those pentatonic ruts on the third string
Scale notes (in G): G B b C D F
Intervals: 1 b 3 4 5 b 7
When to use it: In place of standard pentatonic box

Bb
shape scales.
G C D F G
Weve seen this scale earlier in our lesson, but here,
arranged on one string, you wont be able to play any of
your habit licks from the more common shape. This
56 forces you to use the minor pentatonic scale in a
different way and rethink the licks you already know.

1 fret Hand Position 2 cHords witHin scales 3 stretcHes

Thinking of a group of notes as a chord shape leads you to
play more creatively than when playing up and down a
scale. Getting your fret hand into formation almost like a
C chord shape in this case prepares you to play the
notes of a chord (such as G, B and D, the notes of a G
chord) more effectively than picking them from the
context of a scale.
Play an open D shape at the 7th and 8th frets to give a G
chord. As well as being an alternative voicing for a lead
guitarist to play along with any G chord, this can be a
handy comfort zone when improvising over major chords.
Obviously, you just move the shape around the fretboard
for other key signatures. If youve ever played around
with sus2 and sus4 chords, why not apply it here?
Why should you develop your finger stretch? If you span
seven frets from your first finger to your fourth you can
play lots of slick legato licks (legato refers to hammer-
ons and pull-offs) that cover two pentatonic scale
shapes at the same time. Seven frets sounds like a lot,
but, up at the 10th, 12th and 15th frets, its manageable
for relatively experienced players. Try to build up to it!

ARpeGGIO LINe TRACKS 43-44

q =105

Em7 Cadd 9 Em7 Cadd 9

G D G D

#4 . ..
.
& 4
J

T . 7 8 7
.
. .
8 7 8 8 10 [10 ]
A 9
7 9 7
10 9 7 9
7 7

B 10 10 9 7

Here, we use a G major arpeggio to ascend, before fleshing it out into a scale run on the descent. This highlights the chord within a scale principle, especially during the
last two bars. Note how the very simple rhythm contrasts with the more complex stop/start of the backing track.

ToTal GuiTar june 2017

 Take The lead!

ONe-StRING LIck TRACKS 45-46

q = 80
E b sus 2

F

b
& b 44 ..

T .
A
B
. 19 15 15 15 15 17 17 17 17 12 12 12 12 15 15 15 15 10 10 10 10 12 12 12 12 7 7 7 7 10 10 10

b
bb ..
B Gm

& w

T .
A
B
10 5 5 5 5 7 7 7 7 3 3 3 3 5 5 5 0
.
3

Using only the third string, this one-finger idea strips away all the habitual scale shapes that can actually stand between us and melodic invention. You may find you want
to cross to other strings and blend in a little traditional position playing switch to the G minor pentatonic scale in 3rd position for this.

Try out a
rhythmic delay
Quick Choosing the
right scale
A dotted eighth note delay can transform
simple melodic ideas as the repeated
tricks Choosing scales can be tough, so we
recommend starting with a pentatonic scale
57

notes interact with the notes you play to

How to make your
produce lush cascading lines, U2 style.
The trick is to play an eighth note melody
with a dotted eighth note delay rhythm.
For example, if your backing track is
played at 120bpm, the dotted delay
time is 375ms. If you want to
play at half speed with a
quarter-note melody, simply
double the delay time.
they are simpler and less harmonically
solos shine complex than seven-note alternatives. The
minor pentatonic scale is a good start for
minor key chord progressions and over
dominant style 7 chords in a blues
progression E minor pentatonic over
E7-A7-B7 for example. Use the major
pentatonic scale over major key
progressions. Its a versatile scale,
good for any style of music.

Expanding Rhythm isnt just

scale ideas for rhythm guitar
Once you know some basic pentatonic An oft-neglected element of soloing is
scales, try to memorise a handful of rhythm. Put simply, solos arent just
landmark notes around the shapes you about the notes you play; rhythm ideas
know. This is a good way to bust out of a are vital too. For an improvisation
pentatonic rut and employ some more Record and challenge, try limiting yourself to just one
colourful notes without having to learn a evaluate your or two notes. This lets you think more
whole bunch of new
playing about creative ways to time the notes you
shapes. Here were Recording yourself playing is one of the play. Try everything from constant
1 1 1 1 1 1 looking at the A minor most valuable things you can do,
5 rhythms to broken up syncopated
pentatonic scale with helping you identify technical errors as lines. As your rhythmic ideas take
2 2 some useful extra notes well as capturing moments of shape try introducing one or
shown in green. inspiration. You may be surprised by two more notes.
3 3 3 3 3 3 what you hear. For instance, it can feel
great to add fierce vibrato, but how
4 4 4 4 often do you need to do it? Or what felt
like a shaky moment may sound
surprisingly inventive on playback
wrong notes often work.

june 2017 ToTal GuiTar

 Just one guitar?
fill out
your sound
Plan for the dreaded dropout in your
sound when your guitar solo kicks in scales TRACKS 47-48

Natural minor scale in octaves

Scale notes (in E): E F# G A B C D
3 3 3 3 3 3 3 Intervals: 1 2 b 3 4 5 b 6 b7
When to use it: Commonly used in punk rock solos and jazz guitar melodies
the versatile octave technique can strengthen the sound of any lead line.
1 1 1 1 1 1 1 Octaves are played two notes at a time and were using our first and third
fingers for each pair, one on the fifth string and one on the third. Mute the
2 idle strings (the fourth string is most important) to play more aggressive
strummed scale passages such as the solo in Green Days American Idiot.

E E minor on the third

B string with drones
When to use it: Another versatile idea, youll hear this technique used in
G A B C D E F# G everything from indie and alt-rock to folk and blues.
A drone is a constant tone that interacts with the main melody. Youll hear
the effect in sitar music and with bagpipes too! Still, its easy to recreate on
guitar just use a spare open string over or under your melody line. It allows
you to play lead lines, but helps keep the sound full when there are only bass
58 and drums backing you up.

1 octaVe sHaPe 2 octaVe sHaPe on 3 muting tHe idle string

on low strings
Using this two strings at a time shape, you can slide
around and make thicker sounding lead lines, avoiding
some of the dropout when you stop playing rhythm to go
into solo mode. This works when you pair up the sixth and
fourth strings and with a fifth- and third-string pairing.
The solo in Green Days American Idiot is a great example.
HigH strings
The octave shape is different on the high strings we
have to compensate for the lower tuned second string.
Remember, its a two-string shape. You can pair up the
fourth string with the second or the third string with the
first. Octaves arent as easy or as quick as using single
notes but the challenge is worth it for the bigger sound.
These two-string octave shapes all straddle an idle string
and that string needs to stay quiet, otherwise you can
expect some pretty nasty sounds! Simply angle your first
finger to touch the unused string to stop it ringing out.
Once this becomes second nature, youll be able to strum
quite aggressively at those octaves without fear of
unwanted/wrong notes.

puNky SOLO IdeA TRACKS 49-50

.
q =152

#4
& 4 .. .

T . .
A
B
. 9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
11
9
11
9
11
9
11
9
11
9
11
9
11
9
11
9
12
10
12
10
11
9
11
9
12
10
12
10
14
12
14
12
12
10
12
10
11
9
11
9
9
7
9
7
7
5
7
5
.
cont. sim.

Played exclusively on the third and fifth strings, this example stays within the E natural minor scale and features hard strummed octave shapes across a wide range of
the fretboard. Its surprising how much musical space this can fill, but explains why the idea is so popular in the power trio format.

ToTal GuiTar june 2017

 Take The lead!

dRONING ON TRACKS 51-52

#4
q =106

& 4 ..
let ring throughout

T . 0 0 0 0

.
0 0 0 0 0 0 0 0
A 9 9 7 7 5 5 4 4

B
1

# ..
&

T
0 0 0 0
.
.
0 0 0 0 0 0 0 0
A 2 2 4 4 5 5 7 7

B
3

Here were combining linear playing along the third string with the open first and second strings serving as a drone to create a wider sound. A short analogue style delay
further enhances the feeling of space. Keep the distortion lower for parts like this so you dont lose the notes in all the fizz.

Tone tips for a

full sound Quick Wetter is better
Wet effects such as reverb and delay
If youre playing long notes over a sparse
backing, check that your amp and effects tricks can be a huge help when there is musical
space to be filled. Queens Brian May is a
59

deliver plenty of sustain. If your amps tone
doesnt cut it, try out an overdrive pedal
such as the Ibanez TS9 and TS808
Tube Screamers or Fulltones OCD, keeping
the gain as low as possible once your
sustain requirements are met. Dial in
plenty of midrange and if your tone sounds
spiky, try using a compressor for
smoothness and more of that
all-important sustain.
Top tips for a master at creating massive sounding
bigger sound layers with judicious use of delay in tracks
such as Brighton Rock. Try setting up a
delay to repeat on every quarter note beat
with six to eight repeats it sounds great
on licks that use 16th note rhythms.
Reverb fills out sound but too
much echo can muddy your
tone theres usually a sweet
spot to be found.

using an Fast flurries and

open string
Letting notes ring out together can
help deliver a full sound without the
dreaded dropout as your solo kicks in.
Using an open string or two is the easiest
method, technically speaking, but this
limits you to just a handful of notes.
Albert Lees crazy intro to Country Boy
is a great example of how those
open strings will often work in the
key of G major. Just keep a bucket of
ice close to hand if you plan to
tackle Alberts fiery licks.
A wide spread
of notes
Try using notes across a wide
frequency range for a broader sound.
One easy way to do this is to skip a
string in your scale of choice. For
example, try making up a minor
pentatonic lick that moves from
the fifth string to the third and then
first strings youll cover more
range than staying on adjacent
strings, filling out the sound
in the process.
wide vibrato
Van Halens debut album showcases
Eddies ability to fill space against a sparse
backing. Listen to You Really Got Me and
youll hear a selection of ideas, from briefly
breaking away from the main riff into a
flurry of notes to a smartly arranged solo
which isnt as hard as it sounds. Despite
the shred vibe, theres but one fast lick and
it lasts less than three seconds. Its
Eddies wide string bends, aggressive
vibrato and smooth sustain that ensure
the solo kicks you in the gut.

june 2017 ToTal GuiTar