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D-E-F-G-A-Bb-C
D-F-A
C-E-G
Bb-D-F
24th fret (if you have one) without leaving the patterns. Like this: (In
TAB
form)
E------------------------------------8-10-12--l
B---------------------------5-6-8/10----------l
G-------------------2/3-5-7-------------------l
D-------------2-3-5---------------------------l
A-------1-3-5---------------------------------l
E-1-3-5---------------------------------------l
E-13-12-10----------------------------13-15-17/18-l
B----------13-11-10----------13-15-17-------------l
G-------------------10-12-14----------------------l
D-------------------------------------------------l
A-------------------------------------------------l
E-------------------------------------------------l
E--20-18-17----------------------------18-20-22/24l
B-----------20-18-17----------18-20-22------------l
G--------------------19-17-19---------------------l
D-------------------------------------------------l
A-------------------------------------------------l
E-------------------------------------------------l
Try playing this slowly and smoothly hammering-on each ascending note,
pulling-off each descending note, and sliding where notated. Stop at 20
if
you don't have the upper frets, or if you get tired.
Now, the nice thing about remembering patterns is that the pattern works
for
any key; just change the position. Pattern 1 above starts on the third of
the
major scale. (remember it's only a pattern, not a phrygian scale). So the
starting points on the low E string that I remember are:
C
D
E
F
G
A
major/A minor
major/B minor
major/C# minor
major/D minor
major/E minor
major/F# minor
open
2nd fret
4th fret
5th fret (as above)
7th fret
9th fret
We can find a few licks within each pattern that we can use to augment
our
solos. Like these:
Dm
E-----5-6-8-6-5---5-------l-8-----5--8-----5-8-10-l
B----6---------8-6--8-6-5-l--6---6----6---6-------l
G---7---------------------l---5-7------5-7--------l
D-------------------------l-----------------------l
A-------------------------l-----------------------l
E-------------------------l-----------------------l
E---------------------------5---5-6-5-6-8-6-8/10--l
B----------5--5-6-5-6-8-6-8---8-------------------l
G----7-5-7--7-------------------------------------l
D-------------------------------------------------l
A-------------------------------------------------l
E-------------------------------------------------l
Also notice as we put the patterns together and complete the major scale
up
the neck that the chords for the tune we're playing become available for
licks. Like this:
Dm
E-5--------13-10-----l
B--6-------------10--l
G---7----------------l
D----7---------------l
A-----5--------------l
E--------------------l
C
E-8--------15-12-----l
B--8-------------13--l
G---9----------------l
D----10--------------l
A-----10-------------l
E-------8------------l
Bb
E-10-------13-10-----l
B--11------------11--l
G---10---------------l
D-----8--------------l
A--------------------l
E--------------------l
We can use these triads in our solos to really accentuate the chords and
pull-off the triads in kind of a "Hotel California" "Sultans of Swing"
solo
kind of thing.
Find a pattern that you like and that feels comfortable for your fingers
and
playing style. Then play it a thousand times. Have a friend play the
chords
over and over and try it out. Or play along with a tune in each key.
Well, this should get you started on soloing in the major and minor keys.
I'll
continue more lessons later.
Any additions? Post 'em and we can discuss them.
M.L.
we're playing pretty fast the listener can't really discern them anyway,
but
they will the last note. This note is where you were going with that
scalar
run; your destination. How you got there (fast or slow) is not important,
this is the statement you wanted to make. This brings us to:
Resolutions
When listening to a piece of music, the ear always wants to return to a
stable
place. This place is either the tonic (root) of the piece, or the tonic
of the
underlying chord. This "return" is called its resolution. A flurry of
notes
that don't adequately resolve, while technically impressive, leave the
listener uncomfortably misdirected.
In our previous example using a Dm-C-Bb-C chord progression, the
listener's
ear will always want the solo sequence to return to the D note. Not only
that,
the return (or resolution) should be on the beat. There is also
resolution to
the underlying chord. So if you resolve to the C when the C major chord
is
playing, there is resolution. However when the chord then changes to he
Bb,
the resolution is lost.
Playing in a minor pentatonic scale over a I-IV-V progression yields many
opportunities for resolution. This is because of the notes in the scale,
(root, m3, p4, p5, m7) three of them resolve to the underlying chords,
and
the others resolve with a small bend. This is one of the reasons the
pentatonic scale is so easy to use.
Now that we have established that rule...break it. Play a little solo
melody
and leave it unresolved. Go ahead, rules are meant to be broken. Resolve
to
the "C" while the tune is still on the Dm, but hold it until the band
catches
up.
Let's get really wild and play notes that are not in the scale! Let's add
passing tones to our scales like this:
Play real fast in Dm
Pick the asterisked notes and pull-off the rest.
*
*
*
*
*
*
E--8-6-5-6-5---6------------------------B------------8---8-6-8-6-5-6-5---5------G------------------------------7---7-6-5D---------------------------------------A---------------------------------------E----------------------------------------
Notice the passing tone inserted between the "D" and the final "C" note?
This
lick resolves to the C, however, if you hold the C for a moment and then
hammer-on or slide to the D at the seventh fret, we have a nice
resolution to
the tonic.
Remember that your main goals in soloing are:
1
2
3
4
Listen to some of your favorite solos and pick out the resolutions. They
will be very obvious as you listen to each tune. Listen also to those
spots
where resolution is delayed, or not there.
If you have a recording of Yngwie's first album with Alcatrazz, check out
the
way he incorporates speed with resolution.
For kicks also listen to "The Four Seasons" by Vivaldi and pick out the
resolutions in the melody, or try "La Gazza ladra" (The Thieving Magpie)
by
Rossini.
For blues scale resolution, check out David Gilmour's solo in Comfortably
Numb from The Wall.
OK...that resolves that. I hope this helps in your melody writing and
soloing.
Any comments or additions are welcome.
Sorry if I got a little wordy.
M.L.
Root (Am)
A G F E D C B A G F E D C B A
E-----------------------------------B-10-8-6----------------------------G---------9-7-5---------------------D----------------9-7-5--------------A-----------------------8-7-5-------E------------------------------8-7-5Up a third (C)
C B A G F E D C B A G F E D C
E--8-7-5----------------------------B---------8-6-5---------------------G----------------7-5-4--------------D-----------------------7-5-3-------A------------------------------7-5-3E-----------------------------------Harmonized
E--8-7-5-----------------------------B-10-8-6--8-6-5----------------------G---------9-7-5--7-5-4---------------D----------------9-7-5--7-5-3--------A-----------------------8-7-5--7-5-3-E------------------------------8-7-5-Notice how the intervals change? This is the tricky part of harmonizing
in
thirds. In the above example the intervals are:
A-C
B-D
C-E
D-F
E-G
G-B
m3
m3
M3
m3
m3
M3
So how did I figure this out you ask? Well, let's take a look.
Admittedly harmonizing in Am is pretty easy; no accidentals to worry
about.
But we'll use it to get started.
We know what a third is, right? It is an interval of either three
semitones
(minor third, 3 frets) or four semitones (Major third, 4 frets). Thirds
are
very instrumental in chord construction, as you know from the other
lessons we
have been through (did we all do our homework?)
We know that the interval between two adjacent strings on the guitar is a
E---]---]---]---]---]---]--B---]---]---]---]---]---]--G---]---]---]---]---]---]--D---]---]---]---]---]---]--A---]---]-C-]-C#]---]---]--E---]---]---]---]-A-]---]--^
^
^
m3 M3 R
Also:
E---]---]---]---]---]---]--B-C-]-C#]---]---]---]---]--G---]-A-]---]---]---]---]--D---]---]---]---]---]---]--A---]---]---]---]---]---]--E---]---]---]---]---]---]--So, to figure out what the harmony is, just count up three notes in the
scale
to find the third. In keys other than C-Am we have to make sure that the
proper
notes are sharped and or flatted.
If you have two guitarists it will take a while to work out the proper
harmony
lines, but it is well worth the effort.
Another trick is to slowly play a scale and have another guitarist play
the
same scale but start on the first note when when you get to the third
note.
Try this with a digital delay too.
Here is a descending D major scale with the harmony up a third:
E-14--12--10--9---7--5--3--2--0---B-15--14--12--10--8--7--5--3--2--3G--------------------------------4D---------------------------------A---------------------------------E---------------------------------Another way to harmonize is to play harmonizing melodies. Two different
melodies that share common tones. Try playing an ascending A minor scale
at a
slow tempo, and have another guitarist play a descending A minor scale.
This
will give the following harmonic intervals:
A-A
B-G
Octave
m6
C-F
D-E
E-D
F-C
G-B
A-A
P4
M2
m7 (inverted)
P5 (inverted)
M3 (inverted)
Octave
As you dick around with these things you will find a lot of Allman
Brothers,
Night Ranger, Queensryche, Eagles, Thin Lizzy, Bach, Mozart, Vivaldi
etc...
If you have two guitarists try this lick. Or try recording part A
playing
part B over it.
and
Part A (Em)
E-----------------------B-----------------------G--0--4--9--12--9--4--0-D-----------------------A-----------------------E-----------------------Part B (G major)
E-----------------------B--0--3--8--12--8--3--0-G-----------------------D-----------------------A-----------------------E-----------------------Whee! Fun stuff.
So the trick to harmonizing is knowing your scales and key signatures.
After
that it's a snap to harmonize.
I do recommend typing up a fretboard graphic just to make sure that you
have
the notes right, it saves a lot of time.
Here's one.
1
2
3
4
5
6
7
8
9 10 11 12 13 14
E--F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#]
B--C-]-C#]-D-]-D#]-E-]-F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]
G--G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#]-G-]-G#]-A-]
D--D#]-E-]-F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]
A--A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#]-G-]-G#]-A-]-A#]-B-]
E--F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#]
1
2
3
4
5
6
7
8
9
10 11 12 13 14
Hope you enjoyed this lesson. Stay tuned for my next one.
M.L.
E-----------0-B---------0---G-------0-----D-----0-------A---0---------E-0-----------Am13
E-------------7B---------5-6--G-------5------D-----5--------A---5----------E-5------------The current shredding movement has made the use of arpeggios seem a
daunting task. What with full 6 and 7 note arpeggios played with a
single sweep at blazing speed. But we needn't think of arpeggios in
these terms. Arpeggios can be played slowly and deliberately to make a
wonderful statement and outline the underlying chords. Arpeggios can
also be just a few notes. A simple triad arpeggiated during a solo can
be most effective and can really help soloists get away from the
diatonic or pentatonic scale runs. Compare two descending runs:
Fast descending pentatonic run (triplets over eighth notes)
Am
E
1
+
2
+
3
+
4
+
1
E--8-5---5-----------------------------------------]--B------8---8-5-8-5---5-----------------------------]--G------------------7---7-5-7-5---5-----------------]--D------------------------------7---7-5-7-5---5-----]--A------------------------------------------7---7-5-]-7E--------------------------------------------------]---
Apeggiated Chords
Am
Am7
Amsus4
E
1
2
+
3
+
4
+
1
E---8----8--5--------------------------------]---B--------------5-----8--5--------------------]---G-----------------5--------5-----7--5--------]---D-----------------------------7--------7-----]---A-----------------------------------------5--]-7-E--------------------------------------------]---C
C A E C G E C A D C A D
E
Now both
third of
heard in
It makes
A
Dm
C
E-------5--9--12b(13)--]--10-----------]-/13-12--------------------]
B-----5----------------]-----10--------]--------13-----------13-13-]
G---6------------------]--------10-----]-----------12--14p12-------]
D-7--------------------]-----------12--]---------------------------]
A----------------------]---------------]---------------------------]
E----------------------]---------------]---------------------------]
Bb
C
E----------------]---------------]
B-----3--6--3----]-----5--6/8-6--]
G---3------------]---5-----------]
D-3--------------]-5-------------]
A----------------]---------------]
E----------------]---------------]
And of course his arpeggios from the outro solo
Dm
Bb
C
E--13p10----10--]--13p10----10--]--15p12----12--]
B--------10-----]--------11-----]--------13-----]
G---------------]---------------]---------------]
D---------------]---------------]---------------]
A---------------]---------------]---------------]
E---------------]---------------]---------------]
Here are a few more examples of arpeggiated chords.
() = an optional note
Dm7
(D-F-A-C)
E----------5--8--5----------B--------6---------6--------G--(5)-7--------------7-(5)-D---------------------------A---------------------------E----------------------------
Emaj7 (E-G#-B-D#)
tp
E----------4--(7)--(12)-B--------4--------------G------4----------------D----6------------------A--7--------------------E------------------------
F# A E
G# B E
B D E
As your playing gets more complex, so too can more intricate arpeggios
be worked into your solos. Here are a few: (Try playing them forwards
and backwards) (Try modifying them with altered notes to make new
chords).
Am
E---------------------8-12--]
B-----------------10--------]
G-----------5--9------------]
D---------7-----------------]
A-------7-------------------]
E-0-5-8---------------------]
E A C E A C E A
C E
E7
E------------11-]
B--------12-----]
G---------------]
D---------------]
A----11---------]
E-12------------]
E G# B
D
C6/9b5
E----------------]
B----------10-12-]
G-------11-------]
D----14----------]
A-15-------------]
E----------------]
C E Gb A B
E9
E----------------]
B----------3--7--]
G-------4--------]
D----6-----------]
A-7--------------]
E----------------]
So there you have it. See, that wasn't such a chore. Notice that we
haven't even touched the myriad of arpeggios available in classical
music. But check them out for your own research.
Figure out your own arpeggios and try them. Just take the chord formula
that you want to arpeggiate and figure out a way to finger it.