The SINGLE REASON Why Guitarists Can't Solo! (What NOT to Do)

Do you have stubborn issues when it comes to playing guitar solos? Issues that don’t seem to respond to anything that you work on in your lead guitar practice sessions? If this sounds like you then you need to watch this video...


 

 

 

 

I’m going to show you how to build better guitar solos by establishing the scale and key control that is lacking with most guitar players. 

 

This lack of control is one of the main reasons that will prevent guitar players from seeing the development that is possible when it comes to playing effective guitar solos. 

 

WATCH THE VIDEO:

 



SOLOING PROBLEMS:
If you’ve got a problem when it comes to soloing, if you can’t solo or your solo’s are lagging behind where they should be and you want to do something about it, I’m going to show you  exactly what to do. 

 

I know that most guitar players are told (in all kinds of YouTube videos), that they need to learn a bunch of technical terms and all kinds of scale options. Which is not particularly bad advice, it just isn't entirely necessary when first setting out to solo.


Since there are so many lessons with YouTube teachers saying that you need to learn the Minor Pentatonic, the Major Scale, the Modes, etc. it becomes overwhelming for most students who are new to soloing.

 

Being told all of that information, (especially if you don’t know what you’re doing when it comes to playing a solo), will ultimately get you bogged down. 

 

When you break it down in the simplest sense, there's only one scale (the scale of the key) and guitar really only has one geometrical pattern for the key. This stuff is not complicated, so don’t make it complicated or buy into the notion that it is complex.

 

 

 

 

INFORMATION OVERLOAD:
Too many guitar players suffer from, "information overload." They have far too much piled up on their plate and it causes them to become so bogged down that they can’t play even a simple guitar solo. 

 

Instead what happens is guitar players get lost in the theory, the exercises and the abundance of large scale patterns on the neck. All of this start to cause the player to lose sight of even the most basic ideas behind playing a guitar solo. 


SIMPLIFICATION:
In this video I’m going to help you bring clarity to soloing by simplifying the way that you solo through using your ear and a simplified single note layout on the neck.

 

As stated earlier, sometimes too much knowledge can be a curse. This is true since the way that we organize knowledge is for the most part very different from how we use and apply that same knowledge. 

 

If I relate some theoretical concept like how for instance Minor Pentatonic and Major Pentatonic are the same through “Relative Notes,” how does that help you use that information? It helps you little to none doesn't it.

 

Unless you’ve already applied relative scale theory and you know everything about what the term actually means and how it is used within a guitar solo, the information is nearly useless with respect to it being something that is helpful.

 

For us to be able to use notes to solo we need to start by learning one basic guitar scale pattern perfectly. Then, you can use your ear to find the key of whatever it is that you want to play a solo over. 

 

Once you have those two elements, (a memorized pattern and a good sense of using your ear to guide the music along the neck), you’re ready to compose a guitar solo (NOT Improvise one at this point, just compose one).

 

Coming up next, I’m going to go over one of the best soloing patterns that we have available to us on the guitar... But first, I want to tell you about a special promotional offer related to my new; Handouts Collection eBook. 

 

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I wanted to take a minute to let you know, that if you want to learn even more about scales and theory I have a great offer for you.

With any donation over $5, or any merchandise purchase from my Tee-Spring store, I’ll send you free copies of THREE of my most popular digital handouts.

One is called, “Harmonized Arpeggio Drills” (it’ll train you on developing your diatonic arpeggios).

Another one is my “Barre Chord” Handout which includes a page showing all the key signatures along with a chord progression that applies barre chords.

Plus, you’ll get my Notation Pack! It has 8 pages of important guitar worksheets for notating anything related to; music charts, guitar chord diagrams, and TAB.

As a BONUS, (from my "Over 40 and Still Can't Play a Scale" video), I'll also throw in a breakdown of all of the chords that are diatonic to the "F Major" scale.

As an EXTRA BONUS for my Phrygian Dominant video, I'll also throw in a breakdown featuring all of the chords that are diatonic to the Phrygian Dominant scale.

Just send me an email off of the contact page of CreativeGuitarStudio.com to let me know about either your donation or your Merchandise purchase and I’ll email you those digital handouts within 24 hrs.   

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Example 1). 

This scale example shown below is one of the most popular upper 4-string Pentatonic Scale layouts used by guitar players. Here’s how the shape looks on the neck in the key of “C."

 


You don’t need to understand at first what exactly needs to happen to create Major or Minor. At first, just memorize the scale shape. 

 

Example 2). 

The cool thing is that this scale shape is pretty much all that you need to cover any Major or Minor key chord harmony. 

 

By sliding it to other locations you can change the key. Here’s how the shape looks on the neck when you drop it down a whole-step into the key of “B♭


 

CONCLUSION:
In the beginning, too many guitar players will try to start off by Improvising. But, for a lot of players, that approach can doom you to failure, because improvisation is such a complex spontaneous musical technique that it requires a very high level of competence, (a skill that most beginners and intermediate guitar players still don't possess).

 

If you want to get better, master the shape that I just showed above and then work at getting a well refined level of skill for moving through the shape using primarily your ear as your guide.

 

Start composing worked out melodies. One you compose enough melody, you’ll slowly start to more acutely develop your ear up to a high enough level that you can hear chord connections and not have to think about each chord consciously.

 

The other side of soloing is rhythmic feel and with composing you’ll develop your sense of rhythm and with it your ability to improvise music from off of the top of your head.


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