LESSON 004: If You Can't Phrase - You Can't Solo
July 21, 2017:
Lesson 004 - If You Can't Phrase - You Can't Solo
PART ONE: In example one, the approach works toward spicing up the phrasing of simple scale lines. A simple scale passage from the key of "F# Minor," is established in example 1a. Then, some basic phrasing is applied to the part in example 1b. The phrasing devices used include; 16th-note and triplet based rhythm, along with slides, hammer-ons and pull-offs.
Example two focuses on expanding the principles covered in example one, with further focus placed upon rhythms. The key of "C# Minor" scale passage shown in example 2a, is a basic layout of tones performed in strict 8th-note feel. In example 2b, the phrase takes on new life with greater rhythmic phrasing, (including a grace-note idea alongside slight syncopation with the loss of beats one and three in measure two). Phrasing devices include; slides, hammer-ons and pull-offs.
PART TWO: In example three, our purpose is to dress up the phrasing of a melody using harmony as well as, simple syncopation. A melodic statement in example 3a, demonstrates a common sounding descending linear idea in the key of "G Major." In example 3b, the melody is expanded to include a series of 3-note triads that appear upon the attack of each chord. An expanded rhythmic feel is generated through the use of 16th-note feel and 16th-note triplets. Pull-offs and hammer-ons are also added to enhance articulation of the rhythmic changes..
Example four works to exaggerate the phrasing of a speedy 16th-note based line shown in example 4a. This key of "E Minor," scale run is composed entirely of 16th-notes and quickly runs across the notes of the "E Minor" scale (Pattern #2 and Pattern #1).
The busy passage is modified in example 4b, by adding some 3-note triads, slides, hammer-ons and most importantly a few changes to the rhythmic structure. The steady stream of 16th-notes from 4a, gets broken up in example 4b using 16th-rests along with slight syncopation. The beats of two and four are both lost in each measure. This is an excellent example of how a straight forward 16th-note passage can take on new life through modifications to the rhythmic phrasing.
Paid members can download the handout along with the MP3 jamtrack in the members area at: CreativeGuitarStudio.com
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