GUITAR SOLOING 012: Flashy Attention Getting Ideas

November 10, 2017:
Lesson 012 - Flashy Attention Getting Ideas

The impact that your guitar solo has upon your listener is dependent upon many things including your sense of phrasing and your melodic control. Then, there's your ability to build interesting lines out of different sections of scales and arpeggios in a flashy attention getting way... 

Lesson 012 explores this... 

Quick blasts of speed along with technical wizardry are guaranteed to take your guitar solos to a whole new level. These kinds of flashy statements are fantastic for grabbing the listeners attention, and it is exactly these kinds of ideas that we're going to cover in the twelfth episode of, "Guitar Soloing."

Watch the Part One Video FREE on YouTube:

PART ONE:  In example one, we apply the technique of "economy picking." This is also often referred to as "sweep picking." It involves raking the pick across two or more strings in either a continuous up, or down-ward motion. In example 1a, I've organized an economy picked line that applies both down and up sweeps. In example 1b, the lick applies a series of up-wards sweep ideas.

Example two applies the technique of fast moving legato. This technique is excellent for speed. On guitar we generally produce the legato sound by way of rapidly flowing hammer-ons or pull-offs. Legato offers guitar players a very smooth and connected sound especially across 7-tone scales.

Due to the accuracy involved, the technique can be difficult to bring up to faster speeds, especially descending. In example 2a, we're making study of an ascending legato hammer-on scale run. Example 2b, changes the flow of the scale direction to introduce a descending legato pull-off scale run.

In example three, I introduce slides. The slide study is focused upon the sound of fast attention getting lateral slide licks. There are of course many different ways of using slides as a technique for flashy licks. However, lateral sliding is a style of lick that really grabs the listeners attention.

There are a lot of notes involved with using this technique and they shift along the neck very quickly to produce the idea. The line in example three takes a "C Minor" scale and establishes the initial statement within the first measure. In the second measure, the slide concept starts to build more momentum by quickly traveling through the "C Minor" scale along the 1st and 2nd strings.

Example four, is all about bending. While this technique isn't one of those fast blistering ideas, the bend is still a fantastic way to grab the listeners attention and have them really take notice. In fact, guitarist "David Gilmour" is one of the most well know players for bend technique. He applies it as a way to stress notes across solo sections and at the same time, draw the listener deep into the melodic concepts of his solos.

The bend techniques used in example four include; "Sustained Bends," the "Bend and Release" technique, as well as,  Standard Bending principles. Pay particular attention to the way that each bend is performed. To help you focus on this area, I have set-up each of the bends to only take the note travel distance up one whole step, (Full Bend). This means that the note will be raised up-wards during the bend by way of one whole step higher, (two frets) on the fingerboard

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