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SOLOING
Lessons
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CHAPTER 2 - PSYCHOLOGY - PATTERNS
- PSYCHOLOGY -
Last time I told you about practicing. This time I would like to talk about de psychological side of guitar playing and soloing in particular. I'm not trying to be the Dr. Phil on the area of guitar playing, but I think this aspect is overlooked. I strongly believe that the way you perform is depending on your personality. Lots of times I hear people say: "It's all in de fingers".
I certainly believe that's true, however, "in the fingers" is actually a short term for the way you are and function and how this shines through in your guitar playing. A person who has e.g. a mental blockade can practice 7/24 or be the most talented guy, the results will be far less compared to this person who is free of obstructions. Creativity and feeling well or bad are partners.
There are 2 issues to consider here: the first one is the way you feel during playing. Your timing lacks, the picking isn't smooth, the vibrato is shrill or, on the opposite side, you are playing like a guitar god... all depending on you mood and energy.
The other one is a more structural blockade that for some reason is between the ears and stops you from being the guitar player that you could be. If you, for what ever reason, believe that you are not having a certain talent or skill and never will have.... then that's how it will be.Of course...the practicing itself is very determinating for what you can play or not and this has to be done on regular base. What you don't practice, you normally cannot play. Building up self- confidence is done by practicing a lot and this generates a snowball effect that stimulates the believe in yourself.
Now you probably think: what can this do for me? Well...if you are in a period where playing the guitar has become a struggle or you have the idea that you're not improving any more, think about this issue. It happens to every body from time to time, even the famous ones (just read the interviews) so there's nothing to worry about. And if it comes to a real problem then maybe you can find comfort with Dr. Phil or by listening to the stimulating guitar playing of John Norum... (I would pick the last one)
John Norum
- PRACTICAL -PATTERNS
Last time I gave you a few examples of patterns that you can use in your soloing. Of course, with these patterns and licks only there will be no real solo, but other technical issues will be treated in the next articles.
With these pattern I try to give an idea how to play a solo in a more exciting way, regardless of scales and theory. These kinds of licks are much more effective if you play them with a certain emotion as this determinates the difference between a pure technical player or one with feeling.
Admittedly: guitar players are often judged by their technical ability, but it's the emotion and feel in the playing that makes one sound like "himself". I will tell more about this issue in the next article.
There are more patterns that I find important and they can be used in solos to give them something extra. You can hear them on the demo as well.
Here you can here how the patterns below are meant to be: Soundclip.
= stroke towards the top E string side.
= stroke towards the bottom E string side.
Keep in mind that you will have to pay attention on your picking when you jump from string to string. It's just a matter of playing and practicing a lot, as always, but try to "think" with your plectrum movements while you are picking. Concentrate on the hitting of the strings. This way you play less sloppy and more precise.
Hint: do these exercises with 2 fingers on 2 strings and pick them alternately. E.g. index finger on string D fret 14 and ring finger on string G fret 12; index finger on string B fret 12 and pinky on string E fret 15 etc. You'll be surprised how fast you will accustom to this picking style.
Try to end the lick with a nice vibrato already. The effect on a lick/solo is immense. Performing a good vibrato is not easy and demands lots of practice. If you don't control vibrato, leave it for now because next time I will go into that. Still, if you are a beginner, it's really wise to incorporate this in your playing as soon as possible because it will give your soloing much more lifelines (listen to Yngwie Malmsteen!)
A lot of classic solos are based on blues although the newer techniques and note choices, performed by guitar players such as Steve Vai, are less focused on that. I believe that these conventional pentatonic based solos are still very useful to grab the listener. Adding fast runs with interesting notes and deep vibrato makes the solos jump out of the gray mass. Zakk Wylde is a good example here.
Here is an example of a catchy lick. Bend the first note one whole note. Apply a vibrato to the last note where you move the string 4 times up and down on the right tempo.
What I often do is adding "ghost" notes in the scales. These are notes that officially don't fit in the scale. The blue note on fret 11 (B string) in the previous pattern is such a note but you also can add notes from major scales like the Aeolian. They can give your solos something extra and are important for the emotional feel.
Another example:
Also these patterns can be played with another sequence of the notes.