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 is an example:
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stroke towards the top E string side.
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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.