This article is part of the series “Level Up! – 42 guitar solos for a better sex life”
Meaning of the Solo
Change can be scary at times. Either they come completely unexpected. Or they do not correspond 100% to
what we imagined. And yet: without changes, life would be very boring.
Tonal analysis
Here are the chords played by the rhythm guitar:
![](https://prestissimo-guitar.com/wp-content/uploads/level_up/creepy_changes/creepy_changes_chords-1-1024x214.png)
You can see why it is called creepy changes because you encounter major and minor versions of the same chord appearing together,
which isn’t normally allowed in diatonic environments.
Bars 1 to 5
![](https://prestissimo-guitar.com/wp-content/uploads/level_up/creepy_changes/creepy_changes_takte_1_bis_5-1024x483.png)
Prelude the start, this should be old hat by now, but it always works.
My motif is syncopated to make it more interesting since I only play the chord notes of F# major (F#, A#, and C#) in the first bar.
In the second bar I play around the C# (root of C# major) with the big ninth D#, but keep the ball rather flat.
In bar 3 we have to be a bit careful, because now the base chord is C# minor and therefore, we only bend a semitone
from D# to E (third of C# minor).
Stylistically confident, we land on the fundamental B major note.
Bars 6 to 9
![](https://prestissimo-guitar.com/wp-content/uploads/level_up/creepy_changes/creepy_changes_takte_6_bis_9-1024x482.png)
Our motif is not yet finished, the second part is relatively simple: We play a little bit around the root of B minor,
then go to A# (third of F# major) and then to G#.
The D# is the fifth G# major and with a casual bending, we go back to the G# again to precede the fifth of C# major, so to speak.
Bars 10 to 11
![](https://prestissimo-guitar.com/wp-content/uploads/level_up/creepy_changes/creepy_changes_takte_10_bis_11-1024x248.png)
As we have seen many times before, it makes sense to repeat the motif an octave higher on the second pass.
In bar 11, we then have a nice trill, which I improvised quite freely, hence the comic notation with 11 “sixteenths” over 2 quarters, felt just right.
Bars 12 to 13
![](https://prestissimo-guitar.com/wp-content/uploads/level_up/creepy_changes/creepy_changes_takte_12_bis_13-1024x307.png)
The motif from bar 4 is repeated, but the final is an octave higher, to add a little more tension.
Bars 14 to 17
![](https://prestissimo-guitar.com/wp-content/uploads/level_up/creepy_changes/creepy_changes_takte_14_bis_17-1024x589.png)
Final, oh ho! B minor played around with B, C# and F# (fundamental, ninth, fifth), F# major with third (A#), fourth (B)
and root and then G# and D# denoting G# major.
The final is a staggered bending from E# (major sixth), through the minor seventh (F#) to G#.
You first bend a semitone and then a whole tone. Bam!
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