Author: Jörn Bögeholz

This article is part of the series “Level Up! – 42 guitar solos for a better sex life”

There is also a second voice for this solo, played by Daniel Knauer.

Bars 5 to 8

For the second voice, the rhythm is simply duplicated.
Harmoniously we put a diatonic third underneath, that almost always works.

Bars 13 to 16

The sweeping part is just doubled. After that we use diatonic thirds underneath the first voice again.

Bars 17 to 21

At the end we turn the tables and the second voice plays the thirds above the first voice.

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Cream Cheese

This article is part of the series “Level Up! – 42 guitar solos for a better sex life”

Meaning of the Solo

I’ve once watched a television show about a girl who’s only skill was to run half-naked up and down the red carpet on movie premieres.
She got mildly famous for hanging around with the famous. Fascinating!

Tonal analysis

The accompaniment is made up of modified power chords throughout:

I first play the normal power chord A5, then A with a minor sixth and finally A with a major sixth. Continue reading Red Carpet Girl – Level Up! (english)

This article is part of the series “Level Up! – 42 guitar solos for a better sex life”

Meaning of the Solo

You’ve lost your keys. You are mad about yourself and the world.
At the same time you are sad, that the universe always tries to annoy you in particular.

Tonal analysis

The rhythm guitar plays the following chords:

Continue reading Mellow Yellow – Level Up! (english)

This article is part of the series “Level Up! – 42 guitar solos for a better sex life”

Meaning of the Solo

I’m on my way, try if you want, no one can stop me now.
I’m on my way, never give up, i’ll climb the mountain straight to the top!

Tonal analysis

The rhythm guitar plays the following chords:

The key is E minor. On to the atom! Continue reading On my Way – Level Up! (english)

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:

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

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

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

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

The motif from bar 4 is repeated, but the final is an octave higher, to add a little more tension.

Bars 14 to 17

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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On my Way