Into the Darkness – Level Up! (english)

Meaning of the Solo

Standing at a crossroad in life, our hero might chose the path to the dark side of chocolate.

Bar 1

Don’t choke on it. The first bar got it all figured out. Melody Tapping Deluxe.
So, here’s what we’re going to do: We take a normal E minor arpeggio (green) and tap it with the melody (red).

If this is too fast for you, here is the melody again, one by one:

There is one more special feature. The last note in the bar is an F sharp instead of a G. This is due to some mechanical reasons.

The next arpeggio in bar 2 is a C major arpeggio where the 15th fret is tapped, so I have to make room for this.

Bars 2 to 4

What can I say? I pull the same boot in bars two and three.

The arpeggios are C major and B minor. In bar four, I finish the phrase with a relaxed quarter triplet run.

Bars 5 to 8

That’s a cool topic. I just have to repeat it.
That’s why there’s nothing new in bars 5 to 7.

The triplet run in bar 8 has a few other notes, but that’s just it.

Bars 9 to 12

Now things are getting a little more exciting again.

The following bars could be summarized as “call and response”.
In bar 9 I call and in bar 10 I answer one octave higher (response) with a similar motif.
I repeat this in bar 11 and finish with a slightly different phrase in bar 12.

Bars 13 to 16

The last part is not for introverts: here you have to get out of your shell, as Attila Dorn from Powerwolf would say.

A little shredding part in E minor. The interesting thing about it is that we loosen up the run a bit by grouping 6 notes each.

This leads to accent shifts which is good against scale boredom.

Since our basic tempo of almost 160 BPM is already quite sporty, we need a solid picking technique for this part.

I tried to work with Economy Picking here.

Economy Picking is a mixture of Alternate and Sweep Picking.

You pick Alternate first but keep the picking direction when changing strings if the direction of the string change is the same as the picking direction before the change.

Have fun playing!

Full Track

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Beyond the Veil Harmonization – Level Up! (english)

For the remastered track I’ve created a second voice in the solo for Beyond the Veil. Here we go!

Bars 1 to 5

Since the pitch of the first voice is considerably higher, I prefer to put a third below it. That’s it.

Bars 6 to 9

In the tapping part, I wasn’t so sure that a third fits, or rather I wanted to keep the cool tapping pattern and therefore remain a fifth below the first voice.

Bars 10 to 13

Thirds are the safe bank here again. The second voice follows the first directly.

Bars 14 to 17

So, we’ve already had a fifth. What else is suitable for elegant harmonization?
Yup, exactly fourths will work, too! Listen to the old Scorpions classics.

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Level Up! – Overview (english)

Here you find the overview of my book

“Level Up! – 42 guitar solos for a better sex life”

Dream Harmonization – Level Up! (english)

For the album version of Beyond the Veil, I’ve recorded a second voice in bars 13 to 16.

Of course, I don’t want to keep this from you:

Simply play the original motif a third higher. That’s it!

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Dream – Level Up! (english)

Meaning of the song

Everyone’s got a dream. So let’s dream big, dream on!

Tonal analysis

Okay, what’s happening? The chords of the accompaniment are as follows:

Three chords and good. That’s the way it has to be.
Quick analysis:

Chord B minor G major F# minor
Third D B A
Fifth F# D C#

Let’s get to the solo on those chords.

Bars 1 to 4

I start off very comfortable with a fifth (F#) and the root of B minor and let it ring. You can do that confidently if the tone matches the chord, as in this case.

Then it continues comfortably. I play a G and bend it up to the A.

A is the major ninth to G major and at the same time already the third of the next chord F# minor.

So, I give a hint of the direction of the journey. I arrive in F# minor at the latest with the C# (fifth of F# minor) at count time 4.

Bars 5 to 8

More dynamics, please. How’s it going? In bar 5 it goes up (E-string 14th fret),
in bar 7 I add eighth notes, so rhythmically denser.

It’s interesting that in bar 7 a D major sounds over G major.

Why does that work?

D-Major consists of D-F#-A.

D is the fifth of G and A the major ninth, as mentioned earlier.

F# is the major seventh to G major, doesn’t sound so great normally.

But in this case, it’s not so bad, since F# comes on the count 1+ and is, therefore, a passing note.

Bars 9 to 12

Howdy! We tighten the noose: more eighths, string skipping, double stops, and syncopation.
Everything a guitar cowboy should be able to do.

Bars 13 to 16

Rhythmically even denser by bringing out the triplets.

The B minor scale now serves as the tone material.

But there are several minor scales, which one do you mean exactly?

Correct, we differentiate between:

Natural, harmonic minor and melodic minor.

Which one do I take now? I can’t decide, I fluctuate between natural and harmonic. They only differ in one tone, the A or A#.

At the beginning of a triplet run I take A# (harmonic minor) and then in bar 14 I take the A again.

In bar 15 I take the A# again for a double stop.

Bars 17 to 20

Hell bend for leather! Bendings till you have to call the ambulance!

Bars 21 to 22

A nice Open String Lick prepares us for the final.

Bars 23 to 24

Now only a tiny run and a tasteful bending on our target tone C#. Voilà!

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Beyond the Veil – Level Up! (english)

Meaning of the Solo

There is always something happening invisible for the public eye.

It is our plight to bring it into daylight!

Most of the time it’s a cat behind the curtain.

Tonal analysis

The chords are exclusively power chords. Root and fifth. Let’s take them apart:

Akkord B5 E5 D5 A5 G5 F#5
Perfect Fifth F# B A E D C#

Two accidentals indicate D major and B minor. Since the B powerchord is in the center of action we assume B minor.

Bars 1 to 5

Upbeat is the first round. As you know now, you always attract more attention with an upbeat
than if you start on the 1 of the first bar. Word!

Our first motif consists mainly of triplets.

Quarter triplets are great for relaxed soloing even at high speed and still get an interesting motif.

Bars 6 to 7

Now the cow flies! This little tapping lick consists of 6 notes and is repeated 5 times. This creates a cool accent shift.

Bars 8 to 9

This is where Accent Shifting comes in. At count time 3 in bar 9, a treat is waiting for us. A tapped bend.

How does it work? You tap the 22nd fret and then pull the string with both the tapping finger and the grabbing hand.

Bars 10 to 13

We repeat the motif from the beginning, but one octave higher.

In bar 12 we add a bending and play the triplet staccato down to bring in some variety.

Bars 14 to 17

The tapping idea is also repeated, but the ending is a bit simplified because the fretboard is unfortunately already at its end.

Once again, a tapped bending at the end.

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Red Carpet Girl Harmonization – Level Up! (english)

Also, with this solo, there is a second lead voice.

Bars 1 to 2

The first triplet or the tapped notes are harmonized in fourths (D-G, E-A, A-D), followed by diatonic thirds (C-E, B-D, A-C)

Bars 3 to 4

Here, too, we continue with thirds, whereby we must make sure that we have A Dorian (A-B-C-D-E-F#-G) in bar 3 and,
of course, minor (A-B-C-D-E-F-G) in bar 4 A

Bars 7 to 8

The final arpeggio of the second voice is in this case also a third higher and is, therefore, an Em7 arpeggio (E-G-B-D).

Full song

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Evil Lynn Harmonization – Level Up! (english)

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

Bars 5 to 8

For the second part, 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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Red Carpet Girl – Level Up! (english)

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)

Mellow Yellow – Level Up! (english)

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)