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