The rhythm guitar plays the following chords:
Uhm, what tonality is that? If we look at the first six chords we got a very distinct B minor.
With G# major and the D# major we leave b major for a short period of time.
Because only the thirds are different from G# minor and D# minor we ignore that.
The chord progression is played three times so have three rounds to solo along.
Let’s get down to the nitty gritty:
Bar 1 to 5
First of all, the time signature is not 4/4 but 12/8. This is called rock ballad. But you can think of it as a normal 4/4, except that the eighths are now played all triplet. Si claro!
Then: Without a theme a solo is nothing! After an offbeat (you know I can not do without) I play a theme with the target tones B (12th fret h-string) and F# (11th fret g-string).
Now to get smoothly into G #minor, I take the fifth D# on beat 1 bar 3; B as the fifth fits onto the E major chord as well.
Yes, and because I like it so much, I also add the fifth C # of F #major in bar 4, plus a little fourth (B) and big third A#. Fifth G# for C# minor.Reagrding the notes a bit boring, but the rhythm and the phrasing make the difference, everything slightly syncopated, you know.
Bar 6 to 9
In the second round I had to get rid of something. I repeat my theme, but accelerate rhythmically. For example, I play not only the F# on beat three in bar 6, but a full arpeggio in basic position, beautifully swept, once up and down again.
With the D# I’m the same way, nice legato from above in. Here you can already see that sometimes you just have to feel the rhythm. I was quite astonished when I saw that I played a septuplet. Fat! The rest of the bar is rather unspectacular.
Then with a few fluffy bendings and doublestops the theme is garnished in the eighth beat. In the ninth beat I unpack the tremolo picking again.
Bar 10 to 14
Ok, now final sprint, home straight, give everything again! Theme repeats a fifth higher this time, so we are now landing on the root C# with a creamy tremolo-HammerOn-PullOff-thingy. Again, absolutely funky to transcribe that …
Then third B of G# minor and third G# of E major.
Phew, the run in bar 12 is totally against the basic rhythm of the 12/8 time, but since I’m back again in C# at the end, no problemo. Go crazy – sometimes!
Bendings always do well, but need to be done accurately. In the last bar I bend nicely into the fifth D# of G# major, then finally a nice D# major arpeggio with tasteful landing in the D#, which almost anticipates the fifth of the following B major.
SdW_Satchurday Evening – Guitar Pro-File