Table of Contents
Meaning of the Solo
Voices in your head – normal
Listening to them – common
Arguing with them – acceptable
Losing the argument – BIG PROBLEM
Since the rhythm guitar only picks single notes, we have to collect them shortly:
On the D string D E F G A C
These notes could be from C major or F major, depending on whether we add B flat or B flat.
On the G string G A B C D F
These notes could be from either F major or B flat major, depending on whether we add E or B flat.
With 6 out of 7 we can’t win a key jackpot yet: we have to choose a key.
For the first part, I take C major, so I still bring the B into play, for the second part from bar 9,
I take F major and play the E.
But since D and G are each the tonal center, we can also say that we don’t play C major but D Dorian,
or not F major but G Dorian. But that would almost be showing off.
Bars 1 to 4
With a little tapping action, we enter the first part of the solo.
Accent Shifting is the magic word here because we play groups of three to even six- tenths.
This shifts the emphasis further and further back until, after five repetitions, we end up on a difficult count again.
Tonally, the following results from the tones of the rhythm guitar to the arpeggios:
Bar 1: D + D E F -> Dm9
Bar 2: F + A B C -> F#11
Bar 3: C + E F G -> Cadd11
Bar 4: A + C D E -> Aadd11
Bar 5: D + F G A -> Dadd11
Bar 6: F + A B C -> Fadd#11
Bar 7: G + B C D -> Gadd11
Bar 8: same as bar 7
Bars 9 to 10
Here it goes with a little lick over two strings into the second part of the solo.
Bars 11 to 12
We increase tension with sixteenth notes.
Bars 13 to 14
These bars are simply a repetition of bars 9 and 10, but we have to slide from the last note into the first note of bar 15.
Bars 15 to 16
String Skipping at its best. Pimped up with little slides, we land in our target tone, D. Bravo!
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