The guitar solo is the most intimidating thing a lead guitarist does.When you're just starting, your solo will most likely be improvised.Once you start writing songs, you'll need to write a guitar solo that other can play as well.Most guitar solo are based on scales, with a few tricks to make them unique and personal.
Step 1: You should identify the key of the song you want to write.
The musician who wrote the song is likely to be in contact with you if you're writing a guitar solo.You can find out what key the song was written in with this.You can look at the key signature if you have sheet music.You should play the song 2 or 3 times on your guitar.Some ideas for key tones or short licks may be given to you by this.
Step 2: The scale you want to use should be determined.
The 4th and 7th notes are removed from the scales.The shape you make with your fretting hand can be moved up and down the neck to play different scales.In rock, blues, and pop songs, as well as some jazz music, the is a versatile scale.You would play a song in E minor.You would play a song in E major.
Step 3: It's a good idea to make a little noise over the song.
You can get comfortable with the general feel of the music by playing over the song.You can experiment and find something that sounds good if you use the pentatonic scale pattern.You are just playing around.It's not a good idea to put too much pressure on yourself to come up with the perfect solo.Make a note of the phrases you like.
Step 4: Simple whole notes are good for structuring your solo.
Pick out 8 to 10 powerful notes that will serve as an outline for your solo by playing over the song again.You can place these notes on or immediately after a change.The basic rhythm of your solo will be formed by these whole notes.Knowing you have these notes to return to, you can branch out and make something new from this framework.
Step 5: Listeners can find 4 or 5 motifs.
A motif is a phrase that you repeat several times.You can choose the one that works the best if you come up with 4 or 5.The main thread of your solo should be distinct from your motif.For example, if you're using a phrase from the melody with a minor scale, you might use a motif of 3 or 4 notes.
Step 6: The pieces of the melody should be incorporated.
A 4 or 5 note lick from the melody helps your solo fit in with the rest of the song.Start with the same notes as the melody, then adjust 1 or 2 notes.If you do this 2 or 3 times, you will end up with a lick that sounds nothing like the original melody.You can come back to the melody.Gradually changing the notes balances the new with the old, as you take your listeners on a journey with your solo and then bring them back to where they started.As you alter notes, consider how the mood changes.If you drop a couple of notes to minor tones, the phrase starts to sound ominous and you build tension before you bring it back around.
Step 7: The beginning, middle, and end are where the solo should be structured.
Start slow with short phrases or pieces of the melody.Working up to the end of your solo, gradually build tension and drama through the middle.You want to end triumphantly, with the best phrase of the solo or a fast set of notes.The rest of the song will be played by the other musicians.
Step 8: Pull-offs and hammer-ons can be used to speed up the playing of notes.
If you're soloing on guitar, you should use hammer-ons and pull-offs.With a hammer-on, you simply tap the string with your finger on a higher fret to play another note.A pull-off is when you remove a finger from a fret so that the string plays a lower note.A smooth sound is created when the 2 notes slur together.You can play faster since you don't have to strum each note separately.To create a sort of trill in your solo, combine the techniques and go back and forth between 2 notes for several beats.At the end of phrases, this works well.
Step 9: Power and drama can be brought to your solo with the addition of chords.
There's no rule that says you can't play a song just because you're the lead guitarist.Adding body to the notes in your solo is possible with the use of chords.If you used whole notes to build the basic outline of your solo, you could fill in the gaps with single notes in between.
Step 10: The strings should be bent at the end.
To bend a string, pull it across the fingerboard with 2 fingers.The pitch will go up as the string gets tighter.Pull from your wrist and use your fingers to bend the string.The effort is distributed so that it doesn't put as much pressure on your fingers and wrist.If the string is not in tune, don't bend it.You can break the string.It will take some practice to get right if you've never bent strings before.You can bend the string by playing the note you want to play.You will know when you've bent it far enough.
Step 11: It's a good idea to add emotion to your solo.
The only difference between vibrato and string bending is that you gently move the string up and down for a slight variation in pitch.The best way to get a good pivot point is to lock your fretting finger against the neck of your guitar.Since you don't want to pull the strings off the side of the neck, vibrato is more difficult on the outside strings.Do it at different speeds and bend the string in different ways.While bending the string further and faster works well with rock songs, a small, slow vibrato is more appropriate for ballads.
Step 12: There are ideas borrowed from other guitarists.
You can listen to guitarists and watch them.If you like what you see, try to copy it.You should pay attention to motifs or riffs that capture your attention.You can't just copy others and be a great guitarist.If you learn how to imitate someone else's idea, try to make your own.The greatest guitarists have a signature style that builds on their influences rather than mimicking them.
Step 13: Kick off with a string bend and a pick.
The classic wail is produced by a bent string.As the sound from the bend fades, you can use your pick to add some power to your solo.To make the pick sound better, run your pick up the 2 lowest strings.It's a good idea to leave some space between your fingers and the edge of your pick.
Step 14: You can play a phrase from the melody in a different order.
The solo can flow naturally from the song if you use this technique.Pick a phrase from the melody that you like and play it higher or lower than the song plays.Playing a phrase from the melody lower can give your solo a more ominous tone while raising it a couple of octaves produces a brighter tone.If you start with a phrase from the melody, you might want to use a few notes from that same phrase in your solo.
Step 15: Run up and down the scales.
You can start your solo on a root note, followed by the next 4 notes in the scale for that key.To bring your solo back to its base, play the same 5 notes from highest to lowest.This simple opening can be more interesting if you practice with different rhythms.
Step 16: Personal flavor can be added with combining opening techniques.
Work on combining 2 or more to create a distinctive signature opening once you've become familiar with different opening techniques.There is no right or wrong way to do this.You can start with a string bend and pick up some bass notes from the melody.You can get ideas for combinations from listening to acclaimed professional guitarists.