Adding too much reverb to a sound, or overusing effects like chorus and flangers can kill an otherwise very musical tone. Like other aspects of guitar playing, using effects is all about being strategic and intentional.
Listening back to your guitar's tone over a recorded track will help you see if the sound itself fits with the music. If the tone isn't right, it can cramp all the other aspects of tasty playing. I have included two different solos over two different tracks to analyze and pick apart using the four questions detailed above. These solos are in the "lets listen" phase. In other words, the tracks were jammed to a number of times, ideas were formulated and executed and now we're sitting back, and asking the questions that could make the playing better.
One quick note: This process is not meant to downplay straight improvisation, but rather a way to improve your improv skills through critical listening. Here is the first track excerpt without any lead guitar: Your browser does not support the audio element.
This is a pretty straight -forward track. It's only two chords and it's at nice driving tempo. It is a little rhythmically complex in that there are quite a few anticipated beats. Theory-wise, you could approach this track as being from a minor tonal center or a Major tonal center. Minor probably makes more sense because it starts and ends on the minor chord, but that doesn't mean the tonal center can't shift now and then to make things interesting. It is also important to pay attention to instrumentation.
This track really is designed to have a raging lead as part of the sound but not every track works that way. You always want to make sure that, you're functioning as part of the band and not just slapping something over the top of a tune. This means paying attention to rhythmic nuances and other instrument melodies.
Before moving on to listening to the lead, take a moment to jam over this short track if you feel so inclined so that you get a feel for what it's doing. It is in the Key of C minor. Here is the same track with lead guitar: Your browser does not support the audio element.
It is time to dive in to the questions. When I do this type of critique, I always try to start with a few positive things, followed by areas to improve, and then some more positive things. The point in all this is to improve, and improvement happens best when the overall vibe is positive. How's my pocket? The primary "hook" or melody present in the solo capitalizes on the groove of the song. The notes emphasized or accented in the melody hit right with major rhythmic statements made by the track.
If you played along with the track, you'll notice how un-natural it was to create a melody that follows the rhythmic aspects of so closely. There are a couple points where I pushed the beat without meaning to, and it sticks out like a sore thumb. The two times I heard were at 2 seconds and at 34 seconds. Take a moment to listen to the track again. Do you hear it? There is a sense of uneasiness in those sections that shouldn't be there! There are several places where I pushed or pulled intentionally to drive a particular note into the forehead of the listener.
Starting at 16 seconds, the two notes before the descending sweep line are intentionally slightly behind the beat, and the sweep is pushed a bit. This creates a "teetering on the edge of the cliff and then falling off" feeling that wouldn't be there if everything was perfectly in time. The unison bends following the sweep sequence at 20 seconds are played considerably behind the beat to create a release or a deflating period between the sweeps and the fast picking line just ahead.
In general, I think the phrasing turned out very well with this solo. There is a clear, established melody. There are target notes at the beginnings and ends of the faster sequences to create an intentional and authoritative feel to the playing. There are also quite a few defined sections, or "sentences" with a variety of techniques utilized to create a conversational or story-telling feel.
There are peaks and valleys both in pitch and in rhythmic ideas. I feel like the weakest part of this solo is the end two-handed tapping line that ends the solo.
It feels like it was just slapped on the end to fill up the last couple seconds. It would be nice to draw from some of the other ideas in the solo and more closely tie them all together for the end. It might even be a good idea to just end with a slightly embellished form of the melody. It might have also been nice, during the beginning section, if I were to have done some more embellishment in and out of the melody.
I could keep the melody there and up in front, but making room for some tasty licks here and there might make it a little more engaging. The fact that you can sing or whistle parts of the solo helps it be memorable and accessible to the "everyday listener.
There are quite a few techniques used in this solo. I tried to spread things around so that there wasn't too much picking all in once place or too much legato piled in one section. Adding to your cart Click on the "Add to Cart" button and proceed to the payment of your order. If you have any doubts about your custom track, don't worry, you can always customize your Backing Track afterwards.
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