[Jmp51483]

Hey guys,

Where should I start learning about soloing and scales etc? Also would you guys recommend and decent solo licks that I can start practicing my finger movements and whatnot with.. Any help would be greatly appreciated!!

p.s. if anyone knows of any songs that have nice solo pieces in them that I can start learning that'd be awesome =D

This post has been edited by Jmp51483: 15 May 2006 - 10:26 AM

[dadfad]

Soloing as in playing solo, or as in just plaing a lead-break but with a band or other guitarists?

(I saw your edit, and so it looks like you mean with other guitarists. You should give an idea of what you're into genre-wise because there are a lot of ways to approach acoustic lead-breaks.)

[Jmp51483]

sorry i should have been more clear.. Solo as in a lead break with other guitarist... like on a blues song playing the rhythm and then breaking off into a nice lead... if that makes sense

[dadfad]

For most blues, you can't beat the simple minor-pentatonics. Try to keep them a little lower-toned than you might on an electric. Mid-neck and nearer the nut playing has more power and sustain than really high notes. There are a lot of nice often-used acoustic blues figures (especially turnarounds and fills) that can really "up-grade" an acoustic player's sound. And often-used doesn't mean over-used necessarily, because there are many nice simple variations that can be done once there's a reasonable familiarity with the more common licks and phrases.

[Jmp51483]

Thanks for the input Dadfad! Would you happen to know a link that would have tab of some licks used in the simple minor Pent scales...

Thanks a ton!

[SRVfan2004]

Em pent is very good for solos, there are a variety of links, just type in blues licks on google and millions of common bluesy licks will appear, try get them down and try master double stops and open string licks. They all give a very bluesy sound.

[dadfad]

I have a few I've saved from a few other posts to other topics. Now some of them might apply better to acoustic than electric (or vice versa), but they'll give you some ideas to start with. A good thing to work with is a simple rhythm track, just do a few tracks say in the key of E and A at a couple of different speeds like slow and moderate. They don't have to be great, just something to work with to keep your place and timing pretty much. If you want, in a couple of styles too (depending on the stuff you play most) like nice plain 12-bar shuffles, or a little more "up-town" rhythms, like using more 9ths etc. Make the tracks long enough (or loop them, etc) so you have enough time to "get into it" before it changes to another speed or style. Anyway, here are a few things that you can look through.

CODE

John Lee Hooker-type simple E Lick

--------------------------------------------------------
---------3---3---------3---3---------3------------------
---3/4-----------3/4-----------3/4-------4---2---0------
------------------------------------------------------2-
--------------------------------------------------------
--------------------------------------------------------

CODE

Hoothchie Cootchie Man Lick Improv -3 Ways (Key of A)

-----------------------------
-----------------------------
----------------------------
-----0-------------------------
--0-----0---3b--0-----------------
-----------------------------

-----------------------------
-----------------------------
----------------------------
-------0-----------------------
--0---------3b--0----------------
-----------------------------

-----------------------------
--------7----5---------------
--------7---5h6--------------
--------7----5---7----------
--0--------------0-----------
-----------------------------

CODE

Some turnarounds in E. First, a simple one, best for electric but works for either:
E)---------------------------------------------
B)---------------------------------------------
G)----------------------------------2----------
D)----------------------------------1----------
A)-------------0--0--1--1--2--0--1--2----------
E)-0--0--4--4----------------------------------

Here's the quintesential acoustic blues turnaround

CODE

E)------4---------3--------2------0--------2----
B}-----------------------------------------0----
G)-/4-------4--3-----3--2-----2---1--------2----
D)-----------------------------------------1----
A)-----------------------------------0--1--2----
E)----------------------------------------------

A variation on that, more for "smooth blues"

CODE

E)--4---3--2---------4-------
B)--4---3--2---------4-------
G)--4---3--2---------2-------
D)--3---2--1---------1-------
A)--4---3--2------2----------
E)---------------------------

Here's one fo faster "rockin'" blues

CODE

E)----------------------------------------------0--
B)----------------------------------------------3--
G)-------0--------------------------------------2--
D)--0h2-----2p0------------0--------------------1--
A)---------------2----0h2-----2p0---------0--1--2--
E)---------------------------------3--0------------

Here's one that's slightly unusual in that it doesn't turnaround to the V-chord B like most turnarounds, but turns right back to the starting E chord. Either electric or acoustic

CODE

E)--3/4---0---3/2---0-----------3---2---0------
B)----------------------2---0-----------0------
G)--3/4---0---3/2---0-----------3---2---1------
D)----------------------2---0------------------
A)---------------------------------------------
E)---------------------------------------------

So anyway, there's a few in a couple of different styles. The 2nd and 5th one are better played with a thumb (or pick) and finger. The 1st and 4th are best with a pick, and the 3rd one can be either way, although I prefer a slightly drawn out strum with the thumb myself. Anyway, I hope they give you a few ideas.

CODE

Simple phrases, key of E

E)--------------0----------------------
B}-------------------------------------
G)------0--2b4-----2b3ub2---0----------
D)--0h2-------------------------0------
A)-------------------------------------
E)-------------------------------------

E)-------------------------------------
B}-------------------------------------
G)-------0---2b3ub2---2----------------
D)--0h2------------------0---0h2-------
A)-------------------------------------
E)-------------------------------------

E)------------------
B}-------3---3h5----
G)--3/4-------------
D)------------------
A)------------------
E)------------------

E)-------3--5--5b6ub5---3h5po3-------
B}--3h5-------------------------0----
G)-----------------------------------
D)-----------------------------------
A)-----------------------------------
E)-----------------------------------

E)-----------------
B}------3----------
G)-3/4----4~v------
D)-----------------
A)-----------------
E)-----------------

E)------------------------------
B}------------------------------
G)-2po0--2--2b3ub2--------------
D)------------------0---0h2-----
A)------------------------------
E)------------------------------

E)------------------
B}------------------
G)------------------
D)--2--0------------
A)--------2~v-------
E)------------------

E)------------------0-------------------------
B}--------------------------------------------
G)-------0--2--2b4-----2b3ub2--0--------------
D)--0h2--------------------------0---0h2~v----
A)--------------------------------------------
E)--------------------------------------------

E)-------------------------------------------------------
B}-------------------------------------------------------
G)-------------------------------------------------------
D)-------------------------------------------------------
A)-------------------------------------------------------
E)-------------------------------------------------------

CODE

The Robert Johnson "A" Lick; also: Sliding A7 Figure

This lick is often called that because it was often used by Johnson,
and usually in the key of A (although sometimes capoed) and in the
key of G as well, although it's extremely versatile and can be used
in any key with almost identical fingering changes. It can be used
as an intro or closing (ei. When You've Got a Good Friend) or as a
turn-around within the tune (ei. Me and the Devil) and was used by
him in others as well, including Love In Vain, etc. Also used by a
number of others in the same form or with slight variations (Lonnie
Johnson, Blind Blake, Blindboy Fuller, etc, etc). It has been used as
the basis of many well-known licks by more modern rock artists as well,
including Led Zepplin and ZZ Top, as well as being a blues-staple both
electrically and acoustically. Anyway.......

The basis for the lick is what old-time bluesmen called "the long A".
This is an A-cord made by barring the second fret, strings 1 through 4,
with the index. The pinkie is then extended to hold the 1-string on
the 5th-fret, making this A-chord X02225. You hold this chord through
the whole riff as you walk down on the 4th-string one fret at a time
with your ring and then middle fingers sequentially.


The lick would look like this (as you hold that long-A chord), pinching
the one and four strings in doublets......

--5---5------5---5------5---5------5---5------5---
--------------------------------------------------
--------------------------------------------------
--2---2------5---5------4---4------3---3------2---
--------------------------------------------------
--------------------------------------------------

This could be used as an ending, or at the beginning or middle of a
tune, as a turn-around into the V Position E-chord.

This example, in the key of G, is even more easily played out of the
open G-chord 320003 because the "Zero Fret" barre is held by the nut.
All you have to finger and play is this........

--3---3------3---3------3---3------3---3------3---
--------------------------------------------------
--------------------------------------------------
--0---0------3---3------2---2------1---1------0---
--------------------------------------------------
--------------------------------------------------


Okay, that's the main idea of the riff. In a classic sense you might
want to exit through the IV-7th into the 7th of the I Position. In the
key of A that would mean going through an E7 chord (022130) and then an
A7 (002223). Doing it like this: Play the riff....

--5---5------5---5------5---5------5---5----(5)--
-------------------------------------------------
-------------------------------------------------
--2---2------5---5------4---4------3---3----(2)--
-------------------------------------------------
-------------------------------------------------

but when you get to the last 2-5 pinch here ^.......



....hammer into the E7 (022130) like this.....

--------0-------0--
------------3------
--0h1-----------0--
--------2----------
-------------------
---0---------------  .........and then resolve on the A7-chord X02223.

That's the classic Robert Johnson end-tag in the Key of A!

Now, moving onto a little fancier variation. For simplicity's sake
I'll use the key of G shape to start with shown above, and again below...

--3---3------3---3------3---3------3---3------3---
--------------------------------------------------
--------------------------------------------------
--0---0------3---3------2---2------1---1------0---
--------------------------------------------------
--------------------------------------------------

All you do is add another finger to the one above, like this.....

--3---3------3---3------3---3------3---3------3---
------------------------1---1------2---2------0---
--------------------------------------------------
--0---0------3---3------2---2------1---1------0---
--------------------------------------------------
--------------------------------------------------

See how much more complex it sounds (it's using partial diminished notes).

This, like the original simpler lick, can also be done from the barred
Long-A position.......

--5---5------5---5------5---5------5---5------5---
------------------------3---3------4---4------2---
--------------------------------------------------
--2---2------5---5------4---4------3---3------2---
--------------------------------------------------
--------------------------------------------------

This might seem a little finger-twisting at first, but it really isn't
that difficult to get used to. Also, some people DO play it holding only
the fingered notes shown removing the barred second-fret. Just be careful
not to hit an un-fretted string if you do it that way. I prefer keeping
the barre intact myself.

Okay, that pretty much covers the lick. Like I said it can be used in any
key by just moving the barre up or down the neck to the appropriate fret
(7th for D, 9th for E, 5th for C, etc, etc). It can also be played in
reverse, moving up instead of down on the 4th string. Or both ways, mov-
ing down then back up again (like Tommy McClennon's old "Step It Up And
Go"). You can vary the rhythm and add other held notes in a fingerstyle way.
You can hear it in lots of more modern blues and blues-based rock,
both "straight" and also with a few minor rhythmic or added-note varia-
tions, like ZZ Topp's "La Grange" for exaple. Or just hammer a single
note on and off between a few of the doublets, like this......

--5---5----------5---5-----------5---5-----------5-
---------------------------------------------------
--------2h4--2---------2h4--2-----------2h4--------
--2---2----------4---4-----------3---3-----------2-
---------------------------------------------------
---------------------------------------------------

Sound familiar? The same sounding lick can be adapted to open tunings too.
Johnson used it in those as well. Works easiest in Open-D or E, but also
fits in others as well. Anyway, there it is...the Robert Johnson A Lick.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Robert Johnson A7 sliding I-Position Figure

Here's another lick Johnson uses often in the key of A (standard tuning).

E)---------------------------------------5po0------------
B}-----4/5----------5\4----------4/5------(4)--4/5-------
G)-----5/6----------6\5----------5/6------(5)--5/6-------
D)-----4/5----------5\4----------4/5------(4)--4/5-------
A)-----0---0--0--0--0---0--0--0--0---0--0--0---0---0--0--
E)-------------------------------------------------------

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Sliding 4th-String and Diminished Intro (as in "Me And The Devil Blues")

You slide up the 4th-string with the index to the 7th-fret with
the ring, midddle and pinky forming the chord-shape on the 1,2,3
strings (ending up holding this figure 007989 with OOIRMP, which
is a partial diminished chord. The thumb and index pinch the dou-
ble-stops (note pairs), then the thumb and index pick the single
notes... index up on the 1 or 2 strings, thumb down on the 3rd.

That same shape held by the ring, middle and pinky is then slid
down one fret with the index remaining in place, now holding the
shape 007878 (another diminished) picking the same pattern. Then
you repeat the first part with the slide (tab-line two), but as
you complete the first part, change finger-shapes to holding a
pattern 000989 using OOOMIR. The pinky is now free to do that
little hammer-on/pull-off trill on the 1st-string. Repeat that
little trill-figure off the 7th-fret, then move the index and
middle to the 5th-fret on the 1 and 3 strings (allowing that
open-2 to sound) bending the 3rd-string just sharp of a half-
step. This completes the I-Position of the intro sequence.



E)--------------9---9------9---9------8--------8--8--------
B}--------------------8------------------7-----------------
G)------------------9---9-(9)-(9)-----------8--8--8--------
D)-->>>7--------7---------------------7--------------------
A)--------0------------------------------------------------
E)---------------------------------------------------------

E)------------9---9--------9---9----9h10po9--7h8po7---5-----
B}-------------------8---------------(8)-------(6)---(0)----
G)----------------9----9--(9)-(9)-----9---------7-----5b+ --
D)-->>>7------7---------------------------------------------
A)--------0-------------------------------------------------
E)----------------------------------------------------------

Now you'd go to the IV-Position (D) using any one of several
D-voicings depending on what you feel. The line below is NOT
A SEQUENCE. It is merely showing several different D-forms
you might choose to go to for the IV-Position (there are
others too of course).

E)--5--- E}--0---- E}------ E}--7--- E}---5-7---
B}--3--- B}--1---- B)--3--- B}--5--- B}---7-----
G)--5--- G}--2---- G}--5--- G}--5--- G}---7-----
D)--0--- D}--0---- D}--4--- D}--5--- D)---0-----
A)------ A}------- A}--5--- A}------ A}---------
E)------ E}-(2)--- E}------ E}------ E}---------

(Generally I like going to the first shape XX0535, then the last
last XX0557 adding that 7th-note after the XX0775 is played. And
then back to the I-Position (A) using that "sliding A7" shape above.)

[code]Stop-Time


For stop-time in the key of E, hold this position (easiest way is
to bar the strings with your index finger.......

E||-----|--X--|-----|-----|-----|-----|-----|-----|-----|-
B||-----|--X--|-----|-----|-----|-----|-----|-----|-----|-
G||-----|--I--|-----|-----|-----|-----|-----|-----|-----|--
D||-----|--I--|-----|-----|-----|-----|-----|-----|-----|--
A||-----|--I--|-----|-----|-----|-----|-----|-----|-----|---
E||-----|-----|-----|-----|-----|-----|-----|-----|-----|----
   ^                 ^           ^           ^           ^    
  nut               3rd         5th         7th         9th

....and play this........

E)----------------------------------
B)----------------------------------
G)-----2-------0--------------------
D)-----2-------0--------------------
A)-2-----(2)-----2----2---4---2---2-<(use your pinkie for that 4-note)
E)-0------0------0----0---0---0---0-


Okay, that's one way to do it. Here's another variation. Start in the
same holding position.........

E||-----|--X--|-----|-----|-----|-----|-----|-----|-----|-
B||-----|--X--|-----|-----|-----|-----|-----|-----|-----|-
G||-----|--I--|-----|-----|-----|-----|-----|-----|-----|--
D||-----|--I--|-----|-----|-----|-----|-----|-----|-----|--
A||-----|--I--|-----|-----|-----|-----|-----|-----|-----|---
E||-----|-----|-----|-----|-----|-----|-----|-----|-----|----
   ^                 ^           ^           ^           ^    
  nut               3rd         5th         7th         9th

....and play this.......

E)-----------------------------------
B)-----------------------------------
G)-----2-----------------------------
D)-----2----------------------------- ...again....
A)--2----------2----2----4---2---2---<(pinkie used for that 4-note)
E)--0-----3b---0----0----0---0---0---<(middle used to bend that 3b)



Okay, that's another way to do it. Here's another variation still.
Start in the same holding position again.........

E||-----|--X--|-----|-----|-----|-----|-----|-----|-----|-
B||-----|--X--|-----|-----|-----|-----|-----|-----|-----|-
G||-----|--I--|-----|-----|-----|-----|-----|-----|-----|--
D||-----|--I--|-----|-----|-----|-----|-----|-----|-----|--
A||-----|--I--|-----|-----|-----|-----|-----|-----|-----|---
E||-----|-----|-----|-----|-----|-----|-----|-----|-----|----
   ^                 ^           ^           ^           ^    
  nut               3rd         5th         7th         9th

....and play this.......

E)-------------------------------- (Very similar to the above,
B)----(2)-------------------------  the easiest way to hammer the
G)-----2-----0h1------------------  0h1 is to use your index, then
D)-----2------0-------------------  re-bar the second fret with your
A)--2-------------2---2--4--2--2--  middle finger this time)
E)--0-------------0---0--0--0--0--


Okay, as far as the key of E goes, that kind of covers it. You can always
find another little variation on those, but that pretty much covers it.
Notice after the actual stop-time lick, it reverts to a sort of shuffle-
rhythm to keep time within that stopped-time. That's the place where a
vocal-line or a little fill-lick goes if you want to put them in. The stop-
time tune is usually one of two forms. The first and simplest is with no
chord changes. It basically stays within the I-position E chord as lyrics
are sang. Generally it's considered an eight-bar form although in reality
it isn't necessarily confined to groups of eight. The best example of this
form is Muddy Waters' "Mannish Boy (Ain't That A Man)" and the Koko Taylor's
semi-cover from a woman's perspective "I'm A Woman". The second form is the
sixteen-bar. It's actually an eight-bar stop-time with an added eight bars
from the last part of a standard 12-bar blues progression. The I-position
stop-time is done first and then it goes to a shuffle, in the IV-position
for two bars then back to the I-pos for two bars then the V-pos for one bar
then the IV again for one bar then resolves with two bars in the I-position.
In the key of E, E is the I-pos, A is the IV-pos and B or B7 is the V-pos.
A good example of that is Muddy Waters' "Hootchie Coochie Man".

That's how it's done. It can be done in other keys but basically you're
doing the same thing from barre-chords. Like this one in the Key of A...

Hold this, barring two frets using your Index and Ring fingers....

E||-----|-----|-----|-----|-----|-----|-----|-----|-----|-
B||-----|-----|-----|-----|--I--|-----|--R--|-----|-----|-
G||-----|-----|-----|-----|--I--|-----|--R--|-----|-----|--
D||-----|-----|-----|-----|--I--|-----|--R--|-----|-----|--
A||-----|-----|-----|-----|-----|-----|-----|-----|-----|---
E||-----|-----|-----|-----|-----|-----|-----|-----|-----|----
   ^                 ^           ^           ^           ^    
  nut               3rd         5th         7th         9th


and play this......

E)--------------  But now, instead of doing  -----------------
B)-----7----5----  a shuffle rhythm off the  -----------------
G)-----7---5h6----  bar, jump down to the A  -----------------
D)-7---7----5---7--  open chord X0222X and   --2---4---2---2--
A)-0------------0---  complete the shuffle   --0---0---0---0--
E)-------------------  like this........     -----------------

......and then after eight bars go to the IV-position D-chord form and
continue on completing the last eight bars similarly to the way shown
above for the key of E progression. Etc, etc, etc.....there are lots
of ways to add a few varieties and lots of improvised little licks and
fills that can be done either during the stopped-time of over the pro-
gression itself, especially over the last eight bars of the sixteen bar
type if played with both rhythm and lead guitars in a band situation.
In the key of A, A is the I-pos, D is the IV-pos and E the V-pos of course.

Anyway, that's it! Duh DA-da duh-dunt!!!!! (Or Duh-DA-duh-dunt! LOL )

Anyway, there's an assortment of different odds and ends that might give you a few ideas.

[Jmp51483]

Man,


you never cease to amaze me with your wealth of knowledge... Thanks a ton!

[dadfad]

Thanks, but it's nothing great. Just playing a long time. Also, (in addition to minor-pents, etc) look at the specific chord you're on in the progression to see if a note-pair or part of the chord (usually in an alternate way of holding or voicing it) can be used during that chord's place in the tune. Often a pair of notes from several different ways of holding the chord (like the positions of the CAGED method) can be "ran" up or down in a flowing manner. The same Tonic-chord minor-pent-based and related licks can of course be played over all three chords (in a typical I-IV-V blues), but sometimes you can use a similar lick that was used based on the tonic-note's chord, but apply the same shape or figure to another chord in the progression during it's time-space. I'll use the simplest example from above... that turnaround on the 1 and 3 strings in E. That turnaround could be done first as shown in E, then (during the IV-position A-chord's time-space) that same figure and sequence but slid up five frets (starting on the 9th-fret), and then up again two more frets for the V-Position B.

CODE

E)------4---------3--------2------0--------2----
B}-----------------------------------------0----
G)-/4-------4--3-----3--2-----2---1--------2----
D)-----------------------------------------1----
A)-----------------------------------0--1--2----
E)----------------------------------------------

I'm just using that as an example. It's worthwile if you find a lick or figure you like to see how it holds up to being (in effect) transposed into one of the other chord-positions.


Oh, I almost forgot. You asked for a minor-pent scale. Since a lot of the examples were in the key of E, I'll use the Em-pent.

CODE

Key of E Minor Pentatonic
(Major-Pent of E's flattened third G# which is G, so same notes as G-pent)

Notes: EGABD

E-minor Pentatonic Scale (Note-Name and Scale-Degree)

E=1
G=3b
A=4
B=5
D=7b





0    1       3       5       7       9          12  
E-||---|---|-G-|---|-A-|---|-B-|---|---|-D-|---|-E-|
B-||---|---|-D-|---|-E-|---|---|-G-|---|-A-|---|-B-|
G-||---|-A-|---|-B-|---|---|-D-|---|-E-|---|---|-G-|
D-||---|-E-|---|---|-G-|---|-A-|---|-B-|---|---|-D-|..(and repeats)
A-||---|-B-|---|---|-D-|---|-E-|---|---|-G-|---|-A-|
E-||---|---|-G-|---|-A-|---|-B-|---|---|-D-|---|-E-|

<...Box1....><....Box2.....><...Box3....> Main "Boxes"

........<...Box1/2..><...Box3/4....><..Box4/1...> Sub-Boxes

[ninjato]

Look here. Good stuff and quick and "easy".....well relatively easy if you put a little effort.

http://www.bettergui...ctionIndex.html

[cichlid_dmb]

excellent stuff, dadfad. thank you so much. i've been working on getting comfortable with the twelve bar in the CAGED positions, and i was looking for some turnarounds and some ways to spice them up.

thanks again!

[dadfad]

Thanks, I'm glad it helped. Cichlid, the key of A is a good one to practice working through the CAGED system on because there are very accesible voicings in every shape-position that can flow into each other without extreme shifts from high to low pitches, and in every chord position (A-D-E). You can do a very solid and complete 12-bar with a great many variations, voicings and substitution-chords without lingering too long near any one position. I'd like to do a "thing" including a sound-file on something like that and post it, completely improvising through several rounds of a 12-bar using nothing but alternate voicings, positions and subs with pent, minor-pent and arpeggio notes off of the five CAGED positions as tie-ins to the chords and frags. The tabbing would be pretty horrendous (including the necessary explanatory notes too). I'm trying to figure out a way to verbally explain it as I'd go along in a sound-file. Being close to a computer-illiterate, at this point I can't get even semi-decent sound (using cheesy Audacity) through a mic only for guitar with vocalization at the same time, and it would be tough to do the tune instrumentally (on my guitar that plugs into my comp), then break it up into bits while leaving estimated "dead-spots" between the passages or figures timed just long enough so that I could go back and, on a second track, add the verbal explanations. I'm going to dig around through my assorted sound-junk at home to try to find something I can use to boost a mic enough to make it work. (A video would be nicer still, but baby-steps first I guess!)

Anyway, I'm glad that helped a little.

[SRVfan2004]

Audacity is amazing man.