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This Video: December 19, 2014 | Search Videos by Title/Date.

Sunday December 21, 2014 at:

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I’m working on my improvising right now and was hoping for a suggestion from you on setting up an soloing approach for playing better lead. I’m getting really bored of playing lead the same ways over and over. Is there some kind of an “Improvising Blueprint” that you could suggest? Almost like a step by step improvisation method for building solos over chord progressions? I hope you can help me with this.
Eric – Chatham, ENGLAND

A: If we want to be able to play good guitar solos, we need to be able to understand all of the different types of chord progressions that might present themselves to us on a regular basis. This means we’ll need to have the skills for analyzing chord harmonies and to determine which; scales, arpeggios, pentatonics, and modes work the best. With the Blueprint strategy outlined in this lesson you’ll be using an approach that starts with. #1). Being clear on the tonality of the chord movements. #2). Being able to anticipate the rhythmic and harmonic push that will be effective to highlight that harmony. And, #3). Developing melodic lines that target the “Shift” between each harmonic movement. Once you can learn to apply this strategy, your solos are going to have a better connection to the music!

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Slash on Scales and Improv

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NateDawgg Esquire



THE WAY UP LIVE – Seoul, Korea – April 2005

STEVE RODBY: Bass [Acoustic, Electric], Violin, Cello.
ANTONIO SANCHEZ: Drums, Xylophone [Toy].
PAT METHENY: Guitar [Acoustic, Electric, Slide, Synth & Toy].
RICHARD BONA: Guitar [Toy], Percussion, Vocals.
DAVID SAMUELS: Percussion.
LYLE MAYS: Piano [Accoustic], Xylophone [Toy], Keyboards.
CUONG VU: Whistle [Toy], Trumpet, Vocals.

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Django Reinhardt (g solo)
Pierre “Baro” Ferret (g);
Emmanuel Soudieux (b)
1939 June 30 – Swing, Paris

Recorded just two months before the outbreak of a war that would change his life and career forever, Django Reinhardt’s trio version of “I’ll See You In My Dreams” is a brilliant summation of his late- 30s solo style with intriguing notions for future developments. The solo is almost entirely in single lines, and as we listen to Django create this two-and-a-half minute masterpiece, it is like we are inside his head as he discovers and develops his ideas. The precise musical logic that had always been present in Django’s playing is found here in extremely sharp focus as he takes motive after motive and turns them every which way until each turns into a new phrase that he can manipulate. In one case, that motive is one note, and as he plays that note a couple dozen times, he subtly changes the sound by changing the way he attacks the string. If his harmonic experiments are limited to a short passage early on, he finds a new challenge in offsetting rhythms and near the end of the side, there is a marvellous sequence with quarter-note triplet figures against the steady four-beat of Ferret and Soudieux. Reinhardt would have another 14 years on the planet, but even if his career would have ended with World War II, recordings like this one would have ensured his immortality.

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