Lead techniques help thread

MissYouAllDay

Hey,

Liike many intermediate guitarists on this board I am exploring playing lead guitar. I was wondering if some experienced players could share some basic techniques with me and others. I can play the pentatonic scale pretty fast up and down picking every note. But I would like to be able to make it sound cool. Like I hear about things like "double taps" which I just have no clue what they are and would like to know about.

Thanks,

Shwn

I don't know if I've heard of double taps, but tapping is when you move your pick hand up to the base of the neck. Then you can use the index finger of your pick hand to hammer onto and then pull-off the higher frets, while simultaneously fretting a note with the other hand lower down the neck of the same string. That;s probably a complicated, confusing way to explain it, but that's the best I can do.
I find that adding pick/pinch harmonics adds a lot to the overall tone of soloing, especially in the hardrock/metal style. They're a little tricky at first, but all you have to do is choke up on the pick so that the edge that you use to pick the string is against the thumb, and not going any lower. Then just really pick downward, and dig into the string. The string should hit the pick, then get damped by the thumb giving you the cool harmoic sound.
Other than that try adding onto the pentatonic scales and getting into the natural scales, and harmonic minor scales. Chromatics will also really help out your speed, accuracy, and tone.

djyman15

Best thing you can do to improve your lead...


STOP PLAYING PENTATONICALLY!!!

Pentatonics are great, and they are good to master early, but you learn you can actually play faster, better, more complete solos if you use modes and scales. Not saying there isnt a place for pentatonics, but you should now master modes and scales

Beav

I learned by trying to play along with Zeppelin, Sabbath and Hendrix. I'd have probably learned a lot quicker if I learned the technical aspect first, but after 7 or so years I've become pretty decent. Tab helped a lot for licks hear and there that I couldn't decifer by ear. I think my best trick is to use the option on a dvd player that lets you loop a small section of a disc. I figured out the organ solo in Zeppelins' "All Of My Love" by playing 1 or 2 second loops of of each part of it. All you have to do is find the right notes on the fretboard in the most logical pattern. I get lots of compliments, even from experienced musicians, so it's possible to learn this way. I do wish I had more formal knowledge of what I'm playing. A majority of my leads are blues based which is no suprise considering the aforementioned influences. If that's what your after, then this is one possible route to playing leads. And remember to drench it all in EMOTION and FEELING. Work on your bends and vibrato once you've got the basic idea of soloing. BE CREATIVE AND BE YOURSELF!!!

FinsburyParkCarrots

I can't stress more strongly how important developing your chordal knowledge is to using scales and modes. Once you know how modes work around chordal intervals and sequences, on a theoretical level, the notes become more than just fretted positions on a guitar neck and evolve as an expressive language. Er, maaaan.

DriftingByTheStorm

Does anyone have any recommendations on some intuitive reading as relates to chord theory and interval relations?

I'm looking for a book that is maybe 1 parts theory, and 2 or 3 parts practical guide to music composition.

I find the music\chord theory books to be not only dogmatic and boring, but also unapplied and impractical.

Does that make me stupid, am i missing the boat, or should it not be as hard as i make it seem?

someone riddle me that.
-nick-

casper leblanc

DriftingByTheStorm wrote:

Does anyone have any recommendations on some intuitive reading as relates to chord theory and interval relations?

I'm looking for a book that is maybe 1 parts theory, and 2 or 3 parts practical guide to music composition.

I find the music\chord theory books to be not only dogmatic and boring, but also unapplied and impractical.

Does that make me stupid, am i missing the boat, or should it not be as hard as i make it seem?

someone riddle me that.
-nick-

My question exactly

djyman15

well i was lucky enough to take a music theory class in school. I will say the guys at giventowail.com have put together a nice theory guide, and of course you can relate it to pearl jam songs. Take a look over there, they have really done a great job, should be able to find all sorts of stuff

who's_pearljam?

DriftingByTheStorm wrote:

Does anyone have any recommendations on some intuitive reading as relates to chord theory and interval relations?

I'm looking for a book that is maybe 1 parts theory, and 2 or 3 parts practical guide to music composition.

I find the music\chord theory books to be not only dogmatic and boring, but also unapplied and impractical.

Does that make me stupid, am i missing the boat, or should it not be as hard as i make it seem?

someone riddle me that.
-nick-

Try Mickey Bakers Complete Course in Jazz Guitar books 1 & 2. They are great books. They start with a page of chords from hell that you learn then the rest of the book applies them to theories and practical knowledge. They're only about 8 bucks each and you'll learn a hell of a lot.


As far as soloing is concerned. It's not just about the notes, but how you get to them. If you listen to any soulful guitarist, there's a few things that stand out to create emotion,, and that's what you're after.
I think you have to mix up learning the scales, which everybody hates to do. You only have 12 notes to work with in the world of music,, usually 7 in a scale, and 5 outside the scale. They're all usable notes in any solo. You just have to know where to put them.

How you get to those notes is important, too. If you listen to any great emotional soloist,, they're playing very few clean notes like "doink doink doink in time with the music. Bending to the note and away from the note is part of your voice, the vibrato is really important and usually is what distinguishes a guitarist that you recognize as well as hammer ons,and pull offs, and sliding up to a note. These are all like accents to your voice and are what help to add interest.
Playing those "out of scale" notes to get to the note you want gives some pizzazz and drama to a solo too.

Definitely learn to bend,,, because even if you have no idea what you're doing,, 50% + of the notes you play are gonna be right, and if it's wrong, just bend up to the right one. Just make sure you do it again so everyone thinks you know what you're doing!

Timing is really important, too. Playing behind the beat can sound a bit laid back, like in reggae or slower ballads, or create tension and drama, like a Jimmy Page solo where there's that slight delay,,, he's always a bit ahead or behind the beat, as are a lot of soloists,,,,, it's very intentional, but becomes natural to you after a while, like a speaking voice,, but when you play like this, you have to complete the story and "resolve" the tension by coming back into the beat and a satisfying end to the solo.

If you're not playing along with music, ALWAYS practice with a metronome!

The tone is another important thing. Notes need to sound good. Learn to play clean notes first and the interaction between the different places you play on the string, the different sounds from the different locations on the fret board, etc.. Clean picking and fingering, then work on all the bends and slides and other techniques. You can always hide behind all the fuzz and overdrive, but I think if it doesn't sound good clean, it won't be any better all fuzzed up.