I absolutely love this channel! Many years ago I read an interview with Carlos Santana where he shared his love of practicing lead guitar along with records by singers like Dione Warwick or Barbara Streisand and copping the vocal and melody phrasing. I tried it and it really added weight and direction to my lead playing. From there I continued that idea by playing along with singers like Al Green, Aretha, Mariah Carey’s first album, and on and on. Always starting from a singer’s take on the melody provided such a solid foundation and it made it easy to play within my means, instead of overplaying and showing any weaknesses I had.
Richie Sambora won't be upset at all being compared to Richie Blackmore. By the way if you sound stale, I sincerely hope I get to that stage soon because I have been trying for 40 years.
Watching John is so motivating, just beautiful phrasing. As simple as it sounds, just getting a drum machine to play over loops really stokes the creativity on improvising. Watching John is such a pleasure. 🎸
In the old days (pre-digital), you really did have the whole band in the studio at once and the pressure to get it right every take was intense. That’s the real magic of first call session players, not only did they not screw up but they came up with exceptional parts on the fly.
Well I don;t know about that. This session musician thing where they talk about "one take" is a bit self-congratulatory. If a band or producer has a session player for an instrument and only wants one take, it's likely he only wanted some trite filler stuff that doesn't stick out and fits. It's like when they're filming a scene in Dexter and they walk near the beach, they want someone in the background rollerblading and a couple of girls in bikinis who look hot, a couple standing looking at the ocean - that kind of thing. All of this happening in the background because you don't notice it when it's there, but you would if it wasn't. It's delusionary if any of those extras in TV or movies come along 20 years later talking about how many tv shows or movies they were in, and how they played their part and how they had to walk across the beach wearing a towel in one take otherwise they were out, like it was some incredibly talented thing they were doing. No they were just walking in the background of a shot wearing a bikini. That's what Tim Pierce did in musical terms (although, to be fair, he did have some gigs where he had a more substantial guitar parts to do) but 90% he's hired because he plays the most easy, obvious, dull guitar parts that fit without being obtrusive. But that is not a massive skill. It's just being the average musician. The reason many significantly talented and creative actors musicians and bands in the studio who are actually the stars of the show are doing take after take after take isn't because they can't act as well as the extras or play as well as the session musicians. It's because what they are doing actually matters to final piece. It's the creative process. It's Paul McCartney sitting strumming a guitar and making up 'Get back' on the fly. That's a world apart from what sessions musicians are hired to do and expected to do. It's just kind of ironic when the session musician is deluded that he was the star because he was on a lot of records and no one knows - well no, same reason no one knows sally slapcabbage has been walking across the background of actors in movies for decades - because it was just extra work or "background artist" if you prefer. Of course, early bands, before digital had significantly more effort to multitrack and doing multiple attempts and retakes was limited - even the physical tape would wear out if they weren't careful. That's why there's so many mistakes, flubs etc that are kept in or flaws where something bleeds in from studio mics and often they just cut the guitar solo in a way that there's a magic leap across the neck. They might have done a few takes but they couldn't sit and play over and over to reach the kind of perfection of performance that many try to do when posting snippets to tiktok or instagram. A lot of the stuff that's kind of innovative back then, the delia derbyshire stuff and pink floyd playing with tape loops etc is pretty trivial to do today with a DAW, so some of what they did perhaps doesn't appear as amazing as it must have been to create at the time. It's like Jacob Collier, as a teenager created a significantly more complicated mix of vocal harmonies in his room, by himself, than Queen managed to do on Bohemian Rhapsody - partly because Collier is a bit of genius, but mostly because Collier has a digital DAW rather than analogue tapes. Obvious Bohem rap was an astounding recording in 1975 - but, it wasn't 'everything was done in one take'
@@TomCPlus1 What? half the musicians in "the business" are below average. You realise that right? Google 'average' if you're not sure why or what it means
That's hilarious. Another example of specious reasoning by people who don't know what it takes to be a professional at any endeavor. Your attempt to condescend is noted and rejected.
I'd say you need to improvise way beyond your ability (which would be hard for someone of your ability), be reckless and try things you know you can't do, and then fail. Then listen back and transcribe the ideas you were trying but do them properly. You will come up with a whole bunch of new licks that you never would have come up with otherwise.
i practice with the radio. focus mainly on rhythms and melodies until the solo section. then try to come back in at the right place. most times you get 16 bars to figure it out. it's good training.
FWIW, I really enjoyed your second take... Some of my favourite recorded solos in terms of succinct, musical statements that have become integral parts of the song are from Elliot Easton of The Cars. Another great way to create a super-musical solo is to actually write a separate chord progression for the solo. In that respect, "Down to the Waterline" from Dire Straits' first album is a superb example.
Hey John, love your playing style and tone and all your Patreon content. You’ve helped me a lot in my playing and tone journey. Quick question, any plans that you can hint or allude to of a possible album in the future with this style of playing. Would love a whole album of your playing to play while working or working out. Thanks for everything.
Bravo and thank you for sharing the takes-we get to be the proverbial flies on the wall. The one you led with was fantastic, but I'd be happy with myself if I produced anything like any of the others. -Tom
Check out Steve Lukather's interview about the Beat It solo. It's a splice because Eddie fucked up the backing track and edited himself into the song where he wanted to be, not where he was supposed to be. Steve and Jeff Porcaro basically had to recreate the basic tracks around that. Eddie's solo is one take.
I used to do a bit of session studio work. I don't think I ever did a 16 bar solo, more like 8 or 4. I not an amazing player gut I understood that what people wanted was some GUITAR! They don't want subtlety and shade, they want you to blast some familiar licks that make people feel good and probably reference the melody of the song a bit.
I was just improvising on some backing tracks and recording myself. Was I satisfied? So and so. I couldn't really tell the main reason that put me off, so I came listening some of your music because I love your playing and I was trying to recreate some of the nuances and phrasing I hear you doing. Just 1 minute in and it struck me: you knew where you were going. Maybe not with 100% accuracy, but you had idea after idea flowing and let them breathe. In my recording I found that sometime there was a lot of playing that was just moving but not getting anywhere, it was just filling the silence. I think this is one of the most important aspects to keep in mind when playing.
I try to play something that establishes the guitar at that point of time for the beginning. This very much depends on the mood of the song. Could be a volume swell, could be a energized variation of what the singer just did or a subtle building up kinda fast run that ends on a screaming note. Then there's a (short) time of "play what you feel", listening to what the band does and after that it depends on whether the energy is still rising after the solo or if the song cools down. In one case I might do something flashy ending on a high note or even some kinda noise like "Sympathy For The Devil" or SRV and Gary Moore did every now and then, in the other I might play a descending line getting cooler and quieter or end on some chord voicings. I feel more comfortable when I already have an Idea of what works for the beginning AND for the end so in the maybe 10 sec. in the middle I can just do what I feel like doing.
When you recording/creating a song, all that matters is the song, the end product. Doesn't matter how many takes (unless there is money or paid studio time involved), the only thing that matters is the end result. (maybe your sanity as well, but that's optional)
@@BrunodeSouzaLino yes, obviously, how you play it live later is irrelevant. Like most things that happen in the studio, a lot of comping goes on and solos can be a comp of multiple takes
@myturningpoint Never understood this aspect of solos myself. 80% of solos are incredibly boring. If the performer is virtuosic, it's OK for a minute but after that I'm like, ...when can we get back to the song?
I think this is great advice. It's easy to fall into just playing endlessly over a track, but coming up with a killer, memorable solo over 8 or 16 bars is a whole different challenge. This made me think about how long some of my favorite solos in pop-rock tunes are, Elliot Easton of The Cars is my go-to example for as good as it gets at guitar solos in pop songs. Sure enough, the solo in "Just What I Needed" clocks in at just under 16 seconds. "Magic" - also just under 16 seconds.
Totally agree - some people just create magic in a few bars, I’ve had to sing ideas for short spot solos - problem is after I learn it and record it, it’s not such a great idea after all.
I read an interview with David Gilmore said the Comfortably Numb solos were cut and pasted. He did three or four solos and cut between them. There is a box set of Layla where there are multiple takes of solos that are mixed and matched.
The minute you learn that John Coltrane comped his solos from many takes in the studio should be the day you realize the studio is about the best possible outcome, not how you get it.
I record quite a bit of guitar and bass. I will focus on section by section, usually many takes of say the first verse until I’m happy. Then move on to the next section.
I've always heard people say to learn licks off players you like, but this has always been hard for me. When my band went into the studio to do an 8 track demo of the bass player's original song back in the late 70's, I was ill with the flu and my sound was a strange echo in the headphones as my head swam . Even my strings were old and dull, and the guitar was slighly out of tune. For some reason I played a blinder of a solo which was the highlight of the song. Later we returned to the same studio to record a 16 track version of the same arrangement for our self-funded single release. Including the acoustic, we had five tracks of guitar, and I was ready and in tune with good strings. I thought to reproduce the same solo and had tried to learn it, but what resulted was a pedantic take on the first solo, which captured none of the original's fire and grace. Although I was complemented on a "fine snakey guitar solo" ( according to a local critic), I felt ashamed because I knew I could do better. At any rate, we recorded an A and a B side ( this was 45 vinyl days) in only six hours, including setting up the drums etc. We had the arrangement ready and knew what we were going to do, and although it was a finished mix on the spot ( included in that six hours) and there were a few minor errors, we just released it as is and it was later picked up by EMI who remastered it and released it with a TV video to match and it was well recieved locally. The point if all this is that I just can't seem to learn licks by copying them; even something I've played myself, although you'd think that would be easy, is near impossible. I've isolated one ir two licks that sounded great on a jam session, and found they were just as foreign as if I were trying to learn a lick from Eric Johnson,or Santana. It seems when I play I don't know what I'm doing, and if I do, I'm being too mechanical.🤔
I’ve always found that the 1st take is typically the most inspired and “natural sounding.” It’s different if one is trying to write or construct a solo, but after a few takes; it’s gonna sound obviously forced. The biggest problem is how too many guitarists approach the music and we often play the guitar far too much with our eyes and not our ears/soul. All that matters is if what is played is most fitting to the music. My 2 cents😅
To me, a good solo is like a scene from a film. Where one of the main characters stands up and changes everything, holding everyone's attention with their charisma and a moving message.
I agree with all you have said! A good solo should have a "groove" or syncopation to the song. It should sit in the music and not on top of the music per se. Most of the time for me it was getting in and getting out, no opuses LOL I do envy those who can meander around for greater lengths, I can't as it's not my skill set! As a songwriter/player anything longer than 3:50 minutes for a song was pushing it :)
Hi John! Love your videos! I have a question... I'm an intermediate guitarist trying to tackle CAGED system, triads, double stops, playing to chords and such. What I find difficult is when I try to use those things over quick chord changes especially over quick rock'n'roll backing tracks like Johnny B. Goode or Roll Over Beethoven. It seems like I don't really have the time to "catch" all chord changes - I can only try to land on some more/less prepared licks for turnover. Any suggestions how to tackle this? Do I only lack practice to visualise these things faster? I would love to hear your opinion on this.
Definitely agree about being lower in the mix, it’s really important to know exactly how exposed your party will be when you’re recording it - it hides my slop just enough to play more aggressively 😂
It is such great advice to actually practice bringing the fire over an 8-16 bar part rather than noodling over an endless backing track. I agree you cannot do a long story, but thinking about whether you want to enter the solo slowly or open with power and also how to build up to the ending of the solo and actually hitting that end note at the perfect time. It is not easy. It really sucks to start your marvellous run that will end the solo, and figure out half-way through the run, that you will end your run and have your climactic heroic ending bend but it comes in one beat after the one you were supposed to hit :) Also, don't hate on the pentatonic scale - it just sounds melodic - Most melodic solos revolve around the chord tones with either some pentatonics or maybe chromatics interjected between the strong notes.
Oh. by the way, I found out that I commented an unusual lot on your videos. So I thought it might be sensible to subscribe which I just did. Great content and great and, most important, inspiring playing! Greetings!
The biggest thing I notice with live players, is technical guys tend to really overthink the solo spot, so when they improvise they are thinking too much about “how complicated or structured or unique can I make this solo sound” it comes off as stiff and rushed, When in reality sometimes just chill and stop thinking so much and flow with it, you’ll make a great solo but stop thinking. Rule of thumb is if you are thinking about what you are doing you are already too stiff and tense. Perfect example of that is in Tom bukovac and Guthries solos on their last performance at 3rd and Lindsay playing with Vince gill, Toms solo was very natural and flowing, Guthrie is a monster in his own right but his solo seemed almost too thought out and robotic at times
Has the song got a hook that sounds a bit like "sail with me, where I'm going"? Possibly Christopher Cross? Sailing? Can hear the tune in my head, although not particularly something I'd normally listen to...
Many famous guitar solos were multiple takes spliced together. Many Pink Floyd Gilmour solos were done that way. In the end the finished result is all that matters.s
Single pickup, fixed bridge guitars help me lock in and not get distracted by a 5-way switch and trem. Then I can go back to those elements without being distracted by them.
Guitar solos are either of the functional, melodic, or "Miami Vice jet ski montage" variety. Pop Country mainly features functional soloing. Basically only happens to give the music a sense of forward motion. Melodic playing expands on the vocal melody and reinforces the emotion of the lyric. Classic Rock. David Gilmour is the king of this, and no amount of eye-rolling or neck tattooing will ever change that. Metal/social media lead playing is what happens when guitarists fixate on technical precision and forget that note selection is the actual point of rock music. You develop your technique so you can come up with memorable parts and sing-able melodic lines - think Stairway to Heaven, Time, etc. Don't like those songs? Yeah, you do. Rock is a melodic competition, not a technical competition. p.s. That was Ritchie Valens who played on Slippery When Wet (died shortly after in '87. Christopher Cross wrote 60 verses about it; he was that torn up). Ritchie Blackmore is famous for kicking things off at Woodstock. Some say Blackmore is a stubborn man, but he did play his beloved acoustic folk music in front of half a million in that warm autumn of 1973.
So you are saying, I wont sound like Lukather and Lettieri... but but but.. :) In the last few years, I have spent more time trying and playing the chords, rather than relying on luck and tried and true licks that work. Great video as always mate!
You don't need a lot of time to tell a story. If you've got eight bars: Two bar intro. Two bar development. Two bar climax. Two bar denouement. If you've got more or less time, just scale that up or down to fit. If it is long enough to be more than just a fill, it is long enough to tell a story. And, of course, that's only one story structure. It just means to have what you play feel coherent and interesting. If a non-musician can sing your solo, you've almost certainly managed to follow the "tell a story" advice.
Talking about Ritchie Blackmore, I think Highway Star has the most perfect Guitar solo ever. A sequence of memorable phrases building to a Crescendo. And not too long.
Quick question... I have a m13 and pod 2.0 and wondered if I can put the 2.0 in the effects loop of the m13 and then run the m13 direct to a PA? I don't think the m13 is line level but does that sound like it would work with the pod making the signal boost coming out of rhe m13?
I’ve laid down solos and on ‘listen back’ the engineer has pitch corrected an under/over bend. That was after a few takes, so maybe he had just given up! 😂
Perfection versus Engineering magic. The greatest solo of all time, in my opinion, is on Hotel California. And it was even better live. All to a reggae beat.
Andy Woods toured with them the last years, but no studio work. In the studio Joe Don actually did some solo’s himself, but mainly it was Dann Huff and the Nashville A-team.
So true. As a novice musician you think you have to fill every second with playing, and really impressive playing, so wrong. I am but 1 of 5 guys in a band, I don't need to do it alone. You're so right, what we don't play is about as important as what we do. 👍
I watch all your videos and you have a command of the fretboard that I can only dream of but I cringe every time you rest your left elbow across the neck, digging the strings into the frets. 😂
Guitar players who have had Electric Guitar teachers sound the same. They all sound like the church rock CD you could buy in the record store from the discount bin... Or they sound like the guitar on a Re-recorded CD by an old singer from the '50s and '60s.😄
To me you're too tidy, too showy, too fast. Clean sacrifices soul. Deliberate rests, rushing, dynamics, are all lost to fast, boring runs. Impressive but uninspired. To my ear. Don't yell at me; just trying to help. We're all so quick to criticize drumming to a grid and autotuned vocals, but what takes the life out of guitar parts? One man's inconsistent picking is another man's expressive picking. My playing may come across as sloppy on first listen, but so do Page and Slash. Maybe they're not your style, that's just what comes to mind first. Go listen to Slash in sweet child and tell me it's not horrifyingly sloppy in all the most beautiful, human ways. Or Dancing Days. I mean come on, that's FILTHY lol In other words, I don't think people realize "pocket" and "feel" are sometimes mutually exclusive. Almost everything on my channel on every instrument is done in one take. Almost everything.
My guitar solos, or your guitar solos, Jonathan? Who said my guitar solos don't sound pro? Was Frank? That jealous pos told you that my guitar solos don't sound pro? Wtf, Frank.
I absolutely love this channel! Many years ago I read an interview with Carlos Santana where he shared his love of practicing lead guitar along with records by singers like Dione Warwick or Barbara Streisand and copping the vocal and melody phrasing. I tried it and it really added weight and direction to my lead playing. From there I continued that idea by playing along with singers like Al Green, Aretha, Mariah Carey’s first album, and on and on. Always starting from a singer’s take on the melody provided such a solid foundation and it made it easy to play within my means, instead of overplaying and showing any weaknesses I had.
Good advice...and i liked all your takes, thanks for showing them :)
Richie Sambora won't be upset at all being compared to Richie Blackmore. By the way if you sound stale, I sincerely hope I get to that stage soon because I have been trying for 40 years.
My absolute favourite "short" solo guitarist is Neal Schon. Especially during the Steve Perry years. Each solo a masterpiece.
I do agree with that. Neil Schon is a wonderful guitar player.
100% agree.
Watching John is so motivating, just beautiful phrasing. As simple as it sounds, just getting a drum machine to play over loops really stokes the creativity on improvising. Watching John is such a pleasure. 🎸
In the old days (pre-digital), you really did have the whole band in the studio at once and the pressure to get it right every take was intense. That’s the real magic of first call session players, not only did they not screw up but they came up with exceptional parts on the fly.
Well I don;t know about that. This session musician thing where they talk about "one take" is a bit self-congratulatory. If a band or producer has a session player for an instrument and only wants one take, it's likely he only wanted some trite filler stuff that doesn't stick out and fits. It's like when they're filming a scene in Dexter and they walk near the beach, they want someone in the background rollerblading and a couple of girls in bikinis who look hot, a couple standing looking at the ocean - that kind of thing. All of this happening in the background because you don't notice it when it's there, but you would if it wasn't.
It's delusionary if any of those extras in TV or movies come along 20 years later talking about how many tv shows or movies they were in, and how they played their part and how they had to walk across the beach wearing a towel in one take otherwise they were out, like it was some incredibly talented thing they were doing. No they were just walking in the background of a shot wearing a bikini. That's what Tim Pierce did in musical terms (although, to be fair, he did have some gigs where he had a more substantial guitar parts to do) but 90% he's hired because he plays the most easy, obvious, dull guitar parts that fit without being obtrusive. But that is not a massive skill. It's just being the average musician.
The reason many significantly talented and creative actors musicians and bands in the studio who are actually the stars of the show are doing take after take after take isn't because they can't act as well as the extras or play as well as the session musicians. It's because what they are doing actually matters to final piece. It's the creative process. It's Paul McCartney sitting strumming a guitar and making up 'Get back' on the fly. That's a world apart from what sessions musicians are hired to do and expected to do. It's just kind of ironic when the session musician is deluded that he was the star because he was on a lot of records and no one knows - well no, same reason no one knows sally slapcabbage has been walking across the background of actors in movies for decades - because it was just extra work or "background artist" if you prefer.
Of course, early bands, before digital had significantly more effort to multitrack and doing multiple attempts and retakes was limited - even the physical tape would wear out if they weren't careful. That's why there's so many mistakes, flubs etc that are kept in or flaws where something bleeds in from studio mics and often they just cut the guitar solo in a way that there's a magic leap across the neck. They might have done a few takes but they couldn't sit and play over and over to reach the kind of perfection of performance that many try to do when posting snippets to tiktok or instagram. A lot of the stuff that's kind of innovative back then, the delia derbyshire stuff and pink floyd playing with tape loops etc is pretty trivial to do today with a DAW, so some of what they did perhaps doesn't appear as amazing as it must have been to create at the time. It's like Jacob Collier, as a teenager created a significantly more complicated mix of vocal harmonies in his room, by himself, than Queen managed to do on Bohemian Rhapsody - partly because Collier is a bit of genius, but mostly because Collier has a digital DAW rather than analogue tapes. Obvious Bohem rap was an astounding recording in 1975 - but, it wasn't 'everything was done in one take'
@@michael1 " . . . just being the average musician . . . " What baloney. Always funny to hear condescension from someone not in the business.
@@TomCPlus1 What? half the musicians in "the business" are below average. You realise that right? Google 'average' if you're not sure why or what it means
That's hilarious. Another example of specious reasoning by people who don't know what it takes to be a professional at any endeavor. Your attempt to condescend is noted and rejected.
@@michael1people like you are what’s wrong with the world today.
I'd say you need to improvise way beyond your ability (which would be hard for someone of your ability), be reckless and try things you know you can't do, and then fail. Then listen back and transcribe the ideas you were trying but do them properly. You will come up with a whole bunch of new licks that you never would have come up with otherwise.
Just keep on keeping on! Sounds phenomenal to my ear!!!
i practice with the radio. focus mainly on rhythms and melodies until the solo section. then try to come back in at the right place. most times you get 16 bars to figure it out. it's good training.
This is a really great video John. Great suggestions! Thanks also for sharing your thoughts and soloing journey with us. ❤️
FWIW, I really enjoyed your second take... Some of my favourite recorded solos in terms of succinct, musical statements that have become integral parts of the song are from Elliot Easton of The Cars. Another great way to create a super-musical solo is to actually write a separate chord progression for the solo. In that respect, "Down to the Waterline" from Dire Straits' first album is a superb example.
Hey John, love your playing style and tone and all your Patreon content. You’ve helped me a lot in my playing and tone journey. Quick question, any plans that you can hint or allude to of a possible album in the future with this style of playing. Would love a whole album of your playing to play while working or working out. Thanks for everything.
I've been saying that for months.. but I don't think he's listening. 😢
Bless the broken road Rascal Flatts, absolute tune!
Bravo and thank you for sharing the takes-we get to be the proverbial flies on the wall. The one you led with was fantastic, but I'd be happy with myself if I produced anything like any of the others. -Tom
Check out Steve Lukather's interview about the Beat It solo. It's a splice because Eddie fucked up the backing track and edited himself into the song where he wanted to be, not where he was supposed to be. Steve and Jeff Porcaro basically had to recreate the basic tracks around that. Eddie's solo is one take.
I used to do a bit of session studio work. I don't think I ever did a 16 bar solo, more like 8 or 4.
I not an amazing player gut I understood that what people wanted was some GUITAR! They don't want subtlety and shade, they want you to blast some familiar licks that make people feel good and probably reference the melody of the song a bit.
I was just improvising on some backing tracks and recording myself. Was I satisfied? So and so. I couldn't really tell the main reason that put me off, so I came listening some of your music because I love your playing and I was trying to recreate some of the nuances and phrasing I hear you doing. Just 1 minute in and it struck me: you knew where you were going. Maybe not with 100% accuracy, but you had idea after idea flowing and let them breathe. In my recording I found that sometime there was a lot of playing that was just moving but not getting anywhere, it was just filling the silence. I think this is one of the most important aspects to keep in mind when playing.
I try to play something that establishes the guitar at that point of time for the beginning. This very much depends on the mood of the song. Could be a volume swell, could be a energized variation of what the singer just did or a subtle building up kinda fast run that ends on a screaming note. Then there's a (short) time of "play what you feel", listening to what the band does and after that it depends on whether the energy is still rising after the solo or if the song cools down. In one case I might do something flashy ending on a high note or even some kinda noise like "Sympathy For The Devil" or SRV and Gary Moore did every now and then, in the other I might play a descending line getting cooler and quieter or end on some chord voicings. I feel more comfortable when I already have an Idea of what works for the beginning AND for the end so in the maybe 10 sec. in the middle I can just do what I feel like doing.
When you recording/creating a song, all that matters is the song, the end product. Doesn't matter how many takes (unless there is money or paid studio time involved), the only thing that matters is the end result. (maybe your sanity as well, but that's optional)
It does matter for solos though. You start doing more than three takes and it stops being improvised, which defeats the purpose imo.
@@BrunodeSouzaLino since when do solos have to be improvised??
@@myturningpoint They don't have to, but if you're gonna compose a solo then not play it like it's composed later, was your solo really composed?
@@BrunodeSouzaLino yes, obviously, how you play it live later is irrelevant.
Like most things that happen in the studio, a lot of comping goes on and solos can be a comp of multiple takes
@myturningpoint Never understood this aspect of solos myself.
80% of solos are incredibly boring. If the performer is virtuosic, it's OK for a minute but after that I'm like, ...when can we get back to the song?
I think this is great advice. It's easy to fall into just playing endlessly over a track, but coming up with a killer, memorable solo over 8 or 16 bars is a whole different challenge. This made me think about how long some of my favorite solos in pop-rock tunes are, Elliot Easton of The Cars is my go-to example for as good as it gets at guitar solos in pop songs. Sure enough, the solo in "Just What I Needed" clocks in at just under 16 seconds. "Magic" - also just under 16 seconds.
Totally agree - some people just create magic in a few bars, I’ve had to sing ideas for short spot solos - problem is after I learn it and record it, it’s not such a great idea after all.
Jay graydon told a story in 30 seconds on peg. A really really good story.
Yeah but, Elliot Randall. Steely Dan always got the players didn't they.
The biggest difference between pro players and everyone else imo is the pro’s give more attention to Tone & especially to the Rhythm/Groove.
That tone! Crikey. Sounds really good
I read an interview with David Gilmore said the Comfortably Numb solos were cut and pasted. He did three or four solos and cut between them. There is a box set of Layla where there are multiple takes of solos that are mixed and matched.
The minute you learn that John Coltrane comped his solos from many takes in the studio should be the day you realize the studio is about the best possible outcome, not how you get it.
I record quite a bit of guitar and bass. I will focus on section by section, usually many takes of say the first verse until I’m happy. Then move on to the next section.
That backing, and the soloing, had "Bless The Broken Road" vibes.
YES! That was the goal!!!
@@johnnathancordy it's a really beautiful song.
Humming on Bless the broken road by Rascall Flatts after the vid ;) What I like about your playing is that it feels like melodies, and not just licks!
God Bless the Broken Road 🙏
Lovely playing by the way, brother 👌
I've always heard people say to learn licks off players you like, but this has always been hard for me. When my band went into the studio to do an 8 track demo of the bass player's original song back in the late 70's, I was ill with the flu and my sound was a strange echo in the headphones as my head swam . Even my strings were old and dull, and the guitar was slighly out of tune. For some reason I played a blinder of a solo which was the highlight of the song. Later we returned to the same studio to record a 16 track version of the same arrangement for our self-funded single release. Including the acoustic, we had five tracks of guitar, and I was ready and in tune with good strings. I thought to reproduce the same solo and had tried to learn it, but what resulted was a pedantic take on the first solo, which captured none of the original's fire and grace. Although I was complemented on a "fine snakey guitar solo" ( according to a local critic), I felt ashamed because I knew I could do better. At any rate, we recorded an A and a B side ( this was 45 vinyl days) in only six hours, including setting up the drums etc. We had the arrangement ready and knew what we were going to do, and although it was a finished mix on the spot ( included in that six hours) and there were a few minor errors, we just released it as is and it was later picked up by EMI who remastered it and released it with a TV video to match and it was well recieved locally. The point if all this is that I just can't seem to learn licks by copying them; even something I've played myself, although you'd think that would be easy, is near impossible. I've isolated one ir two licks that sounded great on a jam session, and found they were just as foreign as if I were trying to learn a lick from Eric Johnson,or Santana. It seems when I play I don't know what I'm doing, and if I do, I'm being too mechanical.🤔
I’ve always found that the 1st take is typically the most inspired and “natural sounding.” It’s different if one is trying to write or construct a solo, but after a few takes; it’s gonna sound obviously forced. The biggest problem is how too many guitarists approach the music and we often play the guitar far too much with our eyes and not our ears/soul. All that matters is if what is played is most fitting to the music. My 2 cents😅
Darn good first take John! 👍👍👍👏
To me, a good solo is like a scene from a film. Where one of the main characters stands up and changes everything, holding everyone's attention with their charisma and a moving message.
I agree with all you have said! A good solo should have a "groove" or syncopation to the song. It should sit in the music and not on top of the music per se. Most of the time for me it was getting in and getting out, no opuses LOL I do envy those who can meander around for greater lengths, I can't as it's not my skill set! As a songwriter/player anything longer than 3:50 minutes for a song was pushing it :)
Hi John! Love your videos! I have a question... I'm an intermediate guitarist trying to tackle CAGED system, triads, double stops, playing to chords and such. What I find difficult is when I try to use those things over quick chord changes especially over quick rock'n'roll backing tracks like Johnny B. Goode or Roll Over Beethoven. It seems like I don't really have the time to "catch" all chord changes - I can only try to land on some more/less prepared licks for turnover. Any suggestions how to tackle this? Do I only lack practice to visualise these things faster? I would love to hear your opinion on this.
Definitely agree about being lower in the mix, it’s really important to know exactly how exposed your party will be when you’re recording it - it hides my slop just enough to play more aggressively 😂
It is such great advice to actually practice bringing the fire over an 8-16 bar part rather than noodling over an endless backing track. I agree you cannot do a long story, but thinking about whether you want to enter the solo slowly or open with power and also how to build up to the ending of the solo and actually hitting that end note at the perfect time. It is not easy. It really sucks to start your marvellous run that will end the solo, and figure out half-way through the run, that you will end your run and have your climactic heroic ending bend but it comes in one beat after the one you were supposed to hit :)
Also, don't hate on the pentatonic scale - it just sounds melodic - Most melodic solos revolve around the chord tones with either some pentatonics or maybe chromatics interjected between the strong notes.
Oh. by the way, I found out that I commented an unusual lot on your videos. So I thought it might be sensible to subscribe which I just did. Great content and great and, most important, inspiring playing! Greetings!
The biggest thing I notice with live players, is technical guys tend to really overthink the solo spot, so when they improvise they are thinking too much about “how complicated or structured or unique can I make this solo sound” it comes off as stiff and rushed, When in reality sometimes just chill and stop thinking so much and flow with it, you’ll make a great solo but stop thinking. Rule of thumb is if you are thinking about what you are doing you are already too stiff and tense.
Perfect example of that is in Tom bukovac and Guthries solos on their last performance at 3rd and Lindsay playing with Vince gill, Toms solo was very natural and flowing, Guthrie is a monster in his own right but his solo seemed almost too thought out and robotic at times
Has the song got a hook that sounds a bit like "sail with me, where I'm going"? Possibly Christopher Cross? Sailing? Can hear the tune in my head, although not particularly something I'd normally listen to...
I completely feel this way ..
I love how you turn the Tele volume up even when you play it acoustically 😂😂
hi,
Loving your videos, I have the Kantana Go, could you tell me what effect do I choose to get the sound that you have on your guitar.
Always think that’s a particularly excellent tone from your white strat 🎸👌
Food for thought. Thanks.
Was there a particular radio country channel?
Many famous guitar solos were multiple takes spliced together. Many Pink Floyd Gilmour solos were done that way. In the end the finished result is all that matters.s
100% right. ProTools does versions and then comping the versions. Not uncommon for solos or vocals to get stacked and comped.
The Beat It solo, amazing as it is, is not a single, long take, you can find the isolated solo here on YT.
Single pickup, fixed bridge guitars help me lock in and not get distracted by a 5-way switch and trem. Then I can go back to those elements without being distracted by them.
Guitar solos are either of the functional, melodic, or "Miami Vice jet ski montage" variety. Pop Country mainly features functional soloing. Basically only happens to give the music a sense of forward motion.
Melodic playing expands on the vocal melody and reinforces the emotion of the lyric. Classic Rock. David Gilmour is the king of this, and no amount of eye-rolling or neck tattooing will ever change that.
Metal/social media lead playing is what happens when guitarists fixate on technical precision and forget that note selection is the actual point of rock music. You develop your technique so you can come up with memorable parts and sing-able melodic lines - think Stairway to Heaven, Time, etc. Don't like those songs? Yeah, you do. Rock is a melodic competition, not a technical competition.
p.s. That was Ritchie Valens who played on Slippery When Wet (died shortly after in '87. Christopher Cross wrote 60 verses about it; he was that torn up). Ritchie Blackmore is famous for kicking things off at Woodstock. Some say Blackmore is a stubborn man, but he did play his beloved acoustic folk music in front of half a million in that warm autumn of 1973.
So you are saying, I wont sound like Lukather and Lettieri... but but but.. :)
In the last few years, I have spent more time trying and playing the chords, rather than relying on luck and tried and true licks that work.
Great video as always mate!
A sweet melodious solo as ever ❤❤❤🎉
You don't need a lot of time to tell a story. If you've got eight bars: Two bar intro. Two bar development. Two bar climax. Two bar denouement. If you've got more or less time, just scale that up or down to fit. If it is long enough to be more than just a fill, it is long enough to tell a story. And, of course, that's only one story structure. It just means to have what you play feel coherent and interesting. If a non-musician can sing your solo, you've almost certainly managed to follow the "tell a story" advice.
Talking about Ritchie Blackmore, I think Highway Star has the most perfect Guitar solo ever. A sequence of memorable phrases building to a Crescendo. And not too long.
Saw Lukather in 1981ish at the baked potato in LA with Jeff Porcaro on Drums and Pops Popwell on bass and McIntosh on keys. Lord have mercy
Hi cordy I admire your videos a lot man love your tutorials and love you man. Please bring out some videos on more chord videos
Small ask - when demonstrating licks during the video, please turn your amp on so we can hear it :)
Quick question... I have a m13 and pod 2.0 and wondered if I can put the 2.0 in the effects loop of the m13 and then run the m13 direct to a PA? I don't think the m13 is line level but does that sound like it would work with the pod making the signal boost coming out of rhe m13?
this video looks funky.
Richie Sambora maybe , Richie Blackmore is from Deep Purple
Which pickups are in your KLine
You are a pro, bro 😊
If in doubt, reference the vocal melody to stay on course.
Would love to know what your rig is.
Yeah, I always feel my live solos are never as good as during a practice. Weird.
I’ve laid down solos and on ‘listen back’ the engineer has pitch corrected an under/over bend. That was after a few takes, so maybe he had just given up! 😂
I just aspire to have my solos sound as good as yours.
I'd pick which pros you want to sound like carefully, because every pro nowadays plays and sounds exactly the same and even play the same things.
Cause they practiced for 10000 hours. And we practiced 100 hours.
That intro was album material, just saying ;)
Was that “walking in Memphis”
Yes, Blackmore and Bon Jovi was always a match made in heaven. Much like Eric Hendrix and Cream. 🤭
Perfection versus Engineering magic.
The greatest solo of all time, in my opinion, is on Hotel California. And it was even better live. All to a reggae beat.
I’m not the biggest country fan, but Rascal Flatts has some good ones for sure
Because their guitar player was Andy Woods
Andy Woods toured with them the last years, but no studio work.
In the studio Joe Don actually did some solo’s himself, but mainly it was Dann Huff and the Nashville A-team.
8-note solo fill: "for sale, baby shoes, never worn".
Mistaking the style of Blackmore with Sambora is quite something 😅
That would be Ritchie Sambora not Blackmore 😂
I would rather have a flawed diamond than a polished and perfect pebble.
Don't you mean Richie Sambora?
i love doing short solos but thats only cuz i suck lol
It's what they DON'T play that's often the difference.
So true. As a novice musician you think you have to fill every second with playing, and really impressive playing, so wrong. I am but 1 of 5 guys in a band, I don't need to do it alone. You're so right, what we don't play is about as important as what we do. 👍
I watch all your videos and you have a command of the fretboard that I can only dream of but I cringe every time you rest your left elbow across the neck, digging the strings into the frets. 😂
Guitar players who have had Electric Guitar teachers sound the same. They all sound like the church rock CD you could buy in the record store from the discount bin...
Or they sound like the guitar on a Re-recorded CD by an old singer from the '50s and '60s.😄
because im not a pro would be my guess
To me you're too tidy, too showy, too fast. Clean sacrifices soul. Deliberate rests, rushing, dynamics, are all lost to fast, boring runs. Impressive but uninspired. To my ear. Don't yell at me; just trying to help. We're all so quick to criticize drumming to a grid and autotuned vocals, but what takes the life out of guitar parts? One man's inconsistent picking is another man's expressive picking. My playing may come across as sloppy on first listen, but so do Page and Slash. Maybe they're not your style, that's just what comes to mind first. Go listen to Slash in sweet child and tell me it's not horrifyingly sloppy in all the most beautiful, human ways. Or Dancing Days. I mean come on, that's FILTHY lol In other words, I don't think people realize "pocket" and "feel" are sometimes mutually exclusive. Almost everything on my channel on every instrument is done in one take. Almost everything.
Did the internet just grow up?! You’re supposed to pile on, all triggered.
My guitar solos, or your guitar solos, Jonathan? Who said my guitar solos don't sound pro? Was Frank? That jealous pos told you that my guitar solos don't sound pro? Wtf, Frank.
hard to watch this guy, he style of talking hurts my ears but he can play
who cares what "the pros" sound like?
People who want to sound like pros....do people ever just think before they post? Lol