Solo Using Diatonic Scales Guitar Lesson

Chapter 1: (00:43) Performance Welcome back to the Phase 2 Rock Guitar Series with Matt Brown! Matt begins this lesson with a performance of the solo section to Candlebox's "Far Behind." Chapter 2: (00:52) Introduction In this lesson, the solo section to "Far Behind" is used as an example of how to play effective lead guitar lines over a diatonic chord progression in a major key. In the scenes that follow, Matt will explain the music theory behind diatonic progressions. He will also explain some effective scale options that can be used over these types of progressions. Chapter 3: (04:48) Diatonic Scales Diatonic Chord Progressions

A progression is "diatonic" to a major key when all of the notes within it are contained in a specific major scale. No accidentals or notes outside of the scale are included in a diatonic progression. Another way to describe diatonic progressions is to say that they contain no chromatic notes outside of a specific major key.

How can you tell if a progression is diatonic? Begin by analyzing the notes that comprise each chord in the progression. The chord progression played underneath the "Far Behind" solo consists of the following chords, G5, E5, D5, C5, and B5. The notes within these chords are listed below.

G5: G, D
E5: E, B
D5: D, A
C5: C, G
B5: B, F#

Thus, the notes used in these chords are G, D, E, B, A, C, and F#. This group of notes should look familiar. When reordered, these notes form the G major scale: G, A, B, C, D, E, F#, G. Consequently, the chord progression is diatonic to the key of G major, since it solely consists of notes from the G major scale.

Scale Options

When playing over diatonic progressions in major keys, the major scale should work from a theoretical standpoint. The major pentatonic scale is derived from the major scale. Consequently, this scale will also work from a theoretical perspective. Over a diatonic progression in a major key, the relative minor pentatonic scale can also be used. Relative minor and major pentatonic scales contain the exact same notes. E minor is the relative minor key to G major. Both of these keys feature one sharp (F#) in their respective key signatures. Compare the spelling of the scales listed below:

G Major Pentatonic: G, A, B, D, E, G
E Minor Pentatonic: E, G, A, B, D, E

As you can see, both scales contain the same set of pitches. Chapter 4: (03:04) Far Behind's Chord Progression When playing any type of solo, you must know the rhythm accompaniment that is played underneath it. The rhythm section will dictate your scale choices, the rhythms played in the solo, and the overall feel of the solo section. In this scene, Matt breaks down the chord progression that is played underneath the first half of the "Far Behind" solo. (The progression played during the second half of the solo is discussed in a later scene.)

The progression consists of the following chords: G5, E5, D5, C5, and B5. Watch Matt in the lesson video to learn the appropriate voicings for these chords.

Note: Tablature and standard notation to the solo progression can be found under the "Supplemental Content" tab.

Choosing Scales

Just because a scale works from a theoretical perspective, it does not mean that it will work in a practical, musical context. You must try each of the theoretical options in the context of the progression to determine whether it will work with the overall vibe of the song.

Since the chord progression produces a biting, hard rock sound, Candlebox guitarist Peter Klett chooses to use the G major pentatonic scale / E minor pentatonic scale throughout the solo. The pentatonic scales convey a slightly edgier sound than the major scale. They produce more of a traditional bluesy / rock and roll sound that is highly appropriate in this context.

However, it should be noted that a few extra notes outside of the scale are also used. An F# note is used frequently throughout the solo. Also, a chromatic C# note from the E Dorian mode is added to measure 13. Chapter 5: (06:32) Far Behind Solo Licks Beginning Lick

The "Far Behind" solo begins with some simple repeating licks. As you learned in the last lesson, repeating licks are a great way to begin a solo. Simple, catchy ideas grab the audience's attention and prepares them for what is about to come next. During the first five measures of the solo, a simple G major pentatonic motif is repeated as the chords in the progression change. Jazz musicians refer to this technique as "riffing." Riffing involves playing repeating a simple idea over a series of chord changes.

Practicing the Solo

Follow the guidelines listed below as you work on the original recorded solo.

1. Work through one phrase at a time.

2. Try to learn each lick just by watching Matt in the lesson video. If you have problems with a specific lick, refer to the "Supplemental Content" section. A transcription of the original recorded solo as well as a transcription of the way Matt teaches the solo in the lesson video are available.

3. Pay careful attention to the fingering that Matt uses to play each lick. Typically, the first finger plays all notes at the 12th fret. The second finger plays 14th fret notes. The third finger plays almost all notes at the 15th fret. Matt almost never bends a string with the pinky finger. This is especially true when vibrato is applied to a bend. The pinky is only used during the final two beats of measure 8. These fingerings will allow you to play the solo with the greatest ease.

4. Practice each lick with a metronome. Begin at a slow tempo such as 60 beats per minute. Gradually increase the tempo as you become more comfortable with each lick.

5. Once you can play all of the licks taught in this scene, begin to string them together.

6. Pause the video and practice the entire section as a whole along with a metronome.

7. When you can successfully play this section at 96 beats per minute, return to the lesson video and play along with Matt at 05:50. Chapter 6: (07:48) Chord Progression As mentioned earlier, the chord progression changes halfway through the solo. In many rock and metal songs, the chord progression or riff played under the solo changes. Metal solos are often played over as many as four or five different riffs! Consequently, you must be able to adjust and weave your lead lines around a changing rhythm part.

The new progression consists of G5 and E5 power chords played for two measures each. Watch as Matt demonstrates the progression at the beginning of the scene. Tablature and notation to the entire solo progression can also be found under the "Supplemental Content" tab.

As the chord progression becomes more simple and aggressive, Peter Klett plays more aggressive licks. He also turns on a wah pedal to achieve a more biting, treble sound. Techniques such as palm muting are also used to add aggression. Fast, intense licks are used to bring the solo section to an effective climax. During this section, the rhythms become much more active. There are fewer sustained notes. Faster rhythms such as sixteenth notes, sextuplets, and thirty second notes are used more frequently.

Practicing the Solo

Follow the same procedure outlined under the previous scene as you learn the second half of the solo. Once you have mastered the second half, begin to practice the entire solo as a whole. Chapter 7: (05:04) Solo Ending Matt frequently compares the structure of a solo to the structure of a story. A solo must have a logical beginning, middle, and end. The "Far Behind" solo perfectly demonstrates this concept. The solo begins with a simple two note motif that grabs the listener's attention. Tension builds during the middle section of the solo as a new tone and aggressive techniques are introduced. Finally, the solo draws to strong climax as rapid sextuplets and thirty second note rhythms give way to screaming bends.

Adding Slurs

Matt adds some hammer-ons to Peter Klett's original licks at the end of the solo. Hammer-ons help keep these lines sounding smooth and connected. They also enable you to play comfortably at higher speeds. Compare and contrast the transcription of the original solo and the way in which Matt plays it.

Practicing the Solo

Pause the lesson video and practice the entire solo with a metronome. Memorize any licks that give you problems. If you really enjoy this solo, you may want to memorize all of it. Chapter 8: (04:05) Far Behind Solo When you can play the entire solo comfortably at 96 beats per minute, return to the lesson video and play along with Matt in this scene. Make sure that your rhythms line up perfectly with his.

Matt's Approach to the Solo

When playing a cover song, Matt will often improvise his own version of the solo. With this song however, he always plays the original recorded solo. Since this solo is so well constructed and widely recognized, Matt does not find it appropriate to interject some of his own licks.

His approach to playing a solo in a cover song is usually influenced by the way in which the original guitarist performs the song live. Check out various live performances of "Far Behind." Peter Klett plays the solo almost the exact same way night after night.

Preview of the Next Lesson

Coming up next, Matt explains the theory behind diatonic progressions in the natural minor (Aeolian) tonality. He covers the scale choices available when playing over these types of progressions. Similar to the current lesson, he uses solo sections from Phase 3 songs to supplement this information.

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