Sweet Child O' Mine Guitar Lesson

Chapter 1: (04:11) Sweet Child O' Mine Lesson Objectives

-Analyze the chord progressions played under the "Sweet Child O' Mine" solo from a theoretical perspective.

-Determine which scales will work over these progressions.

-Learn some additional practical applications of the harmonic minor scale.

-Learn Slash's and Matt's approach to playing the solo section.

-Learn signature licks to use in your own interpretation of the solo section.

-Practice memorized licks as well as improvised lines by playing over the "Sweet Child O' Mine" solo section.

Watch and Learn

Listen to Matt's interpretation of the solo section several times. Compare this to the original recorded solo as well as a few different live performances of the song. What do you notice?

Original Recorded Version

Live Version Chapter 2: (07:56) Scale Discussion The solo to "Sweet Child O' Mine" consists of two different chord progressions. Follow the steps listed below to determine which scales will work with each progression.

Progression 1

1. Determine the key center. The key center is often referred to as tonic. Think of tonic as the home base that the chord progressions seems to gravitate towards. Let your ears guide you. Keep in mind that the tonic chord is not always necessarily the first chord that occurs in the progression. It just so happens to be in this instance. The home base chord is E5. Consequently, we know that the chord progression is in some sort of E tonality. Since the tonic chord is a power chord, the progression could be in either a major or minor tonality. After further investigation into the progression, it becomes quite clear that the progression is played in a minor sounding tonality rather than a major tonality.

2. Analyze how the chords function in relation to the tonic chord. Uppercase Roman numerals are used for chords built from major or augmented triads. Lowercase Roman numerals are used for chords built from minor or diminished triads.

The Roman numeral analysis for minor tonalities is based on the spelling of the natural minor scale of the key center. We have already determined that the key center is E minor. The E natural minor scale is spelled as follows: E, F#, G, A, B, C, D, E.

In relation to this tonality, the chord progression consists of the following chords: i(E5), vi (C5), v (B5), and iv (A5)

3. Determine whether or not the progression is diatonic.

All of these chords are diatonic to both the E natural minor and E harmonic minor tonalities.

4. Determine which scales will work over the progression from a purely theoretical perspective.

Since the progression is diatonic to both the E harmonic minor and E natural minor tonalities, both the E harmonic minor and E natural minor are effective choices. The E minor pentatonic scale will also work since it is a subset of the E natural minor scale. In addition, the E minor blues will work as long as the Bb note is used as a passing tone.

5. Determine which of the theoretical scale options actually sound good when applied to the chord progression. Improvise with each of the scales while playing with a backing track and see what sounds good to your ears.

All of the theoretical options work. However, the harmonic minor sounds the most interesting. This scale creates a nice contrast with the minor pentatonic ripping that is played over the next progression in the solo.

Notice how Slash throws in the D# note from the harmonic minor scale to imply a B major sound over the B5 power chord in the progression. D# functions as the third of the V chord, B.

It should be noted that the final fast lick that transitions into the next section of the solo blends notes from both E harmonic minor and E natural minor. Chapter 3: (05:06) Second Half Progression When determining how to approach playing a solo over this progression, follow the same steps listed in the previous scene.

1. Determine the key center. The home base chord of this progression is E5. Consequently, we know that the progression is in some sort of E tonality. Once again, further investigation into the progression must be made to determine whether the progression is in a minor or major tonality.

2. Analyze how the chords function in relation to the tonic chord.

In relation to an E tonality, the chord progression consists of the following chords: i(E5), iii(G5), iv (A5), vi (C5), and bVII (D5).

3. Determine whether or not the progression is diatonic.

All of the chords listed above are diatonic to the E natural minor tonality. The diatonic chords for this tonality are listed below.

i - minor (Em)
iio - diminished (F#o)
III - major (G)
iv - minor (Am)
v - minor (Bm)
VI - major (C)
VII - major (D)

Remember that power chords can either imply a major or minor quality since the third of the chord is lacking.

4. Determine which scales will work over the progression from a purely theoretical perspective.

E natural minor, E minor pentatonic, and E minor blues will all work as long as the Bb note is used effectively in passing.

E natural minor: E, F#, G, A, B, C, D, E

E minor pentatonic: E, G, A, B, D, E

E minor blues: E, G, A, Bb, B, D, E

5. Determine which of the theoretical scale options actually sound good when applied to the chord progression. Improvise with each of the scales while playing with a backing track in order to decide what sounds appealing to you.

In this context, all of the theoretical options work. Matt used all three of these scales in his solo. However, the minor pentatonic and the minor blues scales are most effective at creating an edgy, hard rock sound. Therefore, the natural minor scale should be used sparingly in this context. Use the notes F# and C sparsely to add additional color. The Bb note from the E minor blues scale must be treated in a similar fashion. This note is most effective when used as a passing tone.

Signature Licks

Learn some of the signature licks from this section of the solo. Matt breaks down a couple of Slash's trademark licks in the lesson video. These ideas can be transposed and used in countless rock solos.

Practice Time

Learn and memorize the first section of the solo. Start with a metronome set to a very slow tempo and gradually work your way up. Also, work on improvising over the second section. Record yourself playing the rhythm part with a metronome. Once again, start with the metronome set to a slow tempo and gradually work your way up. Continue to increase the tempo until you can improvise comfortably at the tempo of the original recording (120 beats per minute). Chapter 4: (02:19) Backing Track Practice your lead guitar skills while Matt plays the rhythm guitar accompaniment to "Sweet Child O' Mine." Don't be afraid to get creative and experiment!

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