Mykola Dmytrovych Leontovych - Carol Of The Bells Guitar Lesson

Chapter 1: (25:00) Carol of the Bells Summary
This is a short, different take on an old Christmas favorite utilizing the use of natural and harmonic minor scales, chromatic and pentatonic scales, and arpeggios. Legato playing, alternate picking, and sweep picking are among the techniques used to create the phrasing and overall feel of the tune.

I have included a measure-by-measure transcription of the rhythm guitar as well as some scale and arpeggio shapes and ideas for the lead guitar. Please reference the video for a step-by-step breakdown of the guitar solo.

I have also included a few different versions of the backing track for you to practice with. There is the full mix, and then there is a version without the lead, one without the rhythm and one with just the drum sequencing and bass. Have fun!

The Opening Riff
This is a shameless pentatonic groove played on a Telecaster on the bridge pickup to give it that throaty sound. Use a little less overdrive than you might think. With the exception of the middle section of this tune (measures 21 - 26) and the ending (a measure of 9/8) I've put this traditionally 3/8 feeling song into 4/4 time. This makes for some nice 3/4 over 4/4 phrasing between the melody and leads and the rhythm section. Note that in measures 14 and 32, there is a Major 3rd sound instead of a minor third sound.

The Harmonics
This is achieved by playing between the 1st and 2nd frets on the 3rd string. I'm moving my finger around over the string and trying to get a little melody going that consists of "A" (the 5th) "G" (4th) and "F" (m3rd). You'll need a lot of gain and a bridge humbucker to make this section work!

The Solo
This was played on an Ibanez RG Prestige with a Floyd Rose setup through Digidesign's ELEVEN software amp. I also have a dual delay effect (one with a triplet feel and one with a quarter note feel) synced to the tempo of the song. I am also switching frequently between my neck humbucker and my bridge humbucker to darken or brighten the sound for specific licks. (refer to the video and reference tracks)

Scales, arpeggios, and other ideas explained
Figure 1: This is the primary position of the d minor scale used in the guitar solo and melody. I've opted to not use the 1st string for this scale because it allows more control of the vibrato on the higher notes when played on the 2nd string. This scale is also played with the occasional blues tone and is frequently reduced to a straight minor pentatonic

Figure 2: This arrangement goes in and out of the harmonic minor scale quite a bit. Part of the fun of playing the song is that you can be playing around the harmonic minor sound and throw in some blues-influenced notes and phrasing at the same time. The position used here works well for working in some of the chromatic legato lines used around measure 23 of the song.

Figure 3: C Major Arpeggio... When placed appropriately over the d minor groove, playing this C Major Arpeggio creates sort of a dm11 sound. It takes you outside just a little. Here's how it works: If you look at a C Major triad, you have "C, E and G" which, when looked at in the context of a d minor chord you have "C" as the m7 "E" as the 9th, and "G" as the 11th tone. It works in the context of blowing past it and working back to a straight d minor sound, but, because we're not including the m3, it wouldn't work to well to dwell on it for real long over a d minor chord.

Figure 4: This line is the basis for the alternate picked run in measures 33 and 34. I've thrown in some chromatic and well as blues tones to build the tension for the final ascending harmonic minor line at the end. The 4 note phrasing helps make it easier to play up to tempo to get that "flying bumble" bee type sound.

Figure 5: We're back to the dm11 sound with the arpeggio but this time we're borrowing from an F Major 7 shape. Unlike the use of the C major arpeggio over the d minor, this phrasing includes the m3 (15th fret "F" on the 4th string) giving it a more distinct minor sound. Because the m3 is included, you could dwell on this note grouping for a longer period of time over the d minor.

I hope you enjoyed this first lesson. I look forward to meeting and getting to know all of you! Until next time...

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