How to Jump into a Guitar Solo Video Lecture | Guitar: Become a Pro (English) - Music

there are some things you should never
just jump right into like season four of
Vampire Diaries or the Japanese thrash
core scene but guitar solos are meant to
be jumped into and we're going to talk
today a little bit about how you can go
from playing open chords to jumping into
more of a lead part and specifically
like a minor pentatonic or a minor scale
lead part right so we're gonna do
something in the key of D so we're going
to take three chords from the key of D
which is just going to be D major a
major and G major and find out how we
can get into the minor pentatonic spot
how we can kind of like fluidly get into
there instead of just going from chords
to solo right I think especially when
maybe you're playing a solo or may play
with one other person and not in the
context of a band it's good to kind of
connect these things to together to kind
of make like a fluid type thing right so
again the reason we're going to the B
minor pentatonic scale the B minor scale
is because it is the sixth note in the
key of D D e f-sharp G a B and that is
where the minor pentatonic or the minor
scale exists right so again we need to
go from this open position of a D to an
a to a G and twice into the pentatonic
scale here which is going to be seven
times seven months seven nine seven nine
seven ten seven ten right so we're going
from here to here now we're going to
connect these and specifically I want to
connect it to this note right here which
is the seventh fret on the g string
which happens to be a d because we're in
the key of D so a good place to start
off a solo that doesn't mean you have to
start a solo here or lead playing thing
here but a good place to start thinking
about it is on the tonic or the root
note of the key B string right so we're
gonna start off with this progression
here idea which is the 1 to the 5 to the
4 alright and instead of just doing that
and then going right into the pentatonic
scale we're going to connect these
together doing two different things and
the first way we're going to do it is
we're going to link an arpeggio into
that scale though a lot of people are
familiar with and you can use any kind
of scale like if you'd rather go into a
major pentatonic or the major scale we
can do the exact same thing but we're
gonna take our ending point of
progression right so D - a - G and we're
going to use this G note as our root
note and we're going to make a four note
arpeggio that we're gonna repeat that's
gonna lead us into that note the D right
D being the v of G you don't even have
to remember that you just remember the
shape right so the shape is going to be
a root note here on this Gia we're gonna
go to the fifth fret to the seventh fret
down the string to the fifth fret right
so we've got a G a B right and then now
we can go down a string this is an
octave G and we can do the same thing so
I've got one kind of arpeggio scale
however you want to see it move repeated
into an octave that leads you right into
that tonic part of the minor pentatonic
shape so we'd have a Dean to an A to G
and that kind of connects your chord
playing into maybe lead playing or
whatever kind of like liquid want to do
in the pentatonic shape now you don't
even have to take a solo here this could
just be a way to make your rhythm
playing more interesting just to kind of
like open up the fretboard a little bit
right so we can connect these two
concepts with one arpeggio through two
octaves into maybe the place that you're
going for or another way to do it is
just to use maybe alternative of chord
voicings to kind of work your way into
that spot so what I mean by that is we
got this D chord right here really
popular shape now another shape you
probably already know is a D minor chord
now so since D is the one chord in the
key of D the two chord would be an
e-minor but instead of playing the C
minor we're gonna play like a D minor
shape but up two frets higher to make a
minor right here
and since the three-chord indie is also
a minor chord we're going to go up
another two frets to make f-sharp minor
and then we're going to finish back in
that same spot right so we can go from a
D to a G minor do a half sharp minor
there and we're kind of leading into you
can think of this is actually just like
a barre chord voicing here or just kind
of getting into the top of that
pentatonic shape it doesn't matter how
you think of it it's just good to kind
of know a different a couple different
ways to get through it right so we've
got D major chord to a to G and then you
kind of just into that same spot right
so again one more time just gonna go D
major E minor F sharp minor into D right
so I'm using chord voicings to kind of
link together and just try to make a
more fluid way instead of just going
from a chord right into a scale I think
kind of once we start combining chords
and scales and arpeggios and just like
knowing the notes and stuff like that
you might find that you'll find a more
fluid playing style developing and what
you do right so one more time we've got
the D major K 2 G the arpeggio or daf-2
gene
to the courts right so you can think of
chord voicings you can think of
arpeggios you think of scales I think
really it's just a really valuable way
of learning the entire fretboard and
then being able to jump into something
that you're more familiar with now you
can do this in any key and the nice
thing about ah maybe like like the
arpeggio run especially is this
particular run will lead you right into
the tonic of the minor pentatonic uh
anytime you start it on the four chord
right so since d e f sharp g g is the
four of d that'll always run you into
the the the root note of the key ring
right so let's take a different key
let's take like the key of E or
something like that where we've got an a
so if we start on an a and we kind of do
that same thing where do we end up with
we end up on an E which is the root note
right so it's just kind of like these
things will eventually become second
nature and your ears will be able to
lead you there but it's just kind of
good to know a couple different tips of
like how arpeggios can lead you into a
particular part of akia and hopefully
eventually you'll start to feel less
loss working your way through the
fretboard