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how can I solo in this backing track

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Joined: 14 Jan 2009
Posts: 9

PostPosted: Mon Jan 26, 2009 4:29 am    Post subject: how can I solo in this backing track Reply with quote

can someone tell me how those chords go and how can i solo in it?
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Joined: 26 Jun 2005
Posts: 92
Location: Scotland

PostPosted: Sun May 17, 2009 4:27 pm    Post subject: Reply with quote

Can't believe nobody's replied yet. Sorry about that man. I don't check this too regularly.

The main chord progression is Aminor, Aminor, Fmajor, Gmajor, which occurs from the start until the middle section, then from the middle section to the end. The middle section is Fmajor, Aminor, Cmajor, Gmajor, which occurs twice in the middle of the track.

As for soloing over the track, it really depends on how much you know about improvising! The simplest and most common way would be to use the Aminor pentatonic scale or blues scale over the whole track. it fits over all the chords as there are no real key changes. If you are happy with using this then there's nothing wrong with it. You don't have to read on. The stuff below could seem tedious, but it's suitable for experienced players.

However if you know about modes they can help your soloing sound more clever. The simplest way would be to use the A natural minor scale (Aeolian mode) over the whole track. But if you also know the Lydian mode and the Mixolydian mode you can use F Lydian over the F chord and G Mixolydian over the G chord respectively. And during the C chord in the middle you could use the C Major scale (Ionian mode).

However using modes in this way only really expands the number of notes you can play with as you are moving up and down the neck. In order to highlight the chords played underneath you could involve arpeggios into your solo. For example use the notes A, C and E over the Aminor chord. You can probably work out what notes are in the other chords. You could also enhance the arpeggios with sevenths i.e. adding the note D to the A minor arpeggio. Or adding ninths i.e. adding the note B to the Aminor arpeggio.

Being on the Govan forum you must be a fan of his, and therefor probably like his styles such as outside playing. A way to get you started with outside playing is with the minor pentatonic scale as it is the simplest. The way I started was to occasionally slide my hand up the fretboard one fret and keep playing for a few beats, pretending that I'm still using the original scale i.e I'd be playing in the A sharp minor pentatonic scale. Then slide back down one fret putting me back in A minor pentatonic.
I've found it is extremely important to keep your timing perfect whilst doing this. if you move into the outside scale with perfect rhythm and move back into the key scale with perfect rhythm, thats what makes it sound intentional. You've just played a whole bunch of notes which don't fit into the key of the song, but your timing has been bang on, so somehow it sounds like it fits. Proving that in solos, rhythm is just as important than the notes you play, if not more.

When using any of these techniques there is one thing which is the most important thing in improvising, which is to use your ears to help you move on to the next note or phrase. Make every note count and when you play a note, react to it with more notes. listen to the note you're playing, and try to imagine the best note you could hear next, then try to find it. Depending on the style you're playing, dynamics are important as well. But for many death metal players etc, theres no such thing as quiet notes.

I duno if I explained that well. Ask questions if you want and I'll get back to you.
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