Great soloing advice

[schenkadere]

I know most of the players here are probably of the newer schools, but here's some great advice from an all time great player that old timers like me can really appreciate. I'm a big Gary Moore fan, by the way.

Here is the full article -

http://www.ultimate-guitar.com/interviews/interviews/gary_moore_keeping_the_blues_alive.html

but the part that I really appreciate is this -

"Guitarists have this thing where they’re scared to leave a hole because they think they’ll fall down in it. Where actually, the bigger holes you leave, the better. Albert King said something to me when I did “Oh Pretty Woman” with him years ago on the Still Got The Blues album. He was leaving the studio on the last day and he said, “Gary, play every other lick.” That’s such a profound thing—play every other lick. Those four little words meant the whole world. It took me a long time to really take it in. But he was absolutely right. If you leave that space, if you’ve got a good tone and you play expressively, and you can make people feel from your guitar, they won’t be able to wait for the next note. It creates that tension if you’ve got a great sound and great feel."

I'm curious of the thoughts of some of the younger players. Enjoy!

Just a note - this is the most hospitable and interesting forum I've posted on. You're all very cool, open minded people!

 

[schenkadere]

Not one comment?...hmmm...I'm surprised...I thought this would create some interesting discussions....oh well.

 

[Meedleyx10]

Gary Moore is a fantastic player. There's a big article/lesson aobut his playing style in the new issue of Guitar Techniques. Worth picking up for sure.

As far as that article. It's definitely good advice. However, this is a metal forum and it wont apply so much to most people here. Beyond being the essence of someones "voice" as a guitar player, phrasing is a very stylistic thing. In any style though, I agree that the whole idea of space in a solo is something that SO many people overlook though. It's easier for guitar players to over look it much more than a horn player or singer because they have to leave spaces here and there to breath. It's not quite so tolling for us to just blast through 16th notes for a whole solo. I remember a few years ago, the director of my high school jazz band pulled my aside after class and had me practice my improvising in synch with my breathing like a horn player would have to. It made a huge difference immediately and it's something I still do everytime I'm soloing. It sounds like a silly thing to do, but it adds a much more natural feel to the overall flow of a solo and forces you to think more intuitively about your solos rather than letting your hands go on auto-pilot.

 

[yankeeabe]

lol i lauged at your comment about there being no comments.

To understand why this is good advice would take being an excellent player already, it seems as though good players respect there virtuosity and get tired of it. Instead, instead they tease the listener with silence and dissonance and please them with melody.

 

[schenkadere]

lol i lauged at your comment about there being no comments.

To understand why this is good advice would take being an excellent player already, it seems as though good players respect there virtuosity and get tired of it. Instead, instead they tease the listener with silence and dissonance and please them with melody.

Yeah, I guess the old school where I come from might find this to be a bit more interesting. It's sound advice for any style, I believe. Constant flurries are awe inspiring and extreme technical ability can drop your jaw, but it's those small, special moments where the player conveys his emotion and you connect...that's what gives you goose bumps! That's when it stays with you.

 

[razoredge]

Well the topic title has always escaped me But when I have nailed it I was feeling it, not just throwing out scale excersises and learned licks which I have few of anyhow. So I understand exactly where your comming from. THe most memorable solos to me are where the guitarist is actually singing with emotion. THe awsome shredding burn down the house solos blend together with the next or the last guys. I can also relate to meedleys learning to breath lesson, always a problem I had. I had times when I realized "woa, dude your gonna have to exhale real soon and grab a breath" and suddenly I would be distracted. All my "origional" solos were bits and pieces taken from various spontanious jams, practiced over and over, over the solo spot and then worked into something that was presentable ... shameless I know ... oh well Im not a natural and have never learned, as in studied other guitarists licks and wailings. A few dozen solos for "bar gigs" but I never enjoyed it, any of it. Just wanted to create what came out of me. I had some stuff that was ok and remained fairly origional, though I knew the listening influences.

*schenkadere - I listened to your stuff last week, good stuff, I think Ill have another listen right now. If you havent already you must check out George Puleo on youtube. Another fellow NYer. Give it time, which I know you will, hes got a thing going on, both feel, speed, unique sound and delivery.

 

[schenkadere]

Well the topic title has always escaped me But when I have nailed it I was feeling it, not just throwing out scale excersises and learned licks which I have few of anyhow. So I understand exactly where your comming from. THe most memorable solos to me are where the guitarist is actually singing with emotion. THe awsome shredding burn down the house solos blend together with the next or the last guys. I can also relate to meedleys learning to breath lesson, always a problem I had. I had times when I realized "woa, dude your gonna have to exhale real soon and grab a breath" and suddenly I would be distracted. All my "origional" solos were bits and pieces taken from various spontanious jams, practiced over and over, over the solo spot and then worked into something that was presentable ... shameless I know ... oh well Im not a natural and have never learned, as in studied other guitarists licks and wailings. A few dozen solos for "bar gigs" but I never enjoyed it, any of it. Just wanted to create what came out of me. I had some stuff that was ok and remained fairly origional, though I knew the listening influences.

*schenkadere - I listened to your stuff last week, good stuff, I think Ill have another listen right now. If you havent already you must check out George Puleo on youtube. Another fellow NYer. Give it time, which I know you will, hes got a thing going on, both feel, speed, unique sound and delivery.

thanks razor...I really hope to get some good cleaned up and properly edited stuff up there one day...maybe after the kids are married and moved out...ha! I'll check out that dude!

I'm the same as you...I never learned other peoples stuff...just wanted to be unique. I'm an absolute feel player and I improv 99% of anything I ever play. After all these years, though, I do see the value of learning a lick or solo...if only as a great skill to have under your belt...sometimes now at my advanced years:Smug: I have a hard time focusing enough to do it because it wasn't part of my regular practice. Ah...it has it's good points and bad like anything else. I just love guitar and playing....who cares if I suck...some folks like what I play and some actually connect...that's all that matters.

 

[schenkadere]

Well the topic title has always escaped me But when I have nailed it I was feeling it, not just throwing out scale excersises and learned licks which I have few of anyhow. So I understand exactly where your comming from. THe most memorable solos to me are where the guitarist is actually singing with emotion. THe awsome shredding burn down the house solos blend together with the next or the last guys. I can also relate to meedleys learning to breath lesson, always a problem I had. I had times when I realized "woa, dude your gonna have to exhale real soon and grab a breath" and suddenly I would be distracted. All my "origional" solos were bits and pieces taken from various spontanious jams, practiced over and over, over the solo spot and then worked into something that was presentable ... shameless I know ... oh well Im not a natural and have never learned, as in studied other guitarists licks and wailings. A few dozen solos for "bar gigs" but I never enjoyed it, any of it. Just wanted to create what came out of me. I had some stuff that was ok and remained fairly origional, though I knew the listening influences.

*schenkadere - I listened to your stuff last week, good stuff, I think Ill have another listen right now. If you havent already you must check out George Puleo on youtube. Another fellow NYer. Give it time, which I know you will, hes got a thing going on, both feel, speed, unique sound and delivery.

Checked out George Puleo and Gamalon...good stuff...thanks for the tip, razor!

 

[progmetaldan]

Good advice, but I prefer this quote:

"Less is less, more is more. The idea that less is more is illogical."

-Yngwie J. Malmsteen



haha

 

[schenkadere]

Good advice, but I prefer this quote:

"Less is less, more is more. The idea that less is more is illogical."

-Yngwie J. Malmsteen



haha

Yeah....but that's from the guy who invented "more".

 

[progmetaldan]

haha, right on...

 

[schenkadere]

Gary Moore is a fantastic player. There's a big article/lesson aobut his playing style in the new issue of Guitar Techniques. Worth picking up for sure.

As far as that article. It's definitely good advice. However, this is a metal forum and it wont apply so much to most people here. Beyond being the essence of someones "voice" as a guitar player, phrasing is a very stylistic thing. In any style though, I agree that the whole idea of space in a solo is something that SO many people overlook though. It's easier for guitar players to over look it much more than a horn player or singer because they have to leave spaces here and there to breath. It's not quite so tolling for us to just blast through 16th notes for a whole solo. I remember a few years ago, the director of my high school jazz band pulled my aside after class and had me practice my improvising in synch with my breathing like a horn player would have to. It made a huge difference immediately and it's something I still do everytime I'm soloing. It sounds like a silly thing to do, but it adds a much more natural feel to the overall flow of a solo and forces you to think more intuitively about your solos rather than letting your hands go on auto-pilot.

Hey Meedles...are you familiar with Moore's pre-blues playing? Not many folks are. It's hard rock verging on metal. He is the most powerful player I've ever heard. He has the most ferocious attack yet he can rip your heart out on a ballad as well. Have you ever heard his version of Roy Buchanan's "The Messiah Will Come Again"?...if not, I highly recommend finding a copy...it's from his After the War release. His releases Corridors of Power and Victims of the Future should be required listening.

Moore is essentially a hard rock/metal player...he transitioned to blues around '90. Todays metal players could learn some truly valuable stuff from listening to Moore's pre-blues solo releases. Some of the songs aren't always the strongest...it can get a touch pop-ish at times, but man...the guitar playing is awesome!

What I feel is missing with a lot of modern players is phrasing...like your breathing example...that's one approach. Moore's phrasing is beautiful and I believe that comes from a strong blues root. Without proper phrasing the solo becomes jumbled mush...it can't be memorable. There is only so much "Wow" a player can give until it gets tired. My example is Yngwie...after his first release "Rising Force", I really don't need to hear more. His work with Alcatrazz is masterful because he was forced to solo within the song structure. He was a better player with those boundries. The solos are full of flash, yet memorable and emotional...some of the best playing I've ever heard.

 

[schenkadere]

haha, right on...

hey...I thought this thread was about Moore...not more.

 

[ABQShredHead]

Gary Moore RULES! I've been a huge fan since the early '80's. Run For Cover is definitely one of the best albums from that era. I love the song Military Man from that CD with Phil Lynott on vox.

Not that my opinion has anything to do with the topic of his advice, but I thought I'd say it anyway.

 

[schenkadere]

Gary Moore RULES! I've been a huge fan since the early '80's. Run For Cover is definitely one of the best albums from that era. I love the song Military Man from that CD with Phil Lynott on vox.

Not that my opinion has anything to do with the topic of his advice, but I thought I'd say it anyway.

It's pertains...plus, you've got good taste! In music...and beer!

Run For Cover is a bit too 80's injected for my taste...probably because the hair band thing had just started and was getting airplay...I prefer the earlier stuff. That's a bastardized version of Empty Rooms on that release...the Victims of the Future version is one of the greatest rock ballads ever!

 

[Meedleyx10]

I've heard some of his earlier pre-blues stuff. None of it left much of an impression on me or made me want to seek out any more. I definitely love his more recent stuff though.

Have you checked out that new issue of Guitar Techniques yet?

 

[schenkadere]

I've heard some of his earlier pre-blues stuff. None of it left much of an impression on me or made me want to seek out any more. I definitely love his more recent stuff though.

Have you checked out that new issue of Guitar Techniques yet?

No...haven't seen it yet...gotta get to Barnes & Noble. Oh well, we can't like everything, right? Maybe it's a guitar generation difference...maybe you haven't heard the right cuts...who knows? the old dudes here dig Moore quite a bit.

 

[razoredge]

schenkadere - you be sure to tune into that Puleo once a week, hes got something going on there that Ive never heard before. I mean I can catch glimpses of Beck and electric DiMeola, maybe Mclaughlin but anyhow I want him to rub off a bit on you ...... lol

Ya know ... I have no Moore. I only rember something of a blues song that got alot of FM play back in the later 80'or even mid 80's. Blues was big on FM back then. You had Stevie Ray, Robert Cray, ZZ Top still crankin out their unique blues rock, the blind guy that played on his lap ........ damn .... wont come to me, awsome feel player. Great White let the blues through the pop metal door and Cinderella did a smokin job on "Long Cold Winter" def. influenced by Zeps "Since Ive been Lovin You"

You making me wonder if Moores music is something like Pat Travers ? Pat did an awsome version of Born Under a Bad Sign. Havent heard much else other than Snortin' Wiskey, Drinkin' Cocaine. Need to catch up on Pat too.

Myself I still need a regular dose of Robin Trower. Last Friday night I hung out with old friends. One of them was a nearly famous, for lack of better words, local player that was in a locally successfull pop metal/metal band during the 80's, a band that played good FM music in the early 90's like Stevie Ray , ZZ & Queensryche, Pink Floyd, ect. you get the mix. A grunge/post grunge band in mid 90's, and back to metal in the later 90's & 00's. Trust me when I tell you the guys great and versatile. Well he was spinnin the tunes and we listened to Doken, Megadeth, Frank Marino and Robin Trower. He had some Marino Id never heard before, straight up blues, recorded live in early 80's .... awsome ! then Frank always had his trippin' things. Like he did this one thing with a wammy and sustain that lasted minutes and he played a solo in perfect pitch with just the wammy.

Good guitar playing does not exist on one island. This is the only example of when more is more ....... HA ! (Yngwie exists on one island however - love him, but come on!)

Joe Pass .......... anyone ............. LOL

 

[J-Dubya 777]

HUGE fan of Moore's here. Got to see him on the Victims tour in a small club in Chicago. Definately a lot to learn by listening to this guy... I also like Pat Travers & Frank Marino, but I can't stand Trower. I can't put my finger on it, it just rubs me the wrong way somehow.

 

[Meedleyx10]

Joe Pass .......... anyone ............. LOL

I love Joe Pass, he's easily one of mytop 3 favorite jazz players and definitely in my top 10 of overall favorites. Despite knowing jack shit about theory and being hardly able to hold a train of thought towards the end there....the guy was a genius. About 2 years ago one of the teachers where I worked let me borrow all of his Joe Pass videos and I spent my entire spring break copying all the examples to paper and absorbing as much as possible. The guy's stuff is just so incredible and he had such a nonchalant approach to everything. I could go on and on....

here's a video of him talking a bit about his approach to improv.