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Here is Guitar Solo Tip #4 - Rhythmic Variety in Your Phrasing

When guitarists first learn to improvise, they usually begin by using
scale sequences and arpeggios to create phrases and melodic ideas.
All of this is great and necessary, but one of the drawbacks is that
often these types of ideas are very predictable rhythmically.

Being predictable is not entirely a bad thing. We need to have
recognizable types of melodies and rhythms in our phrasing for
most people to enjoy it. But when predictability in our phrasing
becomes boring, not only to others but also for ourselves, it is an
indication that something needs to change. When we get to this
point in our playing we usually get frustrated and say we are in
a “rut.” Then we think we should seek out new information, new
licks, new scales, or different techniques. While all of this may
help oftentimes we just need to learn to apply the skills we already
have in new ways. This is where rhythmic variety can do wonders!

Spicing up your phrasing with interesting rhythmic ideas is a great
way to break out of the same old worn out ideas. Usually scale and
arpeggio patterns are played in even groups of 8th notes, 16th
notes, triplets or 16th note triplets. You can think of these as groups
of 2’s, 4’s, 3’s and 6’s respectively. What makes these predictable is
that many times there is no deviance to the rhythmic pattern. So
why not mix a few of these patterns together? Here are 3 ideas
you can try now:

1. Combine different rhythmic groupings together within the same
phrase. For example start by playing eight notes using 16th notes
and then six notes using triplets. This type of thing creates rhythmic
interest in your phrasing.

2. Use odd note groupings. Choose any 5 notes and play them as
a repeating 16th note phrase. If you try this with a metronome at
a moderate tempo you’ll hear that a different note lands on beat
one every measure!

3. Try to mix in phrases that do not completely match any particular
rhythm. If you listen to good horn players they often play very fluid
“floating” phrases that sound like a flurry of notes without any
rhythmic structure, but they usually come out landing squarely on
the beat. Practice doing this with your own phrases!

Here is Guitar Solo Tip #3 - The Importance of Vibrato in Phrasing
Having a well-developed vibrato is one of the signs of a great
guitarist. Vibrato is also one of the most expressive techniques
we have as guitarists, and its importance to our phrasing skills
cannot be overstated. Possessing a strong and controlled vibrato
will give life to even the simplest of phrases, and will make your
best phrases sparkle and shine!

Vibrato tends to be one of the most under-developed skills that
many guitarists have, primarily because little, if any, time is
allotted to it in their practice sessions. In order to work effectively
on vibrato you need to do two things:

1. Practice the physical technique of applying vibrato to your
phrases. We recommend doing this in isolation without any music
playing in the background. Work on everything from hand
positioning to the speed and width of your vibrato. Practice
applying vibrato to your favorite licks. Try adding vibrato to the
end of phrases. Adding vibrato to bent notes is one of the most
expressive things you can do as a guitarist, so make sure and
spend some time doing that. If you aren’t sure of the proper
physical technique and hand positioning of applying vibrato,
seek out an experienced teacher or at the very least watch and
listen to players who do have great vibrato. We recommend
Yngwie Malmsteen, John Sykes, and George Lynch to begin with.

2. Practice applying your vibrato in a real musical situation. This
could be with your band, playing along with a favorite CD or
playing over a backing track. For this example let’s use the
backing track idea. Find a backing track in a style you like and a
key you are familiar with. Then simply begin improvising along
with the track paying special attention to your application of
vibrato. As you do this make sure that your vibrato is in sync with
the music. The pulse of your vibrato should match the pulse of the
music. Also make sure that your vibrato is in tune with the music.
Nothing sounds worse than out of tune vibrato!

Working hard on getting a well-developed vibrato will be time
invested wisely. The benefits to your playing should be obvious
by now and your phrasing skills will begin to have new vitality
and life!

Today's Guitar Solo Tip #2  is about breathing your phrases.
Learning to ‘breathe your phrases’ is one of the fastest and
most effective ways to transform your phrasing skills from
mediocre to excellent! The idea of comparing your guitar
phrasing with your phrasing patterns when you speak is a
very simple concept. But although simple, this is a very
powerful idea that can transform the way you play. Let’s
look at one of the best ways to work on this now.
Breathing your phrases: one of the things that come
natural to us as we speak is the necessity to pause from
time to time to get a breath of air. It isn’t often that you
hear someone saying word after word, sentence after
sentence, without stopping for air! However, it does happen
and most of us have been on the receiving end of a one-way
conversation like that at some point. How did it make you
feel? In our own experience, we feel irritated with those
types of encounters. No one likes to be talked “at”. Here’s
the point we are trying to make: How many guitar-players talk
“at” their listeners instead of trying to communicate
something to them? It would appear that, for some guitarists,
the whole goal of their “communication” is to dominate the
“conversation,” using every technique known to man at top
speed and without pause. We wonder if these players understand
what effect this type of phrasing has on their listeners.

Contrast that approach with a mature player who is, in fact,
a virtuoso, but chooses to communicate with his audience.
For sure, there will be flurries of wonderfully advanced
playing – fast runs, speedy arpeggios, etc. – but this will be
balanced with musical ideas containing beautiful vibrato,
emotional note-bending, and rhythmic variation.

We are not saying that fast, virtuoso playing is unemotional. It
certainly is very emotional and passionate at times, and is
a wonderful tool for self-expression. However, it is only one
piece of the puzzle. One of the biggest problems some
inexperienced players have is that they use their technical
skill to cover up their poorly developed phrasing skills. In
other words, they play fast constantly to try to mask the fact
that they lack the necessary skills to truly communicate and
express themselves. This is a shame, but it can be corrected.

Okay, so hopefully you’ve decided that you do not want to be
a guitarist who talks “at” his audience with very little to say.
Let’s try this breathing exercise together. The point of this is to
demonstrate that there is an inherent natural flow to effective
communication. There must be words, notes, and substance,
but there also must be space and rest.

Step 1: Take a seat in your usual practice space. You should be
sitting upright so that you can breathe properly. Inhale deeply
as you would when you are getting ready to say something
important. As you exhale, try and sing a little melody until you
run out of breath. Give this a try before continuing.

Did you do it? Most likely, your melody wasn’t very long.
Don’t worry if it wasn’t the greatest melody in the world.
Perhaps it wasn’t even an original melody... that doesn’t
matter.

Step 2: Repeat Step 1 four (4) times in succession. The 1st
time, sing a melody. Then pause, and inhale. As you exhale,
make your 2nd melody an attempt to “answer” your 1st one.
The 3rd time, sing another new melody, and the 4th time,
attempt to answer the 3rd melody. This process is called “call
and response.” Many great blues singers and guitarists have
mastered this technique (but this technique can be found in
all styles of music).

If you’ve done this, you now have four (4) bars of naturally
flowing music that you composed, and you didn’t even touch
your guitar.

Make sure and practice doing this in as many musical
situations as possible. Here are a few possibilities: the next
time you are composing a song or melody, try this breathing
method first. Sing your melodies along with the chords. Do
this over and over until you find a melody you like. Then get
your guitar and learn the notes. Also, be creative with this
exercise. Use different rhythmic groupings, inflections, and
dynamics. Use your imagination!

Your ability to play and create your own awesome guitar solos will be
determined mainly by your guitar phrasing skills. Think about your
favorite guitar players. We think you will agree that what makes their
guitar solos great is not ‘what they play’, but ‘HOW they play it’!

The definition of “Phrasing” is ‘HOW’ you play what you play.

One of the reasons many guitarists lack good phrasing skills is that
they allow their fingers to create the music instead of their mind.
Unfortunately, there sometimes seems to be a disconnection
between the fingers and the brain. When it comes to guitar phrasing
you must train your mind to “think” in phrases as you play. Here’s
what we mean. When we are speaking, we do so in a way that is
naturally broken up into short sentences. We usually pause at the
end of sentences before continuing on with the next sentence. These
natural pauses allow us to make our point in a way that is clear to
the listener. If we didn’t pause between sentences, our speech would
be confusing and would likely irritate the listener.

Many guitar players lack these basic phrasing skills that come so
easily to us in speech. So what can you do to improve your own
ability to think and play in phrases? Here is a valuable exercise we
want you to try:

Find a backing track you like without any lead guitar on it—just
drums, bass, and maybe rhythm guitar—and as you play the track, 
try and sing the equivalent of a musical sentence. Don’t worry if
your voice isn’t the greatest in the world (ours certainly isn’t!). Just
sing any melody that comes to mind over the track. Then pause.
Then sing another melody. Pause. Repeat. Continue this for one
minute and you will have created a musical paragraph consisting
of several musical sentences. If you practice doing this often enough
you will start to change the way you think about your own soloing
and phrasing. The emphasis becomes more about communication
and self-expression instead of just playing licks and patterns.

Now, for the second part of this exercise pick up your guitar and do
the same thing. The only difference now is that instead of singing
the musical sentence you are now playing it on your guitar. First
play a melody on your guitar. Keep in mind all that we have talked
about so far. Then pause. Then play another short melody. Repeat
this for one minute. If you have a way to record yourself going
through this process you can listen back and make your own
judgment about how you think your musical paragraph sounds.

Doing this musical exercise is a very powerful way you can begin
training your mind to work in tandem with your fingers to begin
improving your phrasing today!