#1
I've been trying to write a solo for one of my metal band's songs for a month now and I've been having a hard time. I'm trying to avoid using Aeolian, because it is kind of my trademark and I use it for every solo, so I'm pretty sure everyone gets sick of it. My Rhythm guitarist and I made the Rhythm on it.

Now, I'm not asking to write the solo. I'm just asking for some ideas to start out with for a good dark, shreddy, and emotional solo. I just need some suggestions either on

-How to potentially change the rhythm
-How to add some dark, moody phrasing - maybe with something like Phrygian, I'm really stuck for ideas.

I think the rhythm is the problem. I have knowledge about all the scales, keys and modes, but I have a hard time understanding chord structure, So, I'm just asking for a hand from someone to get an idea to start out with. Karl is the Rhythm, Jordan is lead, and Alex is bass.
Attachments:
Solo Help.zip
Yes. I am your God.
#3
don't avoid Aeolian, dude. it's not which scale you use that makes people get bored, it's using it in the same way.

the thing with modes is that it's very difficult to make a modal scale work over most music. Whichever note gets altered, such as the b2 that appears in the phrygian mode, will clash if it it's played against any chords in the key which use the non-altered note.

for example, if you are in E, and you are trying to play a phrygian solo, you'll have to avoid the b2 anytime that the band is playing a B chord, because against a B, the b2 in your scale implies a diminished fifth, but the chord played has perfect fifth.

i would just find some basic melodies that work in the minor scale, and then try altering a note here and there to use modal ideas... don't use the b2 throughout the solo, but see if it can fit in one or two spots. you could also try the harmonic minor and melodic minor scales, which often work really well for metal. the harmonic minor is just a minor scale with a major 7th, and the melodic minor is a minor scale with a major 6th AND a major 7th.
#4
Learn to use accidentals. I was playing around in B minor last night and when I got to the V chord I hit F natural instead of A# and slid to F#. Edit: I just did the same thing over a Bm chord, sounds awesome.
Last edited by blueriver at Feb 16, 2009,
#5
Quote by pwrmax
You can use the same scale and write 5000 completely different solos. Don't think of the scale as a limitation, think of it as a guide. If you can go outside it and it sounds good then go for it.

Also, if you haven't already, watch this: http://video.google.com/videoplay?docid=5777562536751428345
This

Quote by Metal101
Now, I'm not asking to write the solo. I'm just asking for some ideas to start out with for a good dark, shreddy, and emotional solo. I just need some suggestions either on

-How to potentially change the rhythm
-How to add some dark, moody phrasing - maybe with something like Phrygian, I'm really stuck for ideas.
Firstly, the underline statements present a contradiction.

Phrasing has nothing to do with modes. Phrasing is how you seperate ideas and express those ideas. It's like a paragraph of nicely written words, they'll be seperated by full stops and commas. Your solo should be similar, it shouldn't be a long line of wanky amalgamated licks, it should have ideas clearly seperated.
If you turned on the radio right now and listened to a singer sing, you'll hear what I mean. After each line the singer will either hold her note or pause. Then the next line will sound melodically similar to the last line. They'll sound related in some way.

You can still "shred" when you're phrasing your solos, you just should do prolonged shred like most *core guitarists do. Personally, I don't think anything sounds more uncreative than solos without any phrasing what so ever. It might take alot of skill, but I don't care. Good music is about sounding good, not showing off your skills.

Nothing to do with modes.
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