so i really need to start pickn up my lead lines for my band cuz our lead guitar player is always off in work and is only home for a week outa 3. so i need help. i know a few scales not sure which ones. but i have a problem with just stayin in the lines of the scales to much. ill go to solo and i always go to the same scale:say in G:
G3-5-7 <then back up the scale
D 3-5
A 3-6
E 3-6

so it seems im confined to these notes and thats all i hit. of course with bends and other variations but is that wat i do so solo? jus stick within the scales?
I view scales as more of a guideline. If it sounds good, and isn't in a scale, play it anyway.
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combine scales 2
theres diff gmajor scales
combine them
then solo
so now you have 5 scales to scale over
Quote by HaKattack
I view scales as more of a guideline. If it sounds good, and isn't in a scale, play it anyway.


Scales are simply a tool for us educated but melody-impared folk who wish to make listenable music.

Simple as that.
I feel scales are starting point. While learning the Pentatonic scales, I would find myself doing something wrong that actually sounded kinda neat so I kept doing it .
haha okay. so i dont have to perfectly hit ecah note in the scale i can go outside right? thats wat everyone sayin eh? wats a godo scale say for, a progession of, em c g d
Also, try learning position shifts for scales, so instead of just playing a G scale with the root on the 3rd fret, start at the 15th fret.

^ All good advice you're getting.

Also, you don't have to just go up and down. You can repeat sections, you can hop, etc. I mean, even if you do decide to stay within one box shape, say of the G minor pentatonic, there's nothing wrong with playing something like

Or whatever. You don't have to just go from one note to the next one (sorry if you already realise this, your first post just seemed to suggest you were playing everything stepwise)
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You don't need to stay within a scale you can take an arpeggio approach to soloing where you target chord tones as opposed to sticking ridgedly to one scale. I will just mention it's likely that the out of key notes work because they are featured in the underlying chord. A good example of this will be when playing over a dominant 7 chord, let's take a C7 chord, the notes that make up this chord are C E G Bb, however the Bb doesn't feature in the C Major Scale but if you play a Bb over this chord it will sound 'right'. It is also fine to use chromatic passing tones to lead up to the correct note, Slash is big on chromaticism, if you take this concept one step further you can use a jazz idea called enclosure where you approach your target note chromatically, I won't explain too much about that but if you are interested I suggest reading a good Jazz book.

I think however learning a little about chord construction and arpeggio based soloing will take you a long way to understanding why some things work and some don't and will ultimately make your solos sound much more sophisticated.
hey thanks i appreciaet all the help been workin on my guitar since.thanks again
I feel scales are starting point. While learning the Pentatonic scales, I would find myself doing something wrong that actually sounded kinda neat so I kept doing it

I think that's how they invented jazz...

I only really know the pentatonics, but I'll go off on a tangent and go back to the scale when I get scared. Don't forget that the scale repeats all over the neck, so you can be playing notes that, while not in that particular pattern, are still part of the scale just fingered differently. Either that or their simply the continuation of the scale. I often use chromatic (single step) transitions between notes, or simply play notes that don't fit on your way to a note in the scale. By briefly playing something that sounds "wrong" before shifting to something that sounds particularly "right" you emphasise the correct note more. IIt gives a phrase a very satisfying sense of resolution.
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aslong you keep the scales as the basis of you licks/solos whatever, you dont have to have to stress about staying strictly in key.
and when you go out of key, its a good idea to land on notes (i mean longer notes) that are in key. if you scale through something with notes in the middle that are out of key, its fine, but if you play a longer note, it most likely sounds dissonant if you play something out of key

for example ill often play pentatonics with playing some of the notes in between chromatically:

for example a G minor pentatonic

the ones notes in brackets are those out of key. and i can play through them if i dont stay long in them.

hope that helps
Passing notes, my friend. Small notes that don't sound good on their own, but combined with the pentatonic for example, it can sound really neat.
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It's true, there are no rules.

If the audience starts throwing things then maybe it's time try something else, or not.

If there is a recognizable vocal melody somewhere in the song one idea is to figure out how to play that and use it for a solo, possibly with a little variation, because you know it already works with the music.
Last edited by Ben Jammin at Jan 6, 2007,