#1
ok i can come up with some really sweet heavy metal riffs and i just got a digitech looper pedal a few days ago. i recorded a rythme part then it started playing back. i really want to play solos over stuff like that but when i do the solo itself is pretty cool but it just doesn't seem to sound right. my question is does the solo and the rythme part have to match up some how or what???
#2
I think the solo has to be somewhat in the same key as the rhytm guitar
#4
Well you need to play in key. If you know a scale, I'll use the regular box pentatonic, just use it to keep you in the ballpark. For instance, if you're playing the smoke on the water riff in e (0-3-5-0-3-6-5) you would play that scale in e (first note starting on 12 fret). The more you play around with scales the more chops you build and the more badass you sound basically. Don't be afraid to sound bad for awhile.
#6
Same Key = good harmonies

I am fairly expirenced and i am pretty good at palying the keys and knowing what sounds good.... The more metal I play.. the less thinking I do and the more expirementation I do... Lots of chromatics and non sense notes and effects.


My policy of the note sounds bad bend it or hammer on an off one fret hight or lower
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#8
there's no rule that says you have to play in a key


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#9
ok i just came up with this. its in A#tuning and everything on the 7th string is palm muted.
7th string---22-----22-----33----33----:I
6th string-5----5-------5-------6-----6--:I
would would be a good key scale or whatever to play over this. btw i've only been playing for little over a year.
#11
I would say "in key" solos at this point. Good timing with the rhythm at least until you really know what you are doing.
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#12
I would say that having some sort of theme is important - it gives the listener something to latch on to. You can do this through sequences (where the same note pattern is repeated moving up in step with the key) or through a simple theme and variation system. Have a theme appear, then go away, and then come back in a modified form, rinse and repeat. This becomes more effective if a song contains multiple solos (the variations can appear in different solos, helping to link them together) or in very long solos. It makes it feel more cohesive.

Of course, there are lots of other techniques for manipulating themes. I'd recommend a brief study of the techniques used like this in Baroque violin concerti, a lot of metal leads, especially in neo-classical and melodic metal, make are built around some of these techniques, tho different in many other ways.
#13
Quote by God of Metal91
ok i just came up with this. its in A#tuning and everything on the 7th string is palm muted.
7th string---22-----22-----33----33----:I
6th string-5----5-------5-------6-----6--:I
would would be a good key scale or whatever to play over this. btw i've only been playing for little over a year.


Try to start off based around C, but use more outside notes when the pedal note changes to C#, some chromaticism could go well in that section.
#14
Yes, you can use the chromatic scale to improvise and sound good, but for a beginner improvisor like you, the best thing would be start with the pentatonic scale. Why? It contains five notes only which make it easier to memorize and doesn't have the fourth and seventh scale degrees of the major scale which have strong tendencies to resolve.
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#15
what i like most to do for soloing is start out doing the rhythm part get the feel and timing and rhythm and think out how the solo should be, should it be fast, mellow, or both. it does have to be in the same key and all and you should practise your scales, becasue if you mess with your scales youll find really nice sounding soloing materials.
#16
the "most important" parts of the solo are how you begin and end it. the middle usually is just having fun with melody.
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#17
You don't always have to play in the exact same notes of the scale over and over, sometimes what I'll do is take a riff, and play it a diatonic fourth or fifth higher, including any and all diminished notes, and then play it a perfect fifth or fourth higher. It gives it a slighlty uneasy sound that works really good for the kind of music I write, plus, if you know how to use them chromatics can sound very good.

But as far as the TS's question goes, the two are probably in a different key. A good way to learn about keys is just to look up the info on the net, and also, try to jma along to CD's, but don't play what the CD is playing, try to see what you can come up with that sounds good on top of it.
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#19
A chromatic scale is every note basically, for example you can do chromatic runs with like ---12-13-14-15-----------------
-------------------12-13-14-15

Stuff like that
#20
Quote by GoDrex
there's no rule that says you have to play in a key - especially in metal you can do chromatics, whole tones, diminished. The KEY is that it sounds cool to you.

"My policy of the note sounds bad bend it or hammer on an off one fret hight or lower" - yes!


You need to first know how to play in key in order to effectively move out of key though.
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#21
Quote by UNIe
The solo should be in the key of the song and in rhythm. That's the most important thing.


Thats pretty much all you really should worry about to write a good solo but experiment with the timing. Lots of thrashy stuff has crazy timing when you listen to it along with the rhythm and thats what I reckon makes it. People will be looking at you more because it sounds a little out of place but in a good way and the lead player sholud be attracting a lot of attention