Now before we even get started with these lead guitar lessons I’d like to make one thing clear: following this tutorial alone isn’t going to make you an incredible guitarist.
Instead what I’m going to try to do with this lesson is to give you a thorough understanding of what it takes to become fluid as a solo guitarist and to also help you learn how to play lead guitar , building a solid foundation of scales , playing cool blues licks, twin guitar lines, and techniques that you can base your guitar playing ambitions on.
Remember, when it comes to the guitar, it’s far more difficult to unlearn bad technique and bad habits than it is to learn new ones .
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So I hope that you pay attention and work hard on mastering the lead guitar knowledge that I’m about to share with you.
Before we start, I’d like to take a minute to talk about what I believe are the five cornerstones of learning to play great guitar solos:
Let’s keep it real; you could know a thousand different scales , a few dozen arpeggio patterns and a whole bunch of cool techniques, but they won’t mean jack shit if you don’t have the actual physical playing ability to incorporate them into your solos.
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This is why it’s important that you incorporate a daily practice routine that focuses on developing your finger strength, dexterity and speed of both your fretting hand and your strumming hand.
Without a strong melodic sensibility , you won’t have anything to set your guitar solo apart from every other solo out there.
And they are what we will focus on developing in your playing over the course of this series. So let’s get started.
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Now before we get into the theoretical elements of lead guitar solos , it’s important that we make sure that you’re physically able to execute the concepts that I’m going to teach you over the course of this series.
So let’s start off with some warmup advice and five simple exercises that you can incorporate into your daily practice schedule that will help you build strength, stamina, dexterity, and muscle memory in both your picking and fretting hands, as well as the synchronization between them.
The muscles in particular, are capable of instant, rapid action, but it comes at the price of stretched fibers, micro-lesions, and such.
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The muscles are also capable of sustained output over considerable amounts of time, but they must be warmed up and stretched first .
Slowly make fists, then release them. Do that 10 times. Next, using your left hand, grab your right thumb and move it gently in circles, not so big as to cause pain, but enough to gently stretch the muscles and ligaments.
Finish by interlacing your fingers together, both thumbs up and palms facing you, and gently move your hands to your chest, stretching the fingers backwards as you do so.
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Next, while keeping the fingers interlaced, rotate the hands until the palms are facing away from you, thumbs down, and move your hands out as far as you can without causing pain.
The next step is to loosen the forearms by extending your arms straight out at shoulder level, hands relaxed and palms down.
Now slowly bend at the elbow and bring your forearms towards your face, without moving your upper arms, sort of like a reverse curl in weight-lifting.
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Once they are all the way in, rotate the hands to palms facing you, and return the forearms to the original position.
To loosen the upper arms, let them hang at your sides naturally, then raise them forward up above your shoulders, and lower them again.
Get into a comfortable position and start playing a series of eighth-note down strokes on your low E string , at a tempo that’s comfortable to you. Do this for a full three minutes.
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Follow Exercise 1 by playing a series of eighth-notes, at the same tempo, but this time using alternate picking (For those of you who aren't familiar with the term, alternate picking is when you play using alternating down strokes and up strokes).
And as with Exercise 1, remember to focus more on being able to play clean, consistent notes at a steady tempo rather than trying to play super fast from the start.
Also when using alternative picking it’s important to make sure that both your down strokes and up strokes have a similar dynamic and attack .
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These two exercises might seem simple enough at first glance, but I’ve noticed a lot of beginner guitarists have problems with being able to restrain themselves from the temptation of trying to play as fast as they can from the get-go.
It’s far more important to be able to be honest with yourself and stick to a consistent pace until you’re able to tackle these two exercises without any inkling of doubt; and then gradually up the pace.
Now some of you might find that you need to put in more effort to hammer-on and pull-off with your ring and pinky fingers, so it’s OK to hammer-on slower with these two fingers initially.
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And once you’re able to consistently perform this exercise with all fingers for 15 second durations, you can start increasing the duration of each segment.
Next let’s take a look at two really simple synchronization exercises which will help put together what you’ve developed with the previous three exercises.
To start off, play the notes on your 1st, 2nd, 3rd and 4th frets on your low E string using your index, middle, ring and pinky fingers, in that specific order.
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Once you’ve reached the 4th fret of your high E string, start coming back up the fretboard by starting off on the 5th fret on the high E string played with your pinky finger.
Exercise 5 – This exercise is a little more complicated than Exercise 4 and uses an alternating finger pattern to travel up and down the fretboard.
As opposed to the simple 1-2-3-4 pattern used in the earlier exercise, this exercise uses 4 different alternating patterns for each string.
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To start off with set the metronome to the slowest tempo that you’re able to play both exercises cleanly and fluidly at and work your way up from there.
You see, if you are to become a truly fluid solo guitarist, you need to be locate any and every note on your fretboard without having to spare a thought on the task.
Now this might seem like a daunting task for any beginner guitarist, but I’ve broken this down to easy steps that’ll make this process much easier in this guitar notes tutorial
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Now we’re going to start building your theoretical knowledge base with one of the most basic elements of guitar soloing – the pentatonic scale.
As the name suggests, a pentatonic scale is a musical scale with five notes per octave , as opposed to say a heptatonic or seven note scale.
Now the great thing about the pentatonic scale is that it sounds in tune with almost any chord change in a particular key.
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For example, if you are playing in the key of A minor, any note of the A minor pentatonic scale will sound “good” over any chord in the key of A minor.
The pentatonic scale shapes are also incredibly easy to memorize because they each only have two notes per string , so you can pretty much start making music using them from the get-go.
Now trying to learn all 5 shapes can feel a little daunting at first glance, so let’s break it down step by step.
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Remember the goal here isn’t to just play up and down the scale. Rather, it’s to memorize the scale with absolute certainty until you can play it with your eyes closed.
Step 4 – Notice how the 1st shape and the 2nd shape seem to fit together like two pieces of a jigsaw.
Step 5 – Start cross-referencing the notes of each shape until you’re able to visually see both shapes fitting together on the fretboard.
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You’ll also realize when learning these 5 positions that you can play the 5th position which starts on the 15th fret, starting from the 3rd fret as well.
Your next task for this lesson is to repeat Steps 1-6 for the A major pentatonic scale until you’ve got all 5 shapes memorized with absolute certainty.
Part 1 - The first thing that I want you to practice doing this month is trying to “meander” for as long as you can across the fretboard while staying in one particular key – A minor pentatonic for instance.
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All I want you to focus on is to be able to keep playing for an extended period of time , using the entire fretboard, while staying in key.
The more you practice this, your hands and your brain will develop its own map of the fretboard which in time will help you play almost subconsciously without having to worry about what notes you should land on.
The next thing I want you to do is to repeat this same meandering exercise, but this time using a metronome .
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