Okay so let us look at some stuff we can pull out of this. A little bit of analyzing. Now, the most difficult thing about a solo like this is really control of the bending. So what you want to do is when you do your bends, make sure you got lot of support from the fingers. You know, all my fingers are kind of bunched together there. So you need a lot of control on the bending. Left hand strength is very important.
Second is muting. When you are using a lot of distortion, and Delilah came on this sound, if you got any strings ringing out, it is just going to sound rubbish. So you really need to have your hands all over the guitar from the neck down to the bottom strings, to the other side of this finger, dumping the strings and the palm of this hand – the fleshy part of this - the muting. So what I do is like this. If you look at the strings, as I pull my palm off, you will hear them sounding like this. You want to play the B string. I got my palm off just enough so you can hear it. I normally stop with this so you cannot hear anything. Then as I hit a string, I release it. But still using this side of it to the beats I am not playing, the libretto. So why libretto? I normally use this part of my finger here. If you look at that line on your first finger, for this side of libretto that is kind of resting on the neck, And what it is doing is this is allowing me to do this on the guitar. So I can do as much as I want. First thing of the libretto, that is where it goes just to do that and it is exactly the same before you use that. But I normally got this one stop.
So that is some bending and some libretto ideas and techniques and also some muting. Again I am using repetition of phrasing. For the first chord, I am hitting this F note, this is a note from the chord that is going on the backing track which is a EbM9 and then I used the same phrasing idea. I try to use the first note to fit in with the next chord, which is D7. So you can hear that I changed with the chord. First note goes with EbM9, second phrase I play F #, which is part of the D7 chord. As I said to you before, if you are unsure about what scale is to play every particular piece or whatever, just keep messing around on the guitar to find the notes that fit. Just categorize them over each chord so that note fits. I used to do that before I have a little bit more knowledge. A couple of weeks ago, probably it was. Anyway, so that is how far we got now then I just slide down this basic C minor scale. Then in the second half of the solo, I used the same idea again but I want to use the more dynamics and I want to get to a nice sort of high E for the solo. I used the first part again then this part. Instead of going down, I go up and then I play the same phrases. I did the first upper notes here. And that is how I build my solo. So very, very simple ideas but remember to really keep an eye on the muting. Really keep the bending in tune. You got to be in tune because you are so exposed when you are applying this type of style.
So control is really, really the keyword that we need in tune bending, nicely, even the libretto and then the idea of using those simple lines and then adjusting them slightly each time you go around to give a different effect or to build a solo a little bit more. Now just a little playback, the sound for a solo like this, what I will do is sometimes use two – I got 350 and a 500 millisecond running at the same time so that when you play them, they kind of merge together and give almost nicer, tougher sound but much nicer and clearer I think. Okay so that is the tougher sound and that sound does need a lot of control.
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