Hey, I'm Jake lizzio. And in this video. I want to walk you through the entire process of composing an advanced technical fast lead line or solo now. I'm going to be teaching this on a guitar, but these Concepts and strategies apply to any instrument you're interested in writing leads with the track. We're going. Writing in is in a lydian and if I don't why it's an alien. I highly suggest you head over to shred Master Scott's YouTube channel and check out his video on writing modal music. I recently stumbled across this content and found some great lessons on writing neoclassical Harmony. So I got in touch with him and we decided to do a little collaboration on modes now before we start writing a lick, it's important to think of General strategy here.
It's too easy to just play a bunch of notes. It's the easiest thing in the world is to just you know, spam notes on your guitar until people are nauseated by it, and I personally got Of that style really early on in my guitar playing. What I would recommend is to try to find a way to harness that speed and that ferocity and is something a little bit more melodic and interesting and the strategy I decided to use here was to find a simple Motif a simple theme that we could kind of latch onto something that wasn't shreddy something that wasn't fast just simple and then we could kind of pepper that throughout the solo and in between each of these nice little pockets of stability. We could kind of throw in some really fast stuff in between and in this case that strategy worked. Pretty well, the main theme that I ended up writing was extremely simple over the a chord. It just plays a C sharp note, which is the major 3rd and then it goes up the scale to hit v e and the Rhythm there is one two and three four and rings out then when the B chord comes up we have the same thing just in Reverse one two, and three four, so it's a nice little thing FEMA a nice little call and response and you'll see variations of this in different octaves and little references to this. Throughout the entire solo.
So I've got a very simple theme Here 1 2 and a 3 and our theme starts right on the One Beat. What I want to do is get to that one beat by doing a scale run that takes us to that one beat and I decided I wanted to do 3 E and A 4 E and A 1.
So before this theme comes up we're going to have a scale around that does dada dada. Dada da da. Boom de ah da What notes do we put there while we could put anything there but a simple thing we could do is just go up the scale until we hit that note and I wanted to do 3E and a 4E gun to 1 so to figure out how to get to this note. I just count backwards. I can just do 3 E and A 4 E and A 1 I'm just going through the scale backwards and it took me to this note B.
So if I start here on the B, then I'll get 3 E and A 4 E and A 1 and it takes me right to where I need to be. So that's how I kick off. The guitar solo is not just with one two and a three I started off with 3 and a 4 E and A 1 2 and a 3 it gives it a little bit of kind of a kick start before. You get our theme. So now the B chord comes up and we do that same little theme in reverse.
But once again, we do a little scale run to get there first 3 E and A 4 E and A 1 2 out of 3 the exact same rhythmic cycle is before so there's not even a variation there. It's a very obvious and strict reference between the rhythms there and the themes there.
Now our next link is over a B chord, so I figured we could tap out a B major Triad. We have a be a D sharp and an F sharp right here and I decided to do this as a quintuplet pattern. So five notes per beat and the five no pattern goes 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 And all you got to do the time that up as find a good way to count fives, you know practice with your metronome one-two-three-four-five one-two-three-four-five one-two-three-four-five and I use the Indian phrase toddy demon. Boom. It's way faster than counting to five. So thought again of them thought again of them try to get them to give me some time and that's literally what I'm counting in my head as I go through the simple tapping pattern, but like I said, it's just a B major and then it's a be sus4 I still have my be and I still have my D sharp and I've just got the E right here. So I'm tapping a little bit of Abby's us for arpeggio.
And this is all over the B major chord, but now the court switches to a so all I do is I leave my middle finger there and I come back to tap out in a major arpeggio still with the fives. So it's nice to introduce quintuplets. It's nice to have a little bit of rhythmic variation, you know to not ever have everything just 16th notes or triplets quintuplets, give a little bit of variety and it's easy to tap them. It's way easier to tap them than it is to pick them. So I thought it would be nice to have a little bit of quintuple of variety in there and it doesn't sound really weird or awkward. It just sounds like some Tapping in my opinion now to add some more rhythmic variety. We bring in some eighth note triplets will see some more later on but just going down the scale and that takes us to this note right here, which is e which prepares us to hear that same reference of our same theme once again, so we went on a little Adventure we want a little tapping Safari and then we came back to land back at our theme an octave lower just the second half of that theme so it should sound kind of familiar to you at that point. Even if it's your first time hearing this guitar solo, you know that lik when it comes up, Shouldn't sound foreign to you should sound like oh this is you know some familiar territory. Which group Now right after we get that little bit of familiarity, I thought it would be a great opportunity to introduce the shred and a lot of shred is dependent on what is easy on your instrument. You know, there's certain things that are going to be very easy to shred on your guitar. That might not be so easy to shred on your on your keyboard or a different instrument. So, you know, keep in mind linear patterns are usually a little simpler and this pattern you're about to see is one of the faster patterns I can play and that's just because of the geometry of the guitar. It's set up to be able to be easily played fast and the pattern sounds like this. I'm using the a lydian shape of three notes per string and I'm using that root position shape here, except I'm starting on the Major Seventh G sharp right here. And here's what the pattern looks like. I'm going up for notes of the scale and then back down but then I go six notes of the scale.
So it's 1 2 3 4 5 6 1 2 3 4 5 6 now I can reset all over again. Just on this new string. I'm going to start here with my index finger. One, two, three, four five six. 1 2 3 4 5 6 I'm done with the pattern I can reset again on this string 1 2 3 4 5 6 1 2 3 4 5 6. So this is a fun little patter. You can start at anywhere.
And it gives you a fun little way to ascend or descend through a scale you could do in reverse the same kind of idea we go down for notes 1 2 3 4 5 6 1 2 3 4 5 6 and then we reset.
So this is a pattern that lends itself really well to the guitar. It's one of practice many times and that's an easy one to shred. And this is a great excuse to use it all based in sextuplets right there. Six notes per beat. One, two, three, four, five six. One two, three four now once that is sending lake is over I decided to keep rolling with the sextuplets.
But with a much easier pattern it's just really fast. It's a six notepad on the goes 1 2 3 4 5 6 1 2 3 4 5 6. This is a really fun lick to practice if you haven't practiced it before it lends itself really well to playing fast. You can do it with Legato know picking it all and you can move it around and through the scale. So that's all I did is in this position. We're in a lydian moving up to the next note in a lydian is the F sharp and then the G sharp and then the A and then the B, so connecting those together you get this And that's all I did is just connect up to the scale with that simple sextuplet pattern and then finally once I reach this be note, I decided to change things up. We've had a long string of just constant sextuplets, right? It's kind of a little nauseating at this point. Let's break it up with some simple. Eighth note triplets three triplet four triplet and a little bit more contrast here. I think this is the most contrasting Lick in the whole solo. I've got this little slide that jumps me all the way up to my highest fret and then back down for this Trill and then into a really Difficult for me it was difficult to the sliding lick that just kind of jumps around through a bunch of different chord tones, and it ends up being a lot of the notes of the E major 7 arpeggio, but I don't really want to say that it's outlining an arpeggio. I want to say it's just kind of a fun slide e lick but it's a lick that took the most practice anytime you're doing one of these licks for there's lots of sliding around like that to me. It's a mess because your Precision has to be just right. So I just kind of liked the way it sounded I practice it until I could play it. That was the lick. It's nice to have triplets breaking up the flow of All those you know, sextuplets and sixteenth notes. I thought it was a cool sounding like Now the next lick is a very simple arpeggio pattern over the a chord. We're just playing an a major 7 arpeggio and I'm outlining it with this shape that I've mentioned before in my video on a major 7 arpeggio of I mentioned the shape and how it fun. It is to sweep through it and easy it is to sweep through it. So all I do is just go up a little bit and then back up and down it so we're just using The arpeggio itself is kind of like a scale right? I'm just kind of going up and down it and then I let it connect me to a full a major arpeggio not in a major 7 and this is where the sweep picking starts.
Now if you are a guitar player sweep picking is a pretty difficult technique and it's not one that I can often find a reason or an excuse to use but when the topic is hey shred then I think a good this is a good opportunity to bust out my sweet picking.
And what I'm doing here is the first sweep ends up being 6 notes per beat but then afterwards we actually going into the septuplets Bill and ends up being seven notes per beat because I cheat my sweeps. I do an up stroke for this pull off and then I do another upstroke here and then I do another upstroke here and a good guitar player would not double pick this note, but I'm not good enough to skip that note. So I just leave it in there and I double pick it as part of my sweep. So it gets struck twice at the end of that arpeggio. So the first sweep is clean.
But then the next one is that double note in it and it ends up being seven notes per beat. So you just kind of have to be aware as you're playing to really time up your Beats well, or you need to practice more than I do and get it so you can sweep that fast without cheating it like that and keeping it totally 6 notes per beat. I think there's a total argument that I'm doing it the wrong way and the right way is to do it six notes for be but I don't really mind it that much and like I said, it would take an incredible amount of practice for me to be able to play it at that speed with the right picking.
Anyways, we connect that to a B major arpeggio, which is the same sleeping pattern all the way up and down.
With that little thing at the end the little septuplets at the end and then I use that to come down 16th notes through my lydian scale.
All right, just down the scale with a simple little pattern little doubling up on some notes on once I get to this note. I play some eighth note triplets trip bullet and then I return to that same theme we heard.
Just an octave lower than we were before and that's where the solo starts to fade out. So, you know, hopefully by the time we do finally get to that theme after all the sweet picking and all that craziness. It's like we're finally where we need to be and it feels like a hopefully like a the story is written the you know, the stories over at that point. It feels like a good resolution to that solo. So now let's try to keep all that stuff in mind as we take one more listen to the solo.
now for somebody like me this project is quite a bit of work to write a technical solo and then practice it is it takes a lot of time and I got most of it written on the first day but then after sitting on it and you know kind of editing things in my head, I changed some things the second day to where I like them and then I added in something I couldn't play so I had to practice that so you can imagine that a lot of AllMusic stuff like Dream Theater haken progressive rock that stuff is very well composed and takes a lot of time to write those solo sections that you're so enthralled by especially the ones where it's two musicians, you know playing in harmony. That was an improvised most likely that was composed. You know, if there were playing in harmony, that means they know exactly what they're doing with one another so, you know, you can improvise fast stuff you can improvise great solos, but at a certain point in time, if you're trying to get that technical shred impressive lead sound I suggest you write you compose your Ooh put meaning into it you put intention into it. You try to find little similarities and you know, you listen back to things and you find out what can you do? When does it get a nauseating? When are you doing too much red when it get boring when you're not doing enough shred and trying to balance. Those things is a really tough process in my opinion.
Hope I'm happy with how this turned out. I think I could have done better and hopefully the next time I'd go through this process I end up with something even better but more importantly. I hope you learn something through watching this process and hearing it all develop if you enjoyed this video, please Patreon supporters for making these videos possible. They're the only sponsors. I'm willing to work with at this point, and they're the reason these videos exist. Also big shout out to shred Master Scott for his inspiration on this video. Please check out his channel leave a nice comment and subscribe if you're interested in anything along those lines. I think he's got really great content there. So thanks for watching and I'll see you next time.