Exploring Solo Techniques

So let's look at some of the stuff that he uses in the solo and see what we can do with that material. There's a lot we can do!

Starting with Intervals

• He starts the solo with that repeated interval, the sixth.
• As I mentioned, he does variations:
  • You can add the A to fatten it up a little bit and give it a little crunch.
  • You can also add the G at the top, something he does a lot.

You often see his little finger kind of free and shaking around when watching videos.

• You can also play it with the A on top for a really big sound.
• Obviously, I'm bridging the G and the A with the thumb at the bottom.

Why not gradually intensify?

1. Start with the basic interval.
2. Gradually introduce the other notes for a transition into the next chord.

Experimenting with Octaves

• How about playing in different octaves?
  • Down there, it sounds slightly muddier, doesn't it? But it could be useful.

You might recognize this idea from Great Balls of Fire. Yes, he uses that in the second half of his solo in that piece, which we'll look at later on in the course.

Variations and Intervals

• There are a couple of little variations of that repeated figure.
• Instead of using a sixth, why not try a different interval? For example, a fourth can be quite powerful.

Imagine Chuck Berry playing one of his licks, it's kind of the piano equivalent of that.

Accent Changes

• Change where you put that accent to make it slightly unpredictable.
• It's a nice solid lick that you can use.

Linking Passages

• Maybe consider using a little linking passage in the middle.

Experiment with:

• Repeated ideas while changing the octave to create a bit of intensity.

For example:

So, something like this... 

• Again, move up the keyboard to create drive and momentum as you approach chord four.

Broken Chords and Embellishments

Let's look at another idea that Jerry Lee uses in the solo. This involves the broken chord in the seventh and eighth bars where he's working with the left hand.

Embellishing Chords

• There's a lot you can do with this idea, which essentially is an embellishment of a chord, either a C, C6, or a minor sixth.

What could we do?

• We could repeat it and add a D.
• You might play that with the sixth.
• Why not add a crushed note as well?
• Alternatively, you could just play the sixth interval depending on the sound you want to create.

Exploring Ideas

• You could perform this idea all around the twelve-bar structure.
• Perhaps shift to the four and change from a major sixth to a minor sixth, which acts like an F7,9.

Extending Ideas

• While extending the passages, you can repeat certain phrases to build intensity:

  There's that vibe in the way he executes this.

• You could play something like this:

  (Insert musical example)

• This could sound quite cool as an extended thing.
• When transitioning to chord four, keeping that major third on the C can create a clash with the F chord, but I think that's kind of cool!

Building Tension

Things don't always have to harmonically make logical sense. It's about:

• The attitude and intention behind the playing.
• Creating that bit of tension and release when resolving back to chord one.

Using Chromatic Techniques

• Here are a few ideas using that technique, perhaps working in some chromatic elements.
• You could also change chords and keep moving through different octaves.

Tip: It's quite beneficial in soloing not to necessarily keep changing your musical idea, but to actually repeat an idea. Each repetition builds intensity and excitement.

Final Thoughts

I heard a guitar solo recently, it was Jeff Beck, actually. He literally held a single note for about two choruses with a bit of feedback.

• So cool!
• Just holding that single note allowed the intensity and tension to build and build. When you finally release, it creates a great moment.

So, keep this in mind: use the same idea to build tension in your playing!

Let's look at something else next.