Easy songwriting tips for guitar players

1. Welcome: Guys, my name is Gabriel Flix and welcome to my course. In this course, we are going to learn everything without some write in composition. Yes, if you want a guitar play, this course is perfect for you. I'm going to teach you all the tricks to compose music. For you, for your band instrumental music, what kind of music you want. Okay? All the tricks you can use to compose rock jazz funk music, H metal anything. And you just need a risky for guitar. Great, isn't it? We are going to have several types of exercise. We're going to learn the fury in the pratical part. Of course, the end of our course, we're going to have a type of project. We are going to compose that song. Yeah. So I hope you enjoy. But before we begin, compose songs, I need to teach you fury and harmony. Yes, we need to learn fury harmony. As that fury and harmony its psi understand music and compose like a real artist. Already, let's get st singing lesson number one. Bye bye. 2. The difference between major and minor scales: Time to talk about measure in minor scales. But first of all, you need to learn what is holes step in haltep. Let's start with Have step. Have Step is when is the shortest distance between two nodes. You know that we have 12 notes, isn't it? The short distance is really simple to analyze. Let's take a example A nodes. That's right here. Fret number five on string six, the shortest distance is a sharp. From A sharp, we have B. O B, we have C and so one. You can go or go down. It's a trigger. Okay? This is half step. The whole step, instead of playing the following fronts, You skip this frat in play the other one. For example. We are in A. You skip the next frat, so A sharp pl B. We are in B. Skip C note pl C sharp, and so one. You can go up or you can go down, it's. Now you know al step and hosep this concept is very important because major and minor scales are made of this. Let's start with C major sc. We have C nodes I'm going to play right here in a frat number three on a string number five. We have a whole step, so D, one more holstep. A. The next note is half step, so F one more hole step according to our formula. G, one more hole step, A, and finally, one hole step, that is B note. This is C major k. I play on string number five, just following the formula. You can apply the same formula to other tones as well to other keys. I A is the same step by step, and G is the same step by step. Just respect the formula and the whole step and half step pattern. Two minor scale, we have a different one, isn't it? So let's take as example. Let me see A A minor scale, like A minor and C minor in C measure because both scales does not have sharps and flats. So A is right here. If we follow our our pattern, we have one hole step. So B notes. Now it's half step, C notes. Now it's one more holes step, D notes. Next note is hole step E notes. Now, half step. F notes. And finally, one more holtep. G notes. This step by step is very nice. Encouraging you to pact with other keys as well. For example, if we take let me see, let's stick with the minor. E minor, so A, one holtep, F sharp, Haltep, G, one more holtep, E, one more holtep, B, Haltep, C. And finally, the last one, One more hole step D. In this case, I play on a string number five, four, entry. I encourage you to play this exercise. You can play everything in one single string or play in 23 or four strings. Now you know the fury and you knew how to play on the instruments. Measuring minor scales are very common in any kind of style. Rock, pop, have metal, gospel, blues, jazz, sanova, so it's important to learn the step by step. See you next class bye. 3. How to play minor pentatonic scale and minor blues pentatonic scale: Tonic minor scale, pentatonic blues scale. They are the two most common scales in rock pop, jazz have metal blues style. Today we are going to learn the theoretical part and the poetical part. The first thing that you need to know is minor pentatonic is the same thing as minor scale, but you need to cut to remove the second, the note number two, and the note number six. For example, if we are in A minor, so We have a minor scale, A B C D F G and A. We are going to remove notes number two and six, so B and F. All right? You need to memorize the shortcut in applying any kind of scale, minor pentatonic blue scale. Okay. So from this, we are going to have an neobar shape. So the first one is going to be this one. It's very easy to memorize, as you can see. You just have two fingers patter, one and four, and one and three. So it's easy to memorize. One, four, finger number one and four, one, three, one, three. If you get 13 on three. Right here on the stream number three is one t as well. Open close, close close. Open shortcuts very nice to memorize this guitar shape. The second guitar shape is going to be in C because our next note is C nodes. Remember, remove B notes. We are in a minor pentatonic scheme. The second guitar shape is going to be this one. It's a little bit difficult because we have three finger patterns. So 24. One, four. That's we're going to repeat twice. 03, four, 24, once again. So try to remember about these details. Next, guitar shape is going to be the third one, and we're going to start right here in D because our third node is D. So It's a very nice one. It's easy because the first three strings strings number six, five, and four, we are going to play with the pattern of finger number two, and one, k. So. There is. Next, we are going to 14. One, four, but be careful with the strings. And finally, we can finish right here, one, two. Our use your in finger number four. Sub j. These patterns are very important to master your finger skills on the fret board. So let's continue. We have pattern number four, that is from our node number four. Begins right here in E. But we are going to play on a string number six. One, four, one, four. One, three, one, three, two, four, one, four, simple like that. The next one is the last one. In pentatonic minor sc, we just have five patterns. Okay. Remember this detail. The last one is going to be from here. G nodes because our last notes, our minor seven is G. So we can start from here or from here. I'm going to start from here because it's going to be a. Understanding C notes. This pattern at least to me is the second most eases one. First one is the first pattern, but the pattern number five is the second is this one to me because we just have two finger patterns. Two, four, two, four. One, four, one, four, two, four, two. Easy, isn't it? So now you know all the five shapes of minor pentatonic scale and know that this pentatonic are basic from the A minor scale. You just need to remove Nodes number two and six. So now the next step is Px Px lot and try to memorize this in theory in the practical part. So a great or size is start the pattern number one, go down. And the what? Then go to the second patterns. Goes down. Goes. Somewhat. You can keep playing this exercise in A in G any kind of key you want. Just repeat this step by step. But be careful. Do not mis notes, mistake the notes between one shape and another. Be careful with that. The next exercise is the second level of exercise. You goes down in one pattern and goes up in the second pattern. Goes down in the third pattern. It goes up in fourth pattern. And so on. You can repeat this in any scale in any key you want. These exercise are amazing, true memorize scale patterns. But in pentatonic blue scale, we have a different note. We have a different accent. We have a different pattern to follow. You just need to take your pentatonic minor scale. And add a short four. Yeah. Pentatonic minor scale. Let's take as example A. G minor pentatonic scale. We have this pattern right here, isn't it? So one, three, four. We take this note four that is based on a minor scale and add a short four. So this blues notes right here, D short, and we have our blues scale. So we will need to change the pattern. Of course, and you're going to add one more note, this D short. So take every single gar shape, the five meter shapes, and add the sharp simple like that. So we're going to have a new scale. As you can see, my blue note is right here and here. If you do the step by step in the other shapes, you're going to have a new sequence. Same step by step, guys. Brags a lot goes this type of exercises like gauss going to the gym. You need to rep. Repetition is the key. Now you know the difference between minor pentatonic scales and blue spentatonic scales. 4. Music structure: Use famos structures. Yes. It's very important. You understand that we have intro verse, pre charros, charros, solo, and you can use all five to create your song. It's very common rock and pop music to start with intro. Play a kind of verse. Pre Corros Corros. Repeat this twice with or Dow tint once and again, and then go to the guitar solo and finish with the chorus twice. This type of step by step, this type of pattern. It's really common in music. And you can find in Mega Daf, metallic, red Hosey Peppers, blink warning, blur ***, and several other bands. Another great shortcut is start with the chorus. Yes, I the chorus is the best part of your song, start with the chorus. Why not? It's very common pop music. You start with the chorus and you have the verse. Keep repeating this two or three times during the song. We have a interlude that's usually a different instrumental part, and then you come back and play the chorus and the verse on one more time. Is very common music. On trick is, finish your songs with the Curls. Repeat the curls several several several times. For example, in celebrate Skin by Hole, they repeat the cars. Oh, my God, I think it is almost 20 times, right? But the card is really very nice and strong. That's why it's important to respect this type of structures. If you are playing jazz, usually you have A B B or A A B. B jazz, you have just two parts, two sessions, or three parts, three sessions. In blue, for example, you have the 12 bar structure, right? With Cor number one, would be trice. The u four, tris, come back to one, trice, five, four, one, isn't it? You have some kind of variations that you can follow as well. 5. Cliche chord progressions major and minor: Shortcut is to use cliches core progression. This is not a plie at all. What about that? It's very common music and you can find the same core progression in has and Peppers Nirvan slave or any kind of rock pot have metban. The first one that I like to use is one minor number six major. T major in seven. Okay. When I say measure is the type of or. It's a measure chord. When I say the number is the node of the scale. In this case, I'm playing a minor. It's a A minor f square is a minor. The second one is the number six of A minor scale, that is F, number three, that is C measure. The last one. Square progression, it's rey common in nine. Fining house per other side and many hard sums square progression. It's one of my favorite minor. Another shortcut is a major key that I'd like to use is this one. A major c progression. Sorry. Is a one, five, mine 64. In this case, we are in B major key, right? So you can find this in rag music. It's very funny because you can find the score progression in bar Mart songs and even just Beer songs. Yeah, it's bot sung as well. But of course, you change the rhythm, right? It's a very common pattern. So I should just cliches core progression and can create a lot of nice things with just these two progressions. On in minor, and one in major. I encourage you to look for more cliches and use them, co, e them to in bulge your songs. 6. How to use relative chords easily: Relative chords. This chords are very important and really helpful in music. Let's say we have core progression, a very nice or progression that we enjoy, and we could play the entire song with this core progression. But one of the members of your band told you that this is bar. You need to find something new to put on your song, some core progression that is different than the same one that you were playing in the entire song. So you just need to use relative chords. For example, let's say we have Dan and C. Very nice or progression is very common as well. A lot of bands use this type of or progression. Let me see, guys and Roses, Bob Jill and every kind of band and artist. And we have this core progression, but we want to mist little bit. We want to change this C chord. We can use the relative chord. The idea is, if you are in a major scale, you need to see, you need to count until note number six. C d E, G and A, and play A as minor. If you analyze node by node, you will see that these two chords are really similar. The unit difference is that in C measure, you have g inside, and in A, you have A inside and not G. So these unique nodes that twisted makes everything different, but do change thing. Because the other nodes, the other two nodes of your chord are the same. So I repeat CNE in C and CNE in a minor. That's why relative chords work so well. So let's say have see now A minor, right? What is really good, isn't it? Let's say I'm in a minor quarter. If I have a minor, I just need to count on t three. So A B C. Always following the scale, okay? In this case, I'm going to play the third or that is C, use a major. Okay? So I have G, D A minor. I could put g, D and C, and I'm going to use this relative or. That sounds so good. You change your corporate aggression in dog. You know, this tricks really coming in composition. 7. Create music with music intervals: Sic intervals are a great shortcut for melodies. Let's say we have this melody. I can play like this I just one single note or can use the octive. Let's say I play F. I can use the other F right here. High pitch F. And I play E. I use another E. This is the pattern. This is the D. You just need to take the power, remove your ring finger in. Of course, mute the string number four, and you're going to have this octal core. You can play like this. Sounds very nice if you use this type of slide, isn't it? So the shortcuts great. You can find in several songs in one half minutes by red Hos Peppers. Full fighters, near vee songs, several type of bands. Use this type of thing. I not shortcut instead of playing just octive, like F and F, you can use thirds like F and A, A is the third of F. When you go to E, you can play E and G, that is a minor third sounds very nice as well. This part can be a little bit trick because you need to check if the of the supposed node, the ir of the node is in sin of the key of your song. Be careful with that. In this case, we cannot use G sharp because sharps in the key of G. Be careful with this step by step. So let's try with thirds. Beautiful, isn't it? So you can have one guitar playing just the chords or the ctaive, and the other one play with thirds. So it's up to you. You need just to use our creativity and choose the best for your song. 8. Sing the melody before playing: One great chart cut that is a very nice technique is sing the melod before you play. Okay? You can develop a lot of nice things, nice melody if you found it step by step. For example, I remember a long time ago more than ten years, I released an album called Adrenaline Rush and one of the songs. I had one melody like this. Do Do. And I remember that I was singing this meld before find the notes on acoustic guitar. So this It's very nice, isn't it? Try to use this step by step, try to sing something before you play. For example, I could you can sing out of tune, okay? It's not a problem at all. And then you find the notes. That's great something. Let me see. A Dara Dm. As you can see, it's completely out of two, isn't it? But now let's find the notes. I'm going to try to use A minor pentatonic scale, okay? So let's try. Para. So, we found the notes, right? It's something like this. Something like this. Let's change the rhythm a little bit and try to create something interesting. This part, you just use your creativity, okay? And, of course, you are experts cheese on a guitar. So. No, we have a melody. As you can see, the first one age. Stop the note. The second one. I use this type of slide, trim belch my armony. Okay? Let's try to choose another example. So let's sing something. Ba ba, ba, ba, ba, ba, ba bom, b, b, b, b, bam, bam, bam, bam bam, bam, bam. So as you can see, something more it, isn't it? So let's try. Stick with a minor pentatonic. In most of the keys, you can fit your melody in a minor key, at least in pentatonic. Last to rock pop and maton music. So Okay. I think I found a note. As you can see, I use this chromatic note here. It sounds really nice, isn't it? So starting A. B. And I have this ne pattern. This type of trick is very nice to create ideas, to create patterns, to create corporate aggressions, melodies, and things that can fit on your songs. And most of the cases, you're going to start and finish your leaks in the note number one, three, or five of your key. In this case it's in A pentatonic scale, so it's A, C, that is number three or E. Right here, I start in A. And finishing A, the first part. The second part? Starting E and finishing A. As we see, use this shortcut, think a lot. And of course, with your creativity, you will create very nice gtrolx. 9. Chord emotion technique - How to transform your chord progressions into feelings: It's time to teach a very nice trick that I like to call chord emotion. So we're going to take one chord, let's say, C major chord. And we are going to change just one or maximum, two notes of the C major chords, and we are going to have several different types of chords with several different emotions. For example, if I want a heap chord, I'm going to play major. If I want a set chord, I'm going to play min If I want a Melancho chord, I'm going to add the minor seven. So it's very melancholic. Right? If I want a beautiful chord, I could play two chord. So Beautiful, isn't it? So as you can see, these different chords express some type of feeling. Okay? And this is very important in music. You need to have this knowledge to compose and create your own music, your own arrangements, okay? So let's remember major chords, they are heavy, okay? Because of this stable sequence of thirds. The minor chords, they are set. If I want to create a set song, I could start with a minor chord. This can see very sad chord progression. But if I want something happy, I could create a star with a major key, right? So C major and choose two major chords. So So as you can see this is very, very happy. I choose just C, F measure, C and G measure. All of these three chords are inside of C measure scale. Okay? Very simple and easy to understand. If I want something, let's say, beautiful, I could use this thes approach, right? So instead of play the regular C measure chord, I remove this measure, these E notes and play the node number two or note number nine, that's the same thing. In C major Scott. This case is gonna sound as D note. So it sounds really, really beauty for example. Very nice, isn't it? In this case, I just play this C, CS nine or two and Jimmi Jucord simple like that. But if I want something with, let's say, some kind of hope feeling, right? So I could add this SS four, okay? Sort of play this two notes. I play number four swash. This thing really works, especially if you play the measure chord and add the cess note. So this type of thing emphasize to the audience that you are playing a major chord and then you add something new that brings some kind of hope to your sound. So Very nice, isn't it? Yeah, of course, you can mix everything. So you're gonna play this CSS two or CS nine. And then I'm going to play interest from this G chord in CS four, okay? The idea is to sound beautiful and hopeful. Okay, so let's try. Very nice, isn't it? So, try to use this approach. Let's say I want something with a lot of tension. It could add the minor seventh. So you can see how you play. Two, five, and one. These five before one create this kind of tension. So This most coming the end of a song, right? Let's say I want to create another type of tension. Could you use only the B note? For example, one, four, five, B, and one. You can see this B, boom, boom, create this tension that we enjoy. So let's say one, four. Five, B, and one. Works really well. If you want to sound like a tra move and Nist remove, you could use a minor chord and add the triton that is a flat five or sharp four. So In this case, I use C minorchord and C, half the Minishchord. Or I could just change this sharp fora here and create these new atmospheres. As you can see, we changed just one singlend we have a different completely different sound, isn't it? The Triton sound. It's very spicy and creepy Int. So if you want to stop of chord, try to use this on your songs. As you can see, I just took one chord and showed that we have different approach to this cording. We have different feelings, right? Happiness, sadness. You can transform your cording a terrible movie, right? Terrible sound Oring a beautiful sound. With hope ness. So now it's time for you to use your creativity and try to add this type of thing on your core progressions. So let's say, I'll help you out one more time and give you one example. Let's say I have a major progression. So, one, four, six, and five. Let's say I want to add something more beautiful, okay? So As you can see, I use one cis four, four, Cis four. Six, six with a minor seven, right? And then five and 64. Can mix all the chords together. Of course, respecting the diatonic scale. Now, take your favorite chord progression and add this approach this step by step. Another great exercise is take your favorite songs, the songs from the artists that you enjoy, listen then, play in and try to mix and find dis approach inside those songs. This type of thing is very common music. See you next class. Bye bye. 10. Fun tricks to play music styles: Talk about rock and pop music. Most of the case, you have just major minor in power cord. It's not so common to use a minor seven or or a flat 13 core. This is post and of chord. This is Jazz chord. Stick with the base. Stick with major minor in power cord. Sometimes you can use a ces cord that sounds really beautiful. But most of the case, just major minor and power chord. Another thing that is important to talk about rock and pop music is that they are diatonic. This means that you will found just one single key. For example, A major key, major key, A major or sorry, major or E minor key both then are really common. B minor. It's really common. You can find in satisfaction by Rodetons, or let me see. Gyms knocking on Has door by Bob Jan. So this type of key, it's really nice and really come in both styles. And if you follow the key, it's going to be easy because if you know the node of the key, you know almost this. Everything, all the possibilities, of course, that you can play, isn't it? Let's say we are playing a rock song and it's in a major. So we know that the first chart is a major or. The second one is a minor, third one is a minor, number four and five a minor, six is sorry, four and five, a major, six is a minor re, plus one is a diminished, and we do not use this type of or in rock and p. We just have six quarters and you know that the song is atonic. Everything easy. T metal music is a little bit different. You have a lot of st, high gain stortions in it. And one technique that we call Pal Muti. That you put the sore and right here. I'm playing the Hocus guitar does not sound too much heavy, but you understand the idea, isn't it? So Pam is a very nice technique in half metal music, metal music. You play most of the songs, I think, 95% of the songs in minor key. I can't remember one single half metal in a major key, really. So minor key is the most important key. You play this power core with pow mooting and with high game stortion. And if we think about scales, pentatonic scales are very common. Pentatonic and minor scales as well. This the sound of amor a minor six or four, it's really nice. But sometimes we change a little bit and play some frisan, frusion dominant, daran scales, these minor scales, that a little bit tricky and have different spices. When we talk about blues, we have the blue structure, the 12 bore blues. And most of the case, we have this major chord, four times four bores, it goes to four tubos comes back to number one, tubs five, four. One. This is a base slow change blues. But we have some variation, such as the fast change blues. Instead of play four times the number one, we go to number one, just 1 bar. Goes to number four, 1 bar. Come back to number one and play twice. And then play agrapy is the same. Several other nice variations that you can use your creativity in and create something new. That is why it's so important to listen to Bus music. Steve Ray Vogue, buy guy. Even new artists such as Joe Mayer. Jo Mayer is really nice. Julian Lash, it's more of a jazz door player, but he has some blues accents as well. So it's important to list a t of blues. Most of the case, you're going to play major Cort or major courts with Mayer seventh. Remember about this detail. This is very important. And pentatonic scale and pentatonic blues works really well. Especially if you play this flat 55 ago guitaric in yd session. And flat 33. Okay. It's like a trick that I like to tell my students really works in blues. Really nice, isn't it? Chromatic notes works really well. Because when I play like this. As you can see, I play this really sounds amazing. When we talk about Bosova, we have major with Major seven. So It's really beautiful, isn't it? And you have this characteristic rhythm that is one, two, b two, this Boss anova ring that you play the bass with your tum finger in the chord with this three or four fingers. Papa bum paa bum ba. Just this basic hum. Ba bump bump. It's very common. Try Px, learn this. Okay. If you want to play Bosnva, if you play this type of thing, ready works. And of course, you can do this a little bit. Really works really well. Another court is a major court with mine okay? Really works. This style is not diatonic. You need to remember about this detail, not even jazz diatonic. I mean, you will not play just one single key. Sometimes you play one key, one part, and another completely different key in the other part. Be careful with that. In Jazz Music, you have the seven the the 11 chords, 13 flat 13, all the cray stuff style. You can find Bosnov as well, but especially in jazz Music. It's not a diatonic style, so you have a lot of different keys. It's very common play 251. So if we are in a minor, at least eight minor part, and a minor key in some part of the song, it's really common. Before a minor, you play h So B Myer with Myer seventh, five. You can put nine or flat nine some spice notes in goes to one. So probably you're ready list on something like this. Very beautiful, isn't it? I love this square progression. Of course, you can use welcome bass. It's really coming Jazz, for example. Really cool, isn't it? Let's try one more time. I really beautiful, sound really amazing. The strick about the walking bases, play one and five of your notes of your chord. B minor with minor seventh, so I play B and F sharp F sharps number five of B. Minor seven works really well when you go to a new chord, so I play this D E and then come back to the top. Really works. Another great trick is, when you have a target chord in Jazz, you can play one note before or one note after your target. For example, let's say, I'm in D major. I'm going to use my walking bass, and I want to go to G. I can play G sharp in goose GD. So or can play sharpeners G. Both ways sound amazing. Infant music, most of the case, you have a lot of guitar riffs, floor of rhythm and pentatonic. Starting in finish your grok with denotes number one, three and five of your scale. 99% of the case are minor scale. Let's create crazy infant music. Really nice, right? This is very funky. As you can see, I use A Myer pentatonic scale. Really works if you use the type of double stops and bands. It's really nice when you repeat the pattern. For example, we're going to create a new one. Repeat. But with a different ending, you know, this really works well. And finish with this low note with the base notes. It's really nice. Sometimes you play exactly the same fee as the base player. So stick with this shortcut play fan. New skin. Of course, in any kind of style, you need to listen a lot. Use your creativity, and use all the tricks. You turn this course. 11. How to compose chorus and verse: Step to compose the song. Take your acoustic electric guitar. Let's compose instrumental song. Yes. The first step is to define the key and the BPM. I want some type of rock medium tempo. Let's tick with 90 or something is 100. Let's tick with 90. Second step is to define the key. I'm going to use a very nice cliche equ progression. I'm going to use A minor. Then let me see C. F g. This is a very nice or progression. It's 1657, S one, 367 in a minor. You can use any kind of or progression you want. The next step is to define a chorus. I usually enjoy to start my songs with chorus because the chorus is the most important part. To this, I'm going to try to sing something. Let's try. A b. So now it's time to find the notes on ac guitar, right. Let me see. Okay, it could be like this, or I could play With the octaves, the octave strategy when you play one note, and another notes that is the same a different octave, right? As you can see, I'm in the middle of the mired part, we're going to use first pattern and second pattern of pentatonic minor scale to compose this. You need to ally your creativity in the things that you knew about harmony, scales, and theory. So I'm going to try to sing this melody. Doesn't matter if you are singing out of Pitt's just to help you while you find the notes. Second part, it's nice if you repeat the most important notes, so this e notes, right? But with a different ending. So I could use this Patony blue scale. This blues note is right here. Sounds nice. First one. Second one. The one in the fourth part, you can do something different. Let me see. Something like this. Use the second pattern of pentatonic scale. It's nice if you start on acoustic. Do sort, doubt effects because when the next port, of course, is to sit down and record every thing. So I'm going to stop this part, this kind of corals. Our song will start with the corals. That is the most important thing. You could start with an intro of vers and kind of structure you want. But in this example, you're going to start with the orals, a drum fill in the ors. All right? As you can see, it sounds really nice, isn't it? Let's go to the second part that is diverse, same step by step. Try to say pentatonic minor scale. Let's keep the same harmony. The cliche cor progression is very nice in music. For example, photograph by Nico Back, you have just 11 core progression during the entire song. You have a bridge with two different, but the entire song is just one single core progression. Let's stick with A C. N G. So, this next part, we could start. Let me see right here. It's the pattern number two and three, of Pentic I like to use this rhythm pattern, this rhythm swing. Sounds really nice. You can do actives as well. Sounds really cool, so we could stick with this It's nice to repeat when you play this type of thing. It's like you need to imagine you are singing lyric. It's the same step by step if you are going to write the lyric. You can replace the me the guitar and record a voice singing lyric. It's the same step by step, same thing. Apartada para Pare Now, this part Pa. I I would like to play something different, right? And go to the cars once and again, okay? So this last part is more strong, so I put the octive. Uh And you can repeat one of the guitar legs. To reg play. This type of thing is nice because the listener listened this guitar leg. So he's going to recognize that we are coming back to the chorus. I'm going to stop the sport, record, and let's see how it sounds. 12. How to compose interlude and guitar solo: Okay, we have the corals, we have the verse, now we need a solo or some kind of interdud. Let's stick with this kind of interlude. Let's compose something together with a lot of freedom and harmony. Let me see. Sounds very cool, isn't it? We are in A M. I'm going to use a relative chord. Relative ard of a mi scale. You just need to check the third re of scale. In this case, C measure, but I'm going to play a different measure. No one, one. Going to p one right here. Relative is nice because you are going to change the but not change. Let's stick with the C. And this D sounds nice. This de note right here is the ninth of C, So I'm in use a C N nine chord to play this this part. So Thank you I could have play these two chords. It's more as it's more like a musky turver, right? So I have a G power chord and A power chord. I only use the perfect fifth in the roots note so. Sounds really cool. That's right. This strict is really nice. I need to explain this. When you play in kind of some riff or if you have some guitar das, try to play different actives as well. So here I play low active. Low active? High active. So I play G and A, same music intergals, but different actives. Looks like I'm playing a completely different thing, right? But I exactly the same thing as the first part. All right. T we could play like this. It's a p or p qu, but the base. Same step by step using just perfect fifth and root note. In this case, we're going to require the base playing. So it's not necessary to play the base. Let the nodes to the bass player. We could play this type of arrangement to our interlude p then we can go to the chors or we can go to a solo. Yes. Let's compose a solo, but before let's listen the sound of the sport. Sound really cool, isn't it? The next part is to create a solo, a guitar solo. Let's stick with pentatonic minor scales. You can use blues nodes. You can use all the patterns. It's up to you. But now it's important to define the scale, the patterns that you want to use and where you are going to play. I'm going to right here, this part of my neck like And I'm gonna play a lot of pentatonic very fast leaks. Something like that, right? And then I could go to this part right here. Play my number four pattern number four and five. I want to play this lip. First pattern, I'm going to use the first pattern, four and five, going to be really different. But I think it's going to sound cool. This type of thing, you need to play the guitar licks that you know, the guitar licks that you from other musicians. But of course, change a little bit just to sound like yourself, and use a lot of creativity. But remember, when you play any kind of guitar solo ks or things like that, It's very nice, will sound very nice if you start in the first, the third note or the fifth note of the scale. If we are in an A, you can start in A, A or C. The same thing to finish the guitar. Let's listen my improvisation. Alright, sounds very cool, isn't it? We have the structure of our song. It's going to be going to be I think a two minute song, right? It's not unusual. Instrumental song. But we could repeat some of chors. We could create an intra I want to stick with this format just as example. We have the orals, that is the most important part. We have a verse. Then we come back to the chors. We have a stop. Interlude with a different arrangement in chords. Then we have the guitar solo using the p do. You put this fade in the song is going to chew in with your guitar solo. 13. Mixing tricks for beginners guitar players: Take a look in our mixing. As you can see, I have one, two, three, four guitars. This is the left guitar. I put something like 31% to my left, and this is the right guitar, something of 36% to my right. I always record like that. Sounds really cool. Can put 100% as well, but I prefer is just 31, 25, 25, something like that. I record the same thing in both guitars. All right. So let's listen to the first part. Really nice, isn't it? And it's nice. It's going to sound much better if you put different plugging. In the left one, I'm using this kind of drive with tweed lucks. In the second guitar. I'm using some big uf and a vintage crunch amplifier. It's nice to have different sounds. In this middle guitar, the center it, I'm let me see. It's the same thing, but in an other octave, so N, is it. And I put a little bit to my left, just 14% because I put my last guitar ano, that is the solo in 50%, but to my right. So left, right. Okay? All right. Let's listen to this part once again. H. And then I have this type of fading, isn't it? And then I go to my verse. I put this fade out right on the guitar, just so a little bit better in the mixing. But the last guitar, I just keep my vibrato. Cool, isn't it? So we go to the verse, verse. Let's listen to the verse, and I'm going to talk a bit about this s. So the verse we start with just the last guitar radio, I removed the second guitar, just because I want the mix more clean, sound more clean, really sounding very nice. I have one guitar, reading guitar in my left side and the solo, the melody in my right side. With this, we can listen a little bit more the bass. Sounds very cool. And then I record an guitar. This one right here. Is the same octive as the first one just because we are going to the chorus. So the song is getting strong, right? And the chorus, I repeat the same thing. And then I go to the interlude. These parts really cool. Really enjoy to play this part. Let's listen the guitar. Hey, the guitar solo. Really nice seasoning. I tried to use just guitar and drums, but drums didn't work so well. I put some kind of variations on the guitar in my guitar. So we have this ano of guitar. To play some different stuff, some layers. I create this one that is really nice. L's listen. Using minor scale. Very nice seasoning. Repeat this trite. Then, I try to be creative, creative. Sorry with the bass. So y. The base in the sport is very important because we don't have drums, so the base gives us a little bit of rhythm and percussion. Let's listen everything. Then a drum fill, and we go to the cars. As you can see, we have a stop right here, right? A It's one temporary Sounds really cool. And the drums shoot a solo part. Sounds really nice. I love put this type of thing inside my sons, the stop part, this pase, really. It's a very nice contrast. So we have the Carls. The Carlos is the same harmony as the first part, the verse and iuar solo. I only change the harmony right here when I use a relative or. So the solo It's very crazy so I just improvise and works very well. So when I'm recording rock music, I enjoyed to put this type of thing, this fade out. Really sounds nice. L to me, but people usually enjoy this type of thing. I start the solo, record the solo, or the note step by step, and then I realize where I'm going to put the fade out. So sounds really cool. In this part, We have a lot of pentatonic and minor scalos. First, Pattern number four, and Pattern number five. Really nice. Our song is almost cheer minutes, isn't it? Now you know all my secrets. Now it's time to compose your own song. Okay, I have this final option. I could delete this. Is not proto. Remember about the striks. Left guitar, right guitar, some kind of centric guitar, but you can put a central guitar like this, or you can put a little bit to right, left you have the guitar solo based intrus simple like that. The drums, I just use the The grooves of M library. Let's take a look. If you click here, most of the softwares, you have this type of grooves. You have a very nice library of grooves, feels, first inches, cars, is just to create your drums groove with that. Like lego, you just need to build your drums, but it sounds really nice and amazing. I hope enjoy less, say you bye bye. 14. Final notes: We have already the final lesson of our course. Thank you so much for tuning in. Now it is time to put everything into prate. Use the techniques and step by step guidance, I share on songwriting, and let your creativity flow as you create music and enjoy the process. Remember, mastering the skills takes time, so be patient with yourself. Thanks again, here. Feel free to check out my profile on the platform. H seven or more course to help you further enhance your tour skills. See you next course. Bye bye.