Learn an A Dorian Guitar Solo & Write your own!

1. A Dorian Solo Lesson: Welcome, Lesson Contents & Solo Demo: Hey guys Christopher here. And in this lesson, we're gonna be looking at a solo I've composed using the a Dorian mode. In this lesson, you'll get a full demonstration of the solo, the soloing options, and the modal characteristics of the mode I used to influence the solar. The main thing being the Dorian major six, there'll be a full tab breakdown of the solar, a bar by bar explanation of the solo, a backing track to play along with. And then also once you've learned my solo, you can use the backing track to compose a solid of urine. So take a look at the solid demonstration that's coming up. Get inspired, learn that solo note for note. And then you can write on a Dorian solar of urine. 2. A Dorian Solo Intro, Demo & Soloing Options: Hi guys, Thanks for joining me for this a Dorian solar lesson. In this lesson we're gonna be looking at my playthrough of the solar, as well as some of the scales and techniques I used to put it together. And if you have the influences from other famous plays as well, anyway, let's take a look at the solar. Alright, so I just wanted to go through a couple of scale ideas and things that I used when I was composing this solid. Why don't want it to start off with just by looking at an, a Dorian diatonic scale to one octave. So it's essentially the a natural minor with the major six in there instead of the minus six. So I'm paying 578 on the 6579 on the 5th. And then 57. Now it's very difficult to create anything lengthy and interesting with that. So if we wanted to extend that idea, we could use an, a Dorian three-note fifth string shape, which would be this. It's got a bit more range to it. So it's going to start off very similarly to what we had. We're just going to take it a little bit further to play 578 on the sixth string, again, 579 on the fifth, fourth, and third. And this is the kicker, big jump here, I'm playing 7810 on the second and first string. Hopefully that's making sense. Now because it's a, it's a minor mode. I guess we can use a minor arpeggio, so we could use a minor in this shape. And this shape. If we do this shame, we can have the triad but doesn't include the Dorian raised sixth or the major six rather. So what we're gonna do is we're going to have a look at it and try and form. And then we're going to add in that extra note. The triad is going to be this. I'm going to play 12, the fifth, ten of the fourth, nine of the ten of the second. And then A12 on the first basic minor. But if I add an F sharp here and here, we get an F sharp minor seven flat five, which perfectly highlights the minor triad as well as the major six. And then we get this. So we get the straight line here. Triad. And then the triad with the raised sixth is gonna give us all the major six is gonna give us an F sharp minor seven flat five arpeggio. We can do the same thing over here. Okay, even do it as a minus seven. Which is kinda cool. Let's do it as a minor seven, and then we can add in those cheeky Dorian notes. So the minor seven arpeggio is going to go 12, 15 on the 5th. And then I'm playing 14 of the fourth, 12, 14 on the third. Then I'm playing 13 on the second string and 12, 15 on the first. So from there, I'm going to add an F sharp on the third and the first string. And we're gonna get more of a minor seven with a major six or even a major 13 if you want to think of it that way as well. In a play, 12, 15 on the fifth, 14 of the fourth string. And then I'm going to do a slide, 11-12. That 11 is the F-sharp into the G and then play 14. And then I'm going to play 13 to the second, and then 12, 14, 15 of the first altogether. So we've got two arpeggios that a pretty maiden voyage. Then we can just add in our Dorian flavoring. Nice and simple. The other thing that we can do is just play the a minor pentatonic. So we're going to have the basic pentatonic and a, which would be this. I'm playing 58657 on the 54.3, and then 57 on the first use of the basic minor pentatonic. But what I can do once again to give it that cheeky Dorian flavoring is add an F sharp here and here. That's gonna give us this scale. So those are just some of the scales that you can use and that I used to compose this solar. And just remember that we can modulate any of these ideas into other Dorian case. 3. A Dorian Solo Lesson Bars 1 8: All right guys, let's have a look at the first 8 bar. I'm going to start off with a C major triad from the fifth string. That cheeky little hammer on lik, I was flying through the fifth and 25 on the fourth string. From that point. I'm sort of doing a grace note slide 2-4 on the third string, hammer on, pull off, going for 54 on that third string and then jumping to that anos on the fourth string on seventh fret. So altogether thus far working with this phrase after that. So I got sort of a traveling ideas starting off in the first position of the a minor pentatonic. I'm gonna do this. Let's slow that down. I'm hammering from an open note on the fifth string, open five-seven. Then I want to play five of the third and five of the force that I'm sliding to seven. At the end of that. I'm going to play 97 on the third string and jumped to ten to the fourth. After that, I worked with this kind of dominant arpeggio idea. Let's slow that down. I'm going to slide 7-10 on the fourth string that I want to play, 12, 11 on the third. And then I've got just the basic D-major triad, playing 12 of the fourth, 11 of the third, and timid The second. So we're gonna go like this. That I've got those two semitone bands from 12 of the second string. So from this part now, hopefully that's all making sense. The next phrase is working around sort of a flat fingered forth. I'm using different parts of the a minor pentatonic with a couple of fourth intervals in there. It's kind of a bit reminiscent of some of Marty Friedman stuff in five magics and a bunch of other megabits stuff if you don't know, I'm a massive Marty Friedman fan. So we're going to start off with this phrase. I'm gonna do a hammer on 13-15 on the second string and then flattened to 15 of the first. After that, I pull off 15 to 13 on the second string and jumped to 14 of the third. Altogether, we're going to have this the third one more cheeky pull off, 15-13 on the second. So altogether, we're going to borrow that phrase in different positions of the a minor pentatonic. So the second one is going to go like this. I'm hammering 13, 15 on the second string, playing 12 of the first. Pulling off ten to 13, 38 to ten on the second string, and then jumping to 12 of the third, the end of that. And that will pull off 13-10, sorry, both of those pentatonic ideas back-to-back. The next one is exactly the same as what we had 13-15, but this time I'm going 8-10 to the fingerings identical. I'm going to have an eight to ten on the second string. Then do the flat finger string. Tonight, pull off, jumped to nine of the third. The end of that. From ten to the next bit. I mean position one of the, a minor pentatonic. So the standard, this is quite predictable, but the ends a little bit different. Just started that I'm hammering five to eight on the second string, flattening to a, to the first five on the second. 7% said that I'm pulling off 85 on the second and then 75 on the third. So altogether of that chunk. Let's go right back to the start of the pentatonic idea and then we'll work on that last chromatic. Would you sit nice and cheeky? Loss price I work on is this. So working around the, a minor pentatonic, but I've got a bunch of chromatids in there and we're ending on a dominant bleeding arpeggio, if you will. I'm going to start off with, is doing a hammer and pull off going for 54 on the second string. I want to jump to seven of the third back to 4/s. From that point. A chromatic working back 7654 on the third string. Do that exact same idea, one string out. The same frets for 54 is the hammer on, pull off. Then I'm jumping to seven of the fourth string. Back down to the third string unfold. And then a chromatic going 7654 on the, sorry, 7654 on the fourth string. So back-to-back those two ideas. The end of that, I've just got a dominant D arpeggio are going from the fifth string that was playing five of the fifth floor of the fourth and five. I let the notes played together and then add some cheeky white me to the end of that. Hopefully that's all making sense. I'm going to play 0 8 bar of this relatively slowly and then we'll do it again and even slow with some tabs. So again with some tests. 4. A Dorian Solo Lesson Bars 9 16: Okay, Let's have a look at bars nine to 16. I use a lot of natural harmonics and this just because it's a technique that I don't use very much. And I think it's a cool technique to use and guitar solos because it isn't utilize that often. So it sounds very different to the UN, it comes out. So we're going to start off with this phrase. Very, very cool. I'm going to start by playing seven of the fifth string into 12 of the fourth as natural harmonics. I do the same thing. Data string, I think seven to the fourth into 12 of the third. Okay, now do the same thing again, but I reverse it. So I'm going to play 12 of the falls into seven at the fifth, and then 12 of the third into seven before altogether. Hopefully that makes sense that our work into this fries. What I've got here, a semitone apart and playing five of the third string into seven of the second place, seven of the third into 12 of the first. That I finished that on seven to the fourth from the start now. Okay, and then I'll work into this phrase. So let's go through that a little bit slower. I'm going to slide into the second string. And then I worked in, it's sort of a half-diminished up heads here. So I'm gonna be playing a to the first string, ten to 11 of the third. Pull that off to the nine and the end of that. What I've got here as I'm sliding from that 9/212 and then hammering into a minor seven arpeggio. That's kind of highlighting the major 6/13 to bring up the Dorian Sam. I'm hammering 12 to 14 on the second, sorry, on the third string, 13 at the second. And then I want to play 12, 15, 14 on the first string. Actually playing all of those nodes because from that little sweep it back, picking that pinky. We're gonna be playing 12, 15, 14 on the first string. Back to ten. I go up to 17 that with a bit of a slide and resolve that on 15 of the second string. Hopefully that's making sense. Let's have a look at the whole thing thus far. Okay? After that, I worked into this hybrid, picked octave arpeggio. I think it's based around Jade. Definitely jeep. So I'm going to start from 16 of the third and playing 19 of the first. Then I want to play 17 and the fourth with 20 of the second. Then I play 17 of the fifth with 19 of the third. And do the same idea from 14. I don't want to jump to 15 of the sixth string. Octave on 17 of the fourth string. So altogether, that point I jump back to the major third on 14 of the fifth string. Left by 16 is the optimum. Then at the end of that, I jumped back to 14 of the third string. And I'm going to hit 15 at the second string with those two notes of bleeding together, I can add a bit of sort of wind me vibrato to that. So let's try that up page here with the octave jumps. To finish that off, I was using a dime bag. I think something to do with radical. I can't remember the name of the song, but there's some really cool stuff on vulgar display of power and far beyond driven that uses some looks like this. The start of that phrase. I'm pulling off 2017 on the second string, jumping to 20 of the third and then back down a string, back to 17. I do exactly the same phrase again, but I'm pulling off from 19 instead. I'll do a similar idea. The same thing, but I'm just doing a double pull off, 18-17. So it's going welcome back In chromatic. So thus far we should have this goes. So from that point I'm playing 20 1917 on the third, I'm basically in the a minor pentatonic position, one just up here instead of down here. So we've got at the end of that. So I've got the rolling legato playing 1940 to 19 of the third vector 1980s before at the end of that, hammer on pull off going 1917 to 19, back to 17. At the end of that, I'm gonna be playing 20th the second string into 17 of the third. And resolving that on 17 at the first and slotting into oblivion. That whole loss pentatonic phrase. That's the whole second section. Let's do that again at a gentleman space and then even slow with some tabs. When we'll talk some tabs. 5. A Dorian Solo Lesson Bars 17 24: All right guys, let's have a look at bars 17 to 24. I'm going to start from a double stuff on 17 to the first and the second string. But the flat finger, I'm going to play that twice. Slide off into oblivion. And then I work into these major and minor six chords. Alright, so what I've done at the start of that, I've got six of 17 of the second string and the fourth string together. So I've got that string skipping between to give us that. I think it's a major, major sixth interval. So we're going 3456. And then I got to the minus six formation for 15 of the second string and 16 of the fall. At some cheeky whammy there, if you want to, then I work with this phrase. What I've got here is a slide from 13 of the second string and 14 forth. And I'm sliding that back to that 68.15 shape where it goes. At the end of that, I want to play 12th of the second and the fourth string twice. And then end on ten of the second and the fourth. And I'm going to add some whammy to that. So let's go from the start of this section thus far. Okay, Hopefully that's all making sense. Then I work into this phrase. What I've got here is four of that 10.10 shape again, 1234. And I'm going to eight to the second string and nine of the Fourth twice. I resolve that on seven of the second and seven to the fourth. Once from with some whammy valve a broader and then we work into an, a minor pentatonic phrase. Let's have a look at everything we've done thus far, and then we'll finish on that pentatonic. Hopefully that's all making sense. Then I work into this phrase. So what I'm doing at the start of that, just rolling down the pentatonic with that flat five, I'm playing 875 on the third string. Jumping to seven of the fourth string is shuffling that a little. At the end of that. I've got to pull off 7-5 on the third string. And then I'm playing 75 on the force. That's going a little bit more. I'm going to pick that both of those notes, I'm going to pull off. So altogether, hopefully that's making sense. And then I work into this phrase. Slow that down. I'm sort of working in full note groupings. I'm hammering five to seven on the third and then 58 on the second. Return to seven of the third string. Then I played 58 on the second and five of the first altogether. Okay, so let's go right back to the start and play it again relatively slowly and we'll do it again evens far with some tabs. Let's try that one more time slots and tabs. 6. A Dorian Solo Lesson Bars 25 32: All right guys, we're gonna be looking at the last section, which is bonds 25 to 30 tourists are going to start off with this. Starting off with a big band from a to the second string, whole step. That's an shaky vibrato. If you want to, then I worked with at this phrase here instead of a major, sorry, minus six thing again, I'm playing nine of the third and eighth at the end of that slide into 12 of the second string. I'm going to hit eight twice after that. So altogether, at the end of that, Let's slow that down. I'm going to have its seven to nine on the third string and then eight to ten on a second. At the end of that, the broad owing seven of the second string. So altogether, okay, After that we worked into this cool little shred round. I'm kind of combining it with elements of legato as well. Like all of those little mini phrases, start with a hammer on and you'll see how it's kind of similar from Paste to paste. The first thing I've noticed is I'm hammering 5-7 on the third string. And then I'm going to play 5875 on the second, five on the third point. Exactly the same thing, one string down. Notice that I'm highlighting that if shops get the Doreen flavor out as well. So I'm going to do five to seven on the second string as a hammer. Jumped to the first 5875 and then 75 on the second, back-to-back. Very, very similar. Then I work into sort of this almost like D Mixolydian pentatonic idea. A little bit different here. I'm going to be doing a hammer on 10-13 on the first string, sorry, the second string. And then from the first I'm going to play 10151410. At the end of that. I've got 1310 on the second. So altogether. Hopefully that's all making sense. Let's go right back to the start of the section and then we'll add the last chunk to weapons. At the end of that. Sort of sustained arpeggios. I'm playing the third string, 12th, ten of the second and the first string, 12th. Sort of got a suspended second in there. I've got sort of a minor second. One. I'm playing 11 of the third. I have the second antenna, the first. Altogether. I think since the broader with a whammy at the end of that second up here at the end of that, kind of mirroring what the backings doing. So I'm going to double stuff on five of the second and the third string. I play four bays. And then it goes same rhythm for notes on seven of the fourth string. At the end of that, I'm going to quickly jump to five and then play seven. And that's the whole solar kind of cheesy, but also good times. So it, Let's go right back to the start of this section. Play the whole thing had a gentlemanly paste and then again, even swell with some tabs. Will Thompson tabs?