Learn an E Lydian Guitar Solo & Write your own!

1. E Lydian Solo Lesson: Welcome, Lesson Contents & Solo Demo: Hi guys, This is Chris super. Welcome to another Skillshare course with me. In this lesson, we're gonna be looking at a breakdown of an a Lydian solar that I've written. This lesson will be comprised of a full demonstration of the solar soloing options and the modal characteristics I focused on while composing it. The main modal characteristic will be focusing on will of course be the raised for which we'll talk about. There'll be a full tab breakdown of the solar, a video bar by bar explanation with me, a backing track for you to jam over the solar with once you've learned it. Of course, once you put the chips behind you, you can write your own solar in a Lydian if you wish. So I hope you guys are excited. Let's check out the demonstration of the soul and learn it. Note for note, you can jam along with the backing track when you're ready. And then of course, brought a solo of your arm without further ado. Let's have a look at this. A Lydian solar. 2. E Lydian Solo Intro, Demo & Soloing Options: Hi guys, Thanks for joining me today. We're gonna be looking at a solar in a Lydian. I'm going to teach it to you. Note for note, you're going to see some criticisms and some other famous guitarist in there with their little influences as well. We're also going to be talking about what scales, arpeggios and IDs you can use when you're composing your own soldiers as well. Anyway, let's take a look at the solid. Like I said before we dive into learning the soul, I just wanted to go over what the scales are used in some of the ideas that I sort of go about when I'm writing this solar and this is probably a good way for you guys to start thinking about it as well. So if we're in a Lydian, that's the fourth mode of B major. And I think the first thing to do is to look at that scale to one octave. If I'm going to play a Lydian to one octave, I'm going to have 79 on the fifth string, 689 and the four. And then 689 on the third. And those notes are E, F-sharp, G-sharp, A-sharp, B-natural, C-sharp, D-sharp. Then other a again. So it's good to know where you scale comes from and what the notes are. And then we can extend that out of it. So the next thing I would do is look at what my three notes per string patterns are. So even though this is my home base, I might use some other parts of the B major, but if we're looking at sort of a diatonic three notes per string shape for a Lydian. But three notes per string shape is 12, 14, 16 on the sixth string. Then I want to play 13, 14, 16 on the fifth and fourth string. Then I'm going to play 13, 15, 16 on the third. The same shape shuffled up a fret, 14, 16, 17 on a second. Then 14, 16, 18 on the first altogether. So that's kind of in a lady and three notes per string pattern, all in the key of B major, if you want to think of it that way as well. The other things that I use is I'll use an arpeggio, but I'll be highlighting the raised fourth, which is an important fragment of that scale is what's gonna give the Lydian sound. It's really characteristic spacey, dreamy sound to it. So if I'm looking at, say, a straight major triad from a that doesn't have a lot of flavor. But soon as I add in that raised forth, which in this case will be in a sharp, I'm going to get a lot more Liddy any flavors out of what I'm doing. So let's have a look at just an E major triad with an additional sharp four. And then I'm going to start from seven of the fifth string. And in play six of the fourth. And then I want to fly 3-4 on the third string. So again, major third, raised fourth, natural fifth. And then we're going to do the same thing up the octave. I'm gonna be playing an a, which is the fifth fret of the second string. And then I want to play full five, sorry, 467 on the first. And that's gonna be my E major triad with the additional raised forth in it. The other thing that I use quite a lot in Lydian is somewhat of a Lydian pentatonic. So what I'm gonna be doing is I'm gonna be taking a fragment of the G-sharp here, a Joshi scale. So that Japanese pentatonic, I'm gonna be taking that. But if I laid it from an ****, I get this really cool Lydian shape. Very sort of Marty Friedman, Jason Becker sound. And I think of it as a Lydian pentatonic because I'm playing 13457 exactly the same way we would in a minor pentatonic. But I'm doing it in the key of a Lydians ongoing, written out in a G-sharp is my major third. And then I'm going raised fourth to fifth by playing 13, 15, sorry, 13, 14 on the fifth string. And then 13, 14 on the fourth. Then we just keep going. The next thing I'm gonna be playing 13, 15 on the third string, 12, 16 on the second and first. And that's gonna give us that fragment of the a j shop here. Adjust the scale, which gives us a Lydian pentatonic. So I've got my three notes per string, my arpeggio, my special custom pentatonic. And the other thing that we can do, which I think is really, really easy to do, is just use the G-sharp minor pentatonic, which would be this. I'm playing for seven on the sixth string, for six on the fifth, fourth, and third. And then I'm also playing for seven on the first two strings. And of course, you'd also use that flat five as the dean natural there within that G-sharp minor scale. So hopefully, that gives you guys an insight to how I go about running these solos and what the things that you have, what scales and arpeggios you have at your disposal. Anyway, let's have a look at the first section now. 3. E Lydian Solo Lesson Bars 1 to 8: All right guys, let's have a look at the first section. I'm going to start off with this raised fourth arpeggio, starting from six to the fourth string. And then I'm going to guard that arpeggio. I'm playing seven of the fifth, 643 of the third. I like to have that sort of slide interior as well. So what I'm doing here is I'm sliding up to 11 of the third string. Then I'm going to be playing an open out on the second string and then playing 11 at the third string again. At the end of that, I'm gonna be sliding into six and then adding a semitone Ben from aid. Just adding it, bringing it back down again to its rest position so that whole chunk will guard. Yeah. Let's have a look. We've got Thus far from the star. Hopefully that's making sense. Then I work into this phrase. What I have here is a slide 9-11 on the first drink. I'm using my pinky so I can do that. Legato, rolled it. So as soon as I've gotten to 11, I hold it for a little bit and then I'm going to roll 11109. And then seven. At the end of that. They're on the semitone apart, but it does sound cool to have them on different strings. I'm playing 11 of the second into seven of the first, then back to 11 or the second again. I'm going to slide 9-11 back to nine and then hit it again. Altogether. At the end of that, you had a bit of a squealed of this, if you like, I think it's gotten a little bit of sass and possess, if you do that, I'm gonna be slotting 686 on the third, pulling off to the for resolving that six of the third string. Altogether. Hopefully that's all making sense. Let's go right back to the start of the section and then we'll look at the second half of it. Okay, now we will look into this part. Let's slow that down. I'm gonna be slightly muted with this, and I'm using the G-sharp minor pentatonic for the start of it, is very G-sharp minor pentatonic. And start off with a hammer on 4-6. And the fourth string. I'm going to jump to for the third string, backup to the fourth. Then back down to form the third again. That I'm going to play seven of the second string and then 64 on the third string altogether. Point. I'm going to slide into eighth of the third string and then play five of the second string. That's going to give you that semitone interval. Slide to 11 of the third and then play nine of the second string. That's going to give you a full tiny interval. The next one, I'm gonna be playing 13 of the third string and the 12th of the second string. And that's going to give you a minor third interval. So we've got, hopefully, that's making sense. So Scott from the start of this chunk, hopefully that's making sense. Then I go to this slide, 13-14 on a first string is a great SNARK. By 12 of them, the second string, and then slide into 16 on the second string, probably from 14. Then I'm going to be playing 13 of the third string if you want to, you can sustain the previous node as well. It sounds cool when I ring out and you can just vibrato it with your tremolo and, or whammy bar. So that last chunk. And that's the whole thing. I'm just going to play the second half and then we'll play the whole thing together and then we'll do it again, even slow with some tabs. Let's go right back to the start now. Almost Thomas and tabs. 4. E Lydian Solo Lesson Bars 9 to 16: Alright guys, second section, we're going to start for the flat finger on nine of the second string. That's going to roll to nine of the third. Then I go back to none of the second. Notice that I'm really writing the crap out of that rice forth to give you that Lydian sound. 11 there. Notice that I'm kind of borrowing motifs from the first section as well. That's a cool idea to do and solos. You'll want to remind people of all the sections and make it more catchy, slotting into 14 of the first string and then playing an open note on the base string. Back to the 14 by nine there. That's bending 11, a semitone up and back. And then I'm playing it again with the vibrato at the bottom. Let's have a look what we've got thus far. Hopefully that's making sense. Then I work into this fries. So what I've got there, I'm sliding from 16 to a thing. And then I'm playing to 14 and then going to 16 on the first string. At the end of that. I'm going to have 16, 17, 16, then pull off to 14. This is a slight delay there as well. Hopefully that's making sense. So after I've done my role, I'm gonna go back to that 16th for it. Then from that point I have a bit of a diatonic run. I'm going to be playing 15, 16 on the third, 14, 16, 17 on the second. 14, 16, 18 on the first. So I've got hopefully that's making sense. Then we walk into this phrase. This is a really cool legato section. I really liked playing phrases like this speaks to me on a spiritual level. Be rolling 1918 14 on the first string than jumping 16 of the second. From that point. I'm going to do a pull off 18-14 and then play it 16, 14 on the second string. Altogether. Into a similar idea from the third string to the second string to the third string. Slightly different nodes, but the phrasing will be identical. I'm going to roll 1916 14 on the second string. Then Chapter 16 of the third. Then I'm going to pull off 16 to 14 on the second and then play 16, 15 on the third from the chunk before. Hopefully that's making sense. Then I have this kind of building arpeggio. I'm kind of crossing between a C-sharp minor nine and a G-sharp minor pentatonic kind of deal. That's definitely a G-sharp minor pentatonic anesthesia at line nine. So just a little info for you guys there. I'm going to start off with the hammer on it, 16-19 on the fifth string. I'm going to play 18 of the fourth and 16 of the third point. I'm going to repeat from the minor third. I'm going to play that 1918 16 again. But I'm going to hammer to 20 of the third string. You can swipe through this. I just, sometimes it's not too fast, you can get away with ultimate picking it. But in this context, I think it might be fun to add in a couple of alternate picks as well. It's up to you. The next thing I've got, I'm gonna be playing a hammer on 16-18 on the fourth string. And then I'm going to play 16 of the third and 14 of the second. Then I'm going to repeat three of those notes. I'm going to be playing in 18, 16, 14. Again. At the end of that, I'm going to hammer 14th, 19. From the start of that. Hopefully that makes sense. And we've got this phrase. So it's a little bit gross because of the intervals, but I kinda like that sound. It's very tense. And that relates to Lydian quite well. So what I've got at the end of that, I was playing 16 of the second into 12. The first was playing 16, 12, and then back to the 16 again. I sort of slide that whole shape back, but I'm playing 14 of the second and 11 of the first. Kind of just use that extra picked 16 to roll back. And that can almost count as your 14. You might not need to pick it again. At the end of that. I do a full-time interval from seven of the second string, two for the first. So we're going to have, as usual laugh, I'm ending on a sort of a sustained chord. I like to do a bit of whammy vibrato as well. So let's go from the arpeggiated section into that sliding semitone whole thing, whole time thing. And then we'll go right back to the start of the section and do it again and then again, even slower since abs, Here we go. Right back to the start. Now, Will Thompson, tabs? 5. E Lydian Solo Lesson Bars 17 to 24: All right guys, we're gonna be having a look at the next 8 bar. Now I'm going to start from 11 of the first string. I'm going to be pulling off 117 open. And I've got going back to 11 of the second string now and then pulling off seven to open up the first unit that's going to be pulling off 11 to seven on the second string. And I worked into this phrase. I'm going to slow that down. I'm hammering open 711 on the second string. And I don't want to play 7.97 is a pull off on the first string. At the end of that, 117 as just to pick two nodes on the second string altogether. Hopefully that's making sense. And then I work into this phrase. Very similar idea, just slightly different nights, I'm gonna be pulling off seven to four open on the first string. And I jumped his seven of the second string and then dropped down for a pull off, exactly the same way that we did before. From seven to the second for open on the first. That pull that off from what was that seven to four. Then I work into this phrase. Slow that down. I'm doing open for five is a hammer on, on the second string that I want to play, two and a pull off 4-2 on the first end of that. I'm going to pick 54 strings. So that most recent chunks altogether following that theme even further. Very similar idea here on the second string, I'm pulling off 74 open on the second. Jump to four, sorry, six of the third string and then pull off for open on the second string. And that's gonna give us, I think six nodes, 135. Yeah, I've got two groups of six of those exact same notes. I do it one more time, but this time just to finish off the bar, I'm going to have two groups of 6.4. That's going to give a 16th notes. And up perfectly in that bar, I've only got four notes there. I'm just going to end on that ring finger on the third string. So altogether, hopefully that's making sense. And then I go to this. I bought just a bunch of 15 intervals here. I'm gonna be doing sort of a power cord idea from fourth, the fourth string to six of the third. Then a similar idea from 911. When I swipe all the way up to 16 of the third and 19 of the second. Let's have a look. What we've done thus far. Nearly forgot myself. From that point. I'm going to slide 1919-9. Then from that point. So it's a major six into a minus six. When I get back to that nine, I'm gonna be playing nine of the fourth and then nine of the second again. Then letting them sustain together. Let's actually just a chord, sorry about the sort of separate arpeggiation. And then what I have there is I'm playing seven of the second and eight of the fall, letting that chord ring out and then adding in that shaky vibrato with the whammy bar. And then I work into this Friday. So without the whammy, I'm gonna be doing an octave code from two of the fifth string and four-third. And if we just follow that, we can just follow the pointer there, that shape point change. So I'm gonna do a slide 2-44 to 66 to nine. The nine to 66 to four. Now if I do that again without strummed, I can just add in a whammy for it. Hopefully that's making sense. Then I work into this phrase. What I'm doing is I'm using the G-sharp minor pentatonic with the flat five. What I have there is a slide from 76 on the third string. I'm pulling off to four. Then I'm jumping to six is the fourth, rolling that as a flat finger to six with a third of that, like six to the fourth again and hammering four to six on the third. And that will lead us into the last 8 bar of the solo. So let's go right back to the start of this chunk. Do it at a gentleman's paste and then again, even slow with some tabs. Having almost Austin tabs. 6. E Lydian Solo Lesson Bars 25 to 32: All right guys, let's have a look at the last 8 bar. I'm going to start off with this pentatonic licks and G-sharp minor, slight bend on for the third string. And then I'm playing 64 is a pull off on the fourth thing, going back to six. My work into this string skipped hybrid pick leg. So I'm playing just the G-sharp minor pentatonic with string skips, I'm adding in hybrid picking as well because it just makes it easier to deal with the string skips and it creates more interesting intervals which I am all about. It's quite easy to, I'm gonna be hammering for 46 on the fifth and third. Heading in the hybrid pick there on the string, skip it. Then I'm playing four to six on the fourth, then hammering four to seven on the second. I would pick on the string, skip again. And then four to six on the third string is a hammer, four to seven on the first. Once again, Harvard pick on the string skip. We're going to end up with this. Forgotten. The end of that. Work into that phrase, I'm going to hammer on going 676 on the filth, sorry, 676 on the first string, jumping to nine of the second, back down to six of the first. The end of that. I'm going to play 975 on the second string, jumping to the third altogether with that phrase. So that's far from the star. After that, I work in this lengthy run. It's basically working around the G-sharp minor pentatonic. I've just gone to town with a couple of outside notes to give it that funky, stinky, almost dying baggy edge. So what I'm doing at the standard, this is pulling off 75 on the second string and then playing 87 on the third. Jump back to that five on the second string. And I don't want to play 876 on the third. Then I'm going to play 8764 on the third string. So I'm using a couple of notes from each previous phrase. Then from that point, I'm going to play 763764 on the third string and then jump to six to the fourth string. And it's just going to give me the G-sharp minor pentatonic with the flat five. So that section, again, hopefully that's making sense into that phrase. They're slow that down. I'm doing a hanger-on pull off. Going for 64 on the third, jumping to six of the fourth string, back down to for the third string. That's going to sound like this. By the end of that, I'm going to play 64 on the fourth and fifth. Then add a cheeky slide 2-4. Then a whole chunk. Now, there's an F sharp cord going on behind that. Why add that dominant seven and our resolve it to the b, which is the fifth of the equal that follows that dominant seventh arpeggio I'm doing, I'm hammering 7-9 on the fifth by eight of the form, and then sliding 6-4 on the third string. Let's go from the start of this section thus far on or work on the next chunk of it. Hopefully that's making sense. Then I work into this phrase. This is a pretty disgusting chord shape. I just liked it because it's got the room. Got the root, the shop floor and a flat fifth ringing out quite dissonant if such a word exists. So I'm holding seven of the fifth floor of the third, and then I have the fourth string. The way I'm Apigee adding this on playing 534 like this. And then just letting that bring out. So we got from the arpeggio before we work into this almost sort of newNode Betancourt arpeggio thing. So I'm working through it like this. Let's slow that down. I'm hammering 8-9 on the fourth string, implying 811 on the third. And then I'm going to repeat those three notes from the nine of the fourth string, which was nine. And then 811. That point. I'm going to have a 7-Eleven on the first string, jump to 11 of the third, and then having 711 against Hogarth. The end of that. We've got a major arpeggio going. What's that day? It's going 14, 11, and then 12, 11 from the first string. Then from that point, I'm going to bring that bay major arpeggio back to F-sharp. I'm going to do just a straight major arpeggio descend, going 96 on the first seven of the second and then third. A very similar idea, but the first pull off is going to be now 7-6. So we've got from the start of that little chunk. Hopefully that's making sense. Then I'm pulling off seven, sorry, 11 to seven on the second string. And I'm doing a string skip to 11 to eight on the fourth. Actually plucking birth those I'm going to pull off picking apart the virus. I'm doing 11 to seven on the second is a pull off picking 118 on the fourth, I do a seal or idea, but I'm pulling off 97. The 118 is still picked. Now, the end of that, I'm just going to slide from that leg back to six and that will resolve on the a. And I'm ending on a G sharp, which is the major third. Which is cool. So we've got, hopefully that's making sense. Let's go right back to the start of this section played at a gentlemen the pace and again, even slow at some tabs. On what Thomasson tabs.