Learn D Ionian Guitar Solo & Write your own!

1. D Ionian Solo Lesson: Welcome, Lesson Contents & Solo Demo: Hey guys, This is Chris Surf and today I'm going to show you a really, really cool Solar I've composed in the Iranian. What you're going to get out of this lesson is a full demonstration of the solo. What soloing options you have over the backing track, which is provided by full-time breakdown of the solar, a bar by bar tutorial by me. And then once you've got the backing track, you can play along to my solo. And of course, once you're ready, rotten a solar of urine. To get you excited, Let's have a look at the demonstration of the solar and then I'll teach it to you tonight. And then when you're ready, hopefully you'll have enough chops and inspiration to write the solar on your right. So here's the full demonstration of my day, irony and guitar solo. 2. D Ionian Solo Demo & Soloing Options: Hi guys, Thanks for joining me for this special d Ionian solar lesson. Today we're going to do a plethora of the solar. And then I'm going to explain some of the concepts and scales are used to compose it. Without further ado. Let's have a look at that solid. Okay, so to get you guys a little bit more in my head about how I go about composing solid. So just wanted to show you some of the basic things that are at your disposal when you're composing solids, just looking at the key and the scales that are related to it. So to start off, we're just going to have a look at d Ionian or D major 21 octave. Go through that slowly. I'm going to play five-seven on the fifth, 457 on the fourth, and 467 on the third. And that's gonna give us D, E, F sharp, G, a, B, C-sharp, and date. Hopefully that's all making sense. We're going to do that idea again, the same notes, but I'm going to use a three notes per string pattern, which is this. So what I have here, I'm playing 101214 on the sixth string. Fifth. So it's the same shape twice. Then I'm going to play 11, 12, 14 on the next two strings. And then I'm going to play 12, 14, 15 on the next two strings. The great thing about the Ionian three notes per string pattern is you've got two of the same shape, another shape twice and then another shape twice. Okay? So this is the two variations of the diatonic scale. Now the next thing we can look at it, some arpeggios. So I'm going to work with a D major triad or sort of a scene version of them. More fuzzy shape. I've got this shape at my disposal. I'm starting from five for the fifth string. Fourth, the fourth to the third, three of the second string. And then 25 on the first string. And that triad is made up of D, F sharp, a day live shop, and a. Again, we can make that a little bit more interesting by turning it into major seven arpeggio. So this is going to involve the tribe and the major seven. What I'm doing here, I'm playing 59 on the fifth string, 7456, sorry, 67 on the third string. Then I want to play seven of the second string and 59 and the first string altogether. There's also a six string variation of that that I like to do. Now the thing about the way that I play this, I'm actually starting from the C Sharp. So the order of the notes that I'm doing is major seven, then root note, then major third and fifth. So I'm gonna be playing 910 on the sixth string, 912 on the fifth. Then I slide 11-12 on the fourth. Then from that point I've got a triad shape, which is 11 of the third and ten of the second. I played 14 of the second string and then 1014 of the first altogether. Hopefully that is all making sense. The last couple of things that I think about would be to pentatonics. So I can use the D major pentatonic because we're in D major, which is this. This is made up of the first, second, third, fifth, and sixth of the major scale. I'm going to be playing 1012 on the sixth string, nine-twelfths on the fifth and for the 911 on the third, and then 1012 on a first and second string. Altogether. Now the thing about the D major pentatonic, because it's relative to the B minor pentatonic, which is the shape that I'm a lot more comfortable with. And we can obviously use any position of the beam minor pentatonic, you'll notice in the scale I use. Sorry, you can notice that in the soleus you use position for and position three as well. But let's have a look at the bay minor pentatonic just to make sure we're on the same page. I'm gonna be playing 710 on the sixth string, 79 on the fifth, fourth, and third. And then end on 17 on the second and the first string. So altogether. So that should give you a good basis of some ideas and ways you can go about coming up with your own solos as well. 3. D Ionian Solo Lesson Bars 1 to 8: Okay, Let's have a look at the first eight boss saying is we're in D major. I can use the B minor pentatonic, or at least position one that the miner to start this solar and it's going to sound relatively happy in contexts with the courts. So we're going to start off with this phrase. Let's slow that down. Start from seven to the third string. And Jill were banned from nine of the third. Then from that band I'm going to have a flat pinky that covers the 10th fret of the first and the second string. So do the band. You can play with the first and the second string. Then bring that band down. At the end of that, I'm going to quickly pull off to seven of the third string and jumped to the nine and the four at the end of that cheeky hammer, 7-9. So the whole thing thus far, at the end of that, just kind of based around an, a major arpeggio. We've got a semitone Ben from six to the third string. Then I'm going to play seven of the fourth and the fifth. As soon as I hit that seven of the fifth string, I'm gonna do a grace note slide into nine and then go back to sit, targeting the fifth of that a chord. Let's have thus far from the star. Then after that, I work into this cool little pentatonic lick. Its, Let's slow that down. I'm going to start with a hammer on 7-9 on the fourth. And I don't want to play seven of the third back into non of the folds. The end of that, I'm going to pull off 9-7 on the third and jumped in none of the force altogether. The end of that, I'm going to play seven of the second string. Pull off 97 on the third. Pull off 107 on the second, jumped to nine of the third photograph. Of that. That's going to finish off the lick. We've got three more notes. I'm playing seven of the first and then tend to seven as a pull off on the second string. So a lot of this lick speed is created and the vibe is created by the legato. So it's important that we use a lot of it. At the end of that. I'm going to do a slide into 12 of the first string and width down, sort of an, a major arpeggio. I'm going to play 12109 of the first and resolve to ten of the second string. Also get that from that pentatonic leak. So we've got a grace note slide from ten into that I guess. After that I work in. So just kind of like a J suspended. Second arpeggio, if you want to call up that, I'm sliding into 12. All the, what have I got here? 12 of the third string and ten of the first two. So sustaining, I don't want to slide back into 12 again this time with my pointer. But a different sort of variation on that SAS to, I'm playing 12 of the third, 15 of the second, and 17 at the first. And then just add a little bit of movement to them. I added some cheeky whammy stuff as well. So the last little two arpeggios, those substitutes are going to sound really good of four chords in the context of G major, D major, that will sound nice on the G chord. That's the whole first section. Let's go right back to the start, but relatively slowly, and then do it again, Even slots and tabs. And we'll talk about some tabs. 4. D Ionian Solo Lesson Bars 9 to 16: All right guys, let's have a look at bars nine to 16. We're going to start off with this phrase. It's a bit adventurous, but it's pretty cool. Kind of almost borrowing some motifs from the first 8 bar, yourself from 15 to the second string to 14 of the third. And then I've got a double full-time banned from 17 at the second. After that, I'm going to hit 15 of the first from the sustain of that bend. And then I'm going to bring that bend down. I'll throw hit that 15. After I bring that bend down, I pull off to 15 at the second, jump to 16 of the third. At the end of that, I'm going to hammer on 15-17 on the second string. And then we're going to work into that crazy dominant not paid yet. So let's have a look at the whole thing thus far. Okay, Then I'll work into this phrase. I'm working through just a sort of a basic sort of note for note diatonic, a dominant seven arpeggio. But there's a couple of interesting motifs that make it a little bit less blend, if you will. So I'm going to start off with this. I've got three pigs from 14 of the second string pulling off to ten. And then I want to jump to 12 of the third, back to ten of the second. When I go into this, I'm going to play 14 of the fourth into 12 of the third, and then 11 to 14 as the hammer on the fourth string. The end of that play from 12 of the fifth into 11 of the fall, and then 10-12, so altogether. Okay. Then I work into this first. This is a little bit strange. It's not as straightforward as you might think. I screwed it up several times. Recording is a little bit challenging. Let's slow it down. So we've got from that hammer on, I'm going to play 11, 14, 12 on the fourth. And then I'm going to play 11 of the third into 14 of the fourth string. And then it goes. So what I've got there, I'm playing 12, 11 on the third string and jumping to 14 to the fourth. The end of that. But it's kinda rolling Legato. I'm playing 12, 14, 12 on the fourth than jumping to 11 of the fourth string. Then I want to play 14 of the fifth and then sliding back to 14 by 14 in sort of a grace note from 12. Sorry, from the arpeggio. Hopefully that's making sense. We'll put it all together at the end and then do it slow with tabs as well. So don't be too concerned. After that, I worked into a basis to arpeggio. I sort of got to add mine and nine stuff at the bottom. So what I've got there is I'm starting off by playing 14, 16, 18 from the fifth to the third string. That I want to play, 15 of the second string and 17 of the first. I first fell in love with this sound with a Jr.'s Secretary. Song, mystical potato group thing. If you've heard that before, beautiful intervals in those arpeggios. After I've had 17 of the first, I go back up to 15 to the second, and then I want to slide 16-18 back to 16 and the third. Hopefully that's all making sense. Then I worked through some pentatonic licks that are based around position for a minor and position three. And as I said in the first, first 8 bar, we use position one of the B minor pentatonic because it works so well with D major. So what we're gonna do after this arpeggio, I've got a hammer on 14-16 of the third string. And then I worked in at this phrase, hammer on it. I'm going to roll 1917 to 14 on the first string. And then I'm gonna play 17 at the second string. And then once I've got from 17 to the second string, I'm going to pull off 17, 14 on the first, and 17, 15 s. So we're going to have two groups of four. And in some situations it's not all a garden luck here. I'm going to pull off pick, pick. It just sounds better to have some mixed legato with that trip. Then I work into this phrase. So what I'm doing here, I'm hammering 12 to 15 on the second string. Then I'm hammering 12 to 14, And from that point I'm jumping to 15 of the second string and then hammering 12, 14, and picking 17 of the first. So it's gonna go like this. I doing, I'm actually going 12 and then 14, 17 is the hammer on it. At the end of that. Very close to the end, I'm hammering 12, 14 on the first, jumping to 15 to the second, back to 12 of the first. At the end of that, I'm gonna do a pull off 15-12 on the second string, jumped to 14 to the third. Resolve that on 15. And then that 12 that we hit is gonna be the start of the next bar. There'll be boss 17, so I'll leave that out and we'll start the next group on that. But let's try it from the lead into these two pentatonic works. Hopefully that's making sense. Let's go right back to the side of the section. Platon, nice and slow. And then we'll do it again, even slow with some tips. Well, Thomasson tabs. 5. D Ionian Solo Lesson Bars 17 to 24: All right, guys. So we're going to work through bars 17 to 24. We've just come out at this phrase. So I'm resolving that phrase on 12 of the second string, and that's going to start this group. So we're gonna go like this. And from that point, I've got an octave chord starting from ten of the fifth string and 12 of the third. And we're just going to drag that around. I'm going to start off by playing 10952. I'm going to get to again insulin to seven, back to two together. So from that we had vibrato on 12 as well as this dot. Then I work into this phrase. Now you'll notice that when I was composing this section, I tried to keep picking very minimalistic because I didn't want it to have a staccato sound. I wanted everything to kind of bleed into each other and sound quite flowy. So what I had here was a hammer on playing to four and then I slide 711. When I do it again to four, hammer on, but then 79. Hopefully that makes sense. Then I went into this phrase. Let's slow that down. I'm gonna do a semitone banned from 16 of the third pulling off before jumping to seven of the force. Then I'm pulling off six to four on the third string and then picking 74 on the floor. Hopefully that makes sense. Then I want to resolve to five on the fourth string. And then we're working with this big delicious around here. Really loved playing this. It just sort of speaks to me naturally as a player, if you grew up listening to slash mark term Monte like I did, they do lots of little mixing legato and Fred runs, which I really, really enjoyed the Sando, sorry about that vibrato five on the fourth string. Then I work into this phrase. Let's slow that down. I'm hammering for 54 and the fourth string jumping to seven of the fifth, five-seven on the fourth string. From that point. Very similar idea from, for the third string, I'm going to have a 464 jumped to seven of the fourth from that 0.467 on a third. Very similar idea. Now I'm jumping to five on the second string, I'm playing 575, jumping to nine at the third. Hammering nine, or is it five-seven, back to five on the second string and jumping to seven of the third string. From there. I'm plucking 578 on the second. So I've got this is all on the bait, and then I work into this phrase. So very, very similar. I'm kind of working around a G Lydian three notes per string pattern, if that makes sense, because that's relative to D major. In this particular section of the song. That was just a shape that works really well with what I was thinking. So I've gone from this. What I'm doing here is I'm playing five step and back to five on the second, on the first string, jumping to 8 s. And then playing 579 altogether. Very similar pulse and then it works into this. So let's take our time with this one back to 575 on the first string as a hammer and pull up. And then it gets into play eighth of the second, five of the first than 87 on the second. At the end of that. What I'm doing here, I'm playing ten of the first into seven of the second, and then resolving into some gentle delicious vibrato and nine of the first string. Okay, So let's go from that run into that new chunk, and then we'll have a look at the swipe that follows it. Okay, I just work into two inversions of an, a major arpeggio. This is kind of reminiscent of sunlight. Jason Becker, he could coffin motifs have just moving the same arpeggio around the fretboard for fancies. So I've got a five string, a major arpeggio. Obviously we want to swipe through that. I'm playing 12 of the fifth, 11 of the fourth, nine of the ten of the second string. Then hammering nine to 12 on the first. From that point, I'm going to slide up to 17 and pull that off. From that point. I'm going to swipe back 142, sorry, 14 of the second string to 14 of the 3rd Guards. And then I'll work my way back up to 12 of the first string. So we go like this. To give it more of a dominant field. I'll repeat that arpeggio again. I'm just going to add a pull off from 15 at the first string. And we're starting from that J and pulling off to the, we're getting a very dominant style. And that's just going to descend up the arpeggio to end on that. I know it's on the third string and then go back up. So we're gonna go. Then after that we're gonna be into the last 8 bar. So let's go right out to the side of the section, played at a gentlemanly pace and then do it again, even slowest since abs well, what's always been tabs? 6. D Ionian Solo Lesson Bars 25 to 32: All right guys, let's have a look at the last section. I'm going to start from 14 of the first string. Slight bend to there. And then I'm going to 12 with the second. And another semitone bend his time from 14 of the second string. From that point, I'm going to do a hammer on from, sorry, I'm gonna do a slide 11-12 of the third and then play 14 to the first. And that's going to get an honest maid to seven sound to it. So it was 11 to 12 on the third and fourth saying that the first altogether. Then I work into this really, really good time. Paul Gilbert, newNode Betancourt. String skipped up page here. Let's slow that down. I'm going to play ten at the first string and then pull off 14, 11, 14 on the third. Then I got a very similar idea. This time I'm hammering 101410 on the first string. And then I'm going to play 14, 11, 14 on the third. So thus far we should have this. They both have a similar range. At the end of that, I'm going to have a 1014 and slide up to 17. Then I pull that off to 14 and I'm going to go down that day major arpeggio by playing 15 s and 14 of the third. So once again, this is kind of got a bit of that Jason Becker motif as well. We're just playing the same arpeggio in different, in different spots. Anyway, let's have a look at that arpeggio one more time. Then from that point, I worked at a bay minor arpeggio because that's the cool that's happening in the background. But I added some sort of backtrack, so descends a little bit slower than just going straight down the arpeggio. So I've got this. It's a bit of a minor seventh in there and obviously a couple of diatonic notes from that point that Let's slow that down. I'm going to start off with a basic beam minor triad. I'm playing 1014 is a pull off on the first 12 of the second and 11 of the third, where it gets a little weird. This is a bit of a strange one because I'm pulling off from the pinky the middle, which feels a bit stupid. I'm playing 15 to 12 on the second string, 11 of the third and fourth. From that point. This is where the minor seven arpeggio I'm playing. Was that 14 to 11 on the third, 12 of the fourth, and 14 of the fifth. From that point. Quick little trail going 11, 12, 11 on the fourth and then playing 12 to 14 to 12 on the fifth. So cars altogether. From that point. I'm going to resolve that to ten of the fifth. So let's go right back to this thought. Have a look. We've got thus far now at the last chunk through it. Hopefully that makes sense. Now this last bit, I got to meet it now it's going 910 on the fifth string. Now I want to play 7911 on the third. When I was doing this, I kind of liked the sound of the notes bleeding together. You will get that dissonant periphery sound, like kind of almost kill switch engaged to it as well. I'm playing eight to ten on the second string, whilst my 11 on the third string still rings down. From that point of working to a B minor pentatonic licks. It's working in groups of four, pretty simple. I'm going to start from ten to the first string. The first four notes will be 107 on the first and second string. And then from that point to play seven of the first string. And then what have I got here? 107 on the second and none of the third sort of go from there. I'm playing 107 on the second string, then pulling off 109 on the third, sorry, seven to nine on the third. From that point. Playing seven of the second string. Then pull it off 97 on the third and jumping to none of the fall. So altogether, at the end of that, that's a lost phrase. So what I've got here is a hammer and pull off going 787 on the second string, jumping to nine of the 37 of the second. Then a little bit more pentatonic E, again, 97 on the third and fourth. Now that sliding 9-11 and then just broadening that to resolve it. And that is the whole solo. So let's go right back to the stop play to the gentleman's pace and then again, even slots and tabs. Almost Thomas and tabs.