Transcripts
1. F# Phrygian Solo Lesson: Welcome, Lesson Contents & Solo Demo: Hi guys, This is Chris super. Welcome to another
Skillshare course. In this course we're
gonna be looking at an f-sharp Phrygian
solo that I wrote. This lesson will include a full demonstration
of the solar. What soloing options you have
in this particular mode, as well as the modal
characteristics, we'll be mainly focusing
on the flat second, a full tab breakdown
of the whole Solar. A video bar by bar
explanation with me, a backing track for you to play along with the Sol LeWitt. And then of course, once you've
got the chops behind you, you can write a
solar of your own. So we're going to have
a look at that video demonstration at the solo now, we'll go through
it note for note. Then once you've
got enough chops and you're feeling inspired, you can write an f-sharp
Phrygian solar of Iran.
2. F# Phrygian Solo: Demo & Soloing Options: Hi guys, Thanks
for joining me on this f-sharp Phrygian
solid lesson. In this lesson I'm going to do a full playthrough of the
solid that I can pose, as well as go through all of the scales and arpeggios that I used as well
to compose it. So hopefully that will plant some seeds in your head
as to how I go about it. And then you guys can
go on your own and can pose some modal
solos of urine anyway, without further ado, let's
have a look at the solar. Alright guys, so let's
start off nice and simple. We're going to start
with the f-sharp Phrygian scale to one octave. I'm going to play 235
on the sixth string, 245 on the 5th. And then to four and the fourth. That's going to give us the
notes, F-sharp, G, a, B, C-sharp, D, a, and
then another F sharp. So as you'll notice
this two sharps in that signature
before the octave, which means that
we're in the key of D major with a third
mode of D major. As you can see, it's a
pretty limited scales. We want to cover a bit more of the fretboard and get
a more useful scale. We can do the same sort of idea. And f-sharp Phrygian scale too, use all six strings using the three notes
per string pattern. Let's go through that slowly. I'm going to play 235 and the 6245 on the fifth and
the fourth string. And then I'm going to
have this spreading guy across the next three strings. I'm going to play 246
on the second string, 357, and also the
first string 357. So from the start now. And
that's the f-sharp Phrygian, three notes per string shape. So now let's move on
to the arpeggios. I'm going to start
off quite simply with an F sharp minor triad because the phrygian is
essentially a minor mode. I'm going to pay nine
of the fifth seven of the force that I'm going to play seven at
the second string and 59. Okay? So that's a pretty
basic normal tribe or missing is that
characteristic flat second, that G That makes
for gene so special. So what I'm gonna do is
I'm going to do the same, try it again, but adding
that flat second. A little bit creepy. And now I'm going to play nine
of the fifth again. This time I'm adding in a seven on the fourth string.
So I'm gonna play 79. That I'm gonna be playing.
The third string. Thin 78. Tense flat second
day on the second string, 78. And then I want to
end on five-ninths. So most of the arpeggio is
the same I've just added in to jays on both octaves. And that is F sharp minor
triad with the flat two. So what we can do now
is do a similar idea. We use the F sharp
minor seven arpeggio. Go through that and then
we'll do it again with an added flattened
or flat to her. However you want
to think about it? I'm playing 912 on the fifth, 11 of the fourth, 911 on the third string, tenant the second, and
then 912 on the first. So that's the F sharp
minor seven arpeggio. Once again, though
we've left out that important characteristic flat
second being the G natural. So if we add that
into the minus seven, we're going to end
up with an F sharp minor flat two flat nine. However you want
to look at that. So we're going to start
off by playing 91012. That G there being the flat two. I'm going to play 11
on the fourth string. When I get to the third, I'm
gonna play 911 and then 12, which is the G-natural. Again. That tenths note bit confusing and then want to
play tennis at the second, and then nine-twelfths
on the first. So altogether bit creepy, but
it's pretty cool. Now we're gonna do a nice
basic, an old favorite. We're going to use the F
sharp minor pentatonic. So start off simple,
and then once again, we'll add in that
characteristic flat second. So if I'm going from the first position from the sixth string, I'm going to play to five, then to four from the fifth, fourth, and third string. And then I want to play to five on the second and first string. Altogether. That's the F sharp
minor pentatonic. Now if I add in the flat second, which is the gene natural, I'm going to have a j here, here on the fourth string, and then a G natural
and the first string. And we're going to
end up with this pentatonic with the flatter. And that is the basic
building blocks are used to create that solar.
3. F# Phrygian Solo Lesson Bars 1 8: All right guys, let's take a
look at the first section. I'm going to start off with
this F sharp minor con is Zach while pentatonic lick. Let's slow that down. Start off with a four-note grouping. I'm playing for two on the
third string and 42.4. And I want to do that
four-note grouping, four times 1234. Then I do 26 note groupings, which is this, the
two-sixths net groupings. I'm doing the third
string twice, something for two twice there. And then just for two once
on the fourth string. That's gonna give us 1234566
notes on that second bar, I'm going to do
two groups of six and then one group of four. So it goes 1234,
5612, 3456, 1234. So got the four groups of four
to 6 h and one for again. Hopefully that's
all making sense. Then I work into this phrase. Let's slow that down. I'm going to hit for
the third string twice. Second time I hit it,
I'm going to do a hammer on into a pull off going for 54. When I go to seven of the
fourth factor for the third, at the end of that, I'm gonna go 754 and then four again
with a cheeky band on the fourth string. Saving time. That I hit it again
at its rest position. That's the first 4
bar of the solo. So let's get that
down then we'll have a look at the
next fall with God. Okay, then after that, I work into an F
sharp minor arpeggio, but also has the
flat second in it. So what I'm doing here is I'm playing just
a straight triad. There's no funny
business just yet, I'm flying nine from the fifth seven to
the fourth and sixth. And then I want to repeat
that seven-sixths again. After that, I'm going to
leave from that flat second, which in the case of F
sharp will be a G note. I want to have all these knots ringing out together.
It's pretty gross. On a yucky ****, I'm playing
five of the fourth string, six of the third, and I've
got eight of the second. It's altogether. Then I work into this fries. So what I've got
here is I'm playing two nights on eighth fret
of the second string. And notice I'm starting
with the pointers so that I can get that slide
Motif happening. I hit it twice. And
then on the third pick, I slide it back a
fret, so it goes 123. The slide. Then from seven, I do the same thing, but after the third pick off
slide to five. Same thing again, I've got three peaks in the
last slide to three. The same thing again
from this point, but I'm sliding
3-2 back-to-back. We're going to have this at the end of that one to more
peaks on the second fret. Then I work into this phrase. It's a very similar
idea played twice, and I'm using a lot of
chromaticism as well. So I'm doing the
hammer on, pull off, going through 3-to-1,
a second string. Then I jumped to five
of the third string, back to two of the
second string. So altogether, that point, I've got four chromatic notes on the third string going 5432. Very similar idea. I'm doing the hammer on,
pull off one-to-one on the third string and jumping
to four the fourth string. Backtracking that for, sorry, the first fret on
the fourth string. My chromatic notes
here are going 4321. And the fourth, that whole
loss chromatic phrase. That's all making
sense, and that's the first 8 bar of
the whole solo. Let's do it again, even slower. And then we'll do it again
even slow with some tabs. Tabs.
4. F# Phrygian Solo Lesson Bars 9 16: This section is going
to start off with a grace note slide 2-4 and the fourth string.
From that point. Very similar idea,
I'm sliding and octave cord into the fourth
fret of the fifth string. The sixth fret of the third. Adding some cheeky
why I'm either, at the end of that, that I worked into a very
frigid any octave code. Look here. It was.
Let's slow that down. I'm starting from two of the sixth string
and for the fourth, that's obviously going to
stay the same distance. So I'll just point out where
the point of finger's going. I'm gonna slide 2-33 to five. And then I want to invest
that. Then go forwards again. Just going to go two to 33
to 55 to 33 to five again. Okay. Then I want to go 57. And back to five. I go 5-7, then seven to nine. Altogether. I've got a bit of an alec Skolnick
vibe them anyway, we'll take it from the
start, put it all together, and look at the second
half of the section. Okay, Hopefully that's
all making sense that I work in this high F
sharp minor pentatonic, obviously with some flat
second motifs as well. Let's start with this. Let's
slow that down of what, that cheeky little
double stop there. I'm playing 14 of the second and the third string
to a quarter band. There are vibrato. At the end of that. I'm pulling off 16
to 14 on the fifth, on the fourth string
and then hitting the 16 again altogether of that group. At the end of that, I've got a leading note from 14 of the third string. I'm
going to bend 16. And then do a flat
finger playing 14 of the second and 14 of the first.
So it goes like this. At the end of that, I'm
doing a pull off from 7% to 14 on the second string and then
doing a cheeky banned from 17. Hopefully that's making sense. Once again, I'll go to Lady
not here on going like this. And now the cool thing about this is just
the same thing twice, sometimes unfortunately
the first string to start. And I've got to pull off
15-14 on the first string, playing 17 at the second, and then back down
to 14 of the first. So it's going to go, and
in a very similar idea, it's just instead of
pulling off 15-14, I'm going 17 to 14. 17, 14 on the first, 17 to the second vector,
14 to the first. So we've got dilating out, pull off like from from 15, then pull off look from 17. I'm going to cycle through
each of those twice. Hopefully that's
all making sense. Then I work into this
sort of triplet pulsed, pretty straight pentatonic
licks and F-sharp, There's no flat too
funny business there. So I'm starting with this.
Let's slow that down. I've been from 17 to
the second string. Then I'm going to
play 14 in the first two strings, rolling 1-2. And then I go to 17 to
the second into 16. At the end of that, I'm jumping to 14 of the second string.
At the end of that. I've got one more triplet
and then a hill vibrato. Note that the final
triplet of this section, He's going to play 14, 16 on the third string, jumping to 16 to the full. And then at the end
of that, resolving to I 14 on the third
string from abroad Art. And that's the whole section. So let's go right
back to the stop, play it again to the gentlemen
space and then again, even slow with some tabs. Almost always some tabs.
5. F# Phrygian Solo Lesson Bars 17 24: Guys, let's have a look
at the third section. I'm going to start off with
a backward slot into 4.13. At the end of that place, 67. I'm gonna do a grace
note slide 4-6. When I get there, I've
got a bit of a delay, but I'm going to do
a cheeky hammer and pull off going 676. And then resolving to non
of the fourth string. The interesting thing is I do have that same sort of being natural note
on both strings, but for some reason
within that cheeky slide, it just made more sense. Sudo pip position shifts. So you might find little
quirks like that in my playing and even in yours,
and it's a good thing. So we got after that. But that's sort of
semitone dissonance there. It can hang out together with the cheeky whammy. So
what I'm doing is this. What I'm doing here is I'm
hammering seven to nine on the fourth string and playing the third seven
on the fifth string. And then I have it
4-6 on the fourth. Notice that after I've
done that hammer on, trying to sustain
that G-sharp note, sixth fret of the fourth string. And then when I'm playing
the a on the third string, the ringing out together
in a dissonant manner. I'm adding some cheeky whammy to make it even more disgusting. So let's have a
look. We've got Thus far from the start
of the section. And then we'll add the
crazy legato that follows. Okay, so this is where it
gets a little bit silly. I am just working
in straight 16th, so semiquavers, it's just for straight bars
of cilia legato. So let's take our
time with this. We start off with this. I've
got 1234566 nights there. I'm playing two of
the third string or legato as much as possible. I'm playing 64246 on
the fourth string. Just going backwards
and forwards. I'm gonna do that six
node phrase twice. At the end of that, I'm going to do a quick
phone out-group. This one's gonna be a
little bit different there. I'm going to play two
of the third string and then 646 and the four. And that's going
to help us build up into the next chapter. So we've got four
nightmarish bars of legato, and
that's one of them. So good news is where a
quarter of the way there, then I work into this phrase. Let's slow that down.
I'm going to play 246 on the third string. Remember as much
Legato was possible. Slide over to seven. Then pull off six to four. I'm rolling backwards
and forwards playing 76467 on the fourth. So we've got, at
the end of that, I'm going to play 467
on the third string and then five-seven
on the second. So altogether, this bar, Let's put those 2 bar of
awful legato together. Hopefully that's making sense that I work with this phrase. So once again, I'm
kind of working off that 664 grouping mentality, starting from nine of the
second string and I'm rolling 975 on the
second string, Jumping to seven of
the third string. Everything about this phrase is just forwards and backwards. I'm ending on a
five-seven and that's my first six note group, 123456. Repeat that two times in a row. At the end of that. Instead of going to the third
string there that time that last for another grouping is
all on the second string. We're going 975-27-1234. If we put that all together, that's going to lead us
into the last chunk. So now we have 3 bar of legato. I'll put together
what we've got. Hopefully that's making sense. Then I work into this phrase. Obviously, with a bit more
speed and distortion, saturation behind you that will resonate and sustain
a little bit up. So what I'm doing here is I'm playing five-seven on the
second string and then a forwards and backwards
pattern on the first string. I'm playing 5797579. There should be seven notes
on the first string, 1234567. At the end of that slide, 9-12, then pull off back to 91 of
the 109 on the second string, and then 11911 on the 3rd. So that last bar. And that is the
whole legato chunk. So it's just basically for striped bars of 16
ninths of pace. And we're just keeping it pretty consistent with that timing. Let's go right back to
the start of the section, put it together to
gentleman's pace and then do it again
even slower with some tabs. Will Thompson tabs?
6. F# Phrygian Solo Lesson Bars 25 32: Okay guys, let's have a
look at the final section. I'm going to start
off with this phrase. We're starting off with
a slide into 12 of the second string that I want to play 1012 and then
hit 12 again in gray, slide to 14, jumped to
ten of the first string. And there's a grace
hammer, 12-14. Altogether. At the end of that. I'm playing 1210
again. So altogether. Then I work into
this triplet phrase. Is a bit of pentatonic in
a bit of diatonic there. I'm starting off
pipeline seven to ten on the second string
and then jumping to nine. At the end of that, I want to play seven
of the second stream and then 67 on the
second, on the third. Sorry to get all of that. Doing a hammer on,
pull off going 676, jumping to non of the, for the first half
of this section. Let's put it all
together thus far. Okay, then after that I
work into the string, skips that cheeky
pentatonic tablet. Now obviously with a
bit of distortion that will send a lot less crummy. But the idea behind this is that I'm playing
position one of the F-sharp minor pentatonic
up in the high register. And then I'm adding in
a tap that is also in k. So what I'm doing here is I'd be
tapping 21 on every string, except that the second string
where I go over to 22, just to keep it sort of, it's almost like I'm playing the edge of what
would be positioned three if that's sort of
a way to think about it, to make it less
boring and linear. I added in string skips. It's a cheeky, cheeky trick
I learned many moons ago. So if we're doing that with
the string skips in mind, I'm gonna be playing 14, 17, 21 on the sixth string. And then on the string
skip 14, 16, 21. Then I go from the
fifth to the third, 14, 162-114-1621 on
the third as well. Okay. Then when I get between
the fourth and the second is where it gets
a little bit different. 14, 16, 21 on the fourth. And then what I've got
here, I'm playing 14, 17, 20 to the end of that. I'm gonna be playing 14, 16 on the third string, and then 21 at the top, and then 14, 17,
21 with the tap. So as I said before, there's no changes other than the second string having
that cheeky 23rd. At the end of that, I'm going to slide that
tap over 21-24, then pull off that 17, 14. At the end of that, I do a hammer on from noaa to
17 of the second string. And then I'm going to tap 24. That pulls off 17, 14, and then hammers back to 17. Hopefully that's making sense. Let's try that whole tablet
again and then we'll have a look at the last
crazy liquid follows. Then I work into this phrase. Okay, so this side is
relatively simple. What I'm doing here is just the straight pentatonic again. And I'm doing a
straight descent. So this is relatively simple. I'm just doing a double-tap. If you think about
the pulse of the tap at the start of Tracy crazy trained by Ozzy
Osbourne, crazy grain. The tap at the start of crazy
trained by Ozzy Osbourne. You put that double-tap idea. I'm doing that here. I'm doing a quick double-tap, 19-17 on the first string. Then I'm just working down the pentatonic
quite robotically, really something
that double-tap on 19 than playing 17, 14. Same thing on the second. To stay true to the scale. When I get to the third
string ready to do the double-tap from 18
and then play 16, 14. And from that
point, I'm going to do a double tap on 19
of the fourth and pull off 16416 to 14 in the
same on the fifth. So we've got that one
goes. What I've got here. Double-tap from 16 on the fifth, so I'm on the same string. I'm doing 16, 14
with the double-tap, pulling off to 12 at the end. And then sliding 14-16
on the fourth string. That whole loss phrase
is gonna be this. And that is the whole solar. So let's go right
back to the start of this phrase right
from the beginning. Well, what Thomas and tabs.
Chris Zoupa, Guitar Teacher, Composer & Author
