Session Guitarist Techniques To Improve Guitar Solos | Altin Gjoni | Skillshare
Drawer
Search

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Session Guitarist Techniques To Improve Guitar Solos

teacher avatar Altin Gjoni, Playing with feel is the key

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      INTRO & BASICS

      1:06

    • 2.

      GUITAR RAKES

      3:10

    • 3.

      SLIDING IN & OUT OF PHRASES

      6:49

    • 4.

      DOUBLE STOPS & DOUBLE BENDS

      7:06

    • 5.

      OCTAVES & 6TH INTERVALS

      6:29

    • 6.

      RIGHT HAND DYNAMICS

      3:28

    • 7.

      HOW TO PRACTISE THE TECHNIQUES

      0:42

    • 8.

      CLASS PROJECT

      0:43

    • 9.

      EXTRA TIP - EVERY GUITARIST CHALLENGE

      1:59

    • 10.

      RECAP & FINAL ADVICE

      0:35

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

361

Students

--

Project

About This Class

A Practical Guide to the main Techniques, Tips, and Approaches to improve your soloing, Easy to Grasp and Immediately Applicable for Every Skill Level & Style. 

In this class, I will show 5 easy to use Techniques & tips that make the difference in how your guitar solos sound. All the concepts I teach here are what I apply daily in any recording session I am hired to play.

Whether you are a BEGINNER guitar player still struggling to improvise or an INTERMEDIATE guitar player that wants to hone his playing, this class is the guitar lesson for you.

These techniques are valid for Acoustic & Electric Guitar and are adaptable for every genre, from rock guitar - blues guitar - funk guitar - pop guitar, and even metal guitar

In the class, you will learn the following:

  1. Guitar rakes- Play with intention 
  2. Sliding in & out of solo- Spice up your live solos
  3. Double Stops & Double Bends- Put Some Chops in your Solos  
  4. Octaves & 6th intervals - Sound Big & Melodic in every situation
  5. Right Hand Dynamic- The Essential of Playing With Feel
  6. My Extra Tip & Everyday Struggle for Guitarists of Every Level

The most crucial factor is that I will show HOW TO IMPLEMENT THEM IMMEDIATELY with the licks & solos you already know & knowledge you have.

  • If you are new to this, you will unlock more of your guitar potential & spice up your solos right now.
  • If you already know this technique, you might learn a new, more in-depth method of applying them.

This course requires only knowing a pentatonic box shape for some of these techniques & no specific knowledge for most of them.

Even if you are a complete beginner, you will grasp some helpful information to apply directly.

FOLLOW me on my INSTAGRAM & YOUTUBE & contact me if you want me to PLAY ON YOUR SONG

 

Meet Your Teacher

Teacher Profile Image

Altin Gjoni

Playing with feel is the key

Teacher

My music career started like any other self-taught musician who was and is a music nerd. I like to use one phrase to include it all, meaningful accidents happening consistently in my life.

Years after picking up the guitar for the first time, I'm now a session guitar player who has recorded and played in hundreds of albums for international artists. I took the best out of the online world and managed to do my work remotely from my small country or even during covid. 

I do love to teach and as well to write about music. Perhaps some of my studio logs will catch your attention as a music lover or six-string player.

 

 

See full profile

Level: All Levels

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. INTRO & BASICS: At a certain point in our guitar playing, we all wonder what do professional players due to sounded good? How come they're guitar? Solos are always so flashes so lively, and every time they have some new elements to add, What are the small techniques that they used that we cannot see today? We're going to talk just about that. Hi, everyone. My name is Anton. I'm a session guitar player and recording artist. Today I want to teach you how you can improve your guitar solos were adopted five essential techniques and different tips that I'm going to give it throughout the lesson. The purpose of this lesson is not to teach you anything new from scratch, but just to have you adopted these techniques in what you're Latino in your playing, meaning that the base of that you need is just knowing the pentatonic scale. Just composition essential sliding essential even if you haven't yet mastered them. You can still learn from this lesson because these techniques are for every level, meaning that you can learn them now and improve them by time. But what I wanted to do right now is to take your electric or acoustic guitar, since the lesson is valuable for both, have them plugged or unplugged, and let's start the lesson directly 2. GUITAR RAKES: The first technique that we're discussing is guitar eggs. If you don't know what guitar breaks are, what they do, they're basically the difference between this. Like Theo, a guitar rake is basically scrapping older strings while keeping the mute to give a more aggressive effect when entering a soul. Or like so, if you want to turn this lake into this, what you want to do first, mute all the strings with the right time. But as you see it doesn't allow you to make the notes sound. But how do you do that? So you meet all the strings, but when you go down to the spring where the lick starts, you lift your hands. So it's basically thistle tricky and might not be 100% correct. But even if it's not, it's not a problem. There's even some wrong notes in a certain way. They're giving the sense of moral graphic aggressiveness. So basically, it's everything muted. When you go to the last drink, raise your hand. Okay, we can also do it another strings. For example, if you have to slide on, be want to turn it into this. What we do is the mutual, the strings. But when we arrive at the B, we raise our hand so you can make it sound. It's like even for the G, it's still the same upward motion. You don't have to have it 100% correct, because even if you mess it up sometimes like I'm doing now, it doesn't sound bad because it still keeps aggressiveness. Keep in mind when you reach your destination to lift the handle bit another way to do it and in this case, in a B minus. Sounds expressively well, it's the Jabbar full seven. But in this situation, since we are complete like this now, the way this works is that because we are in the my way, are here blocking strings, or you can even now what we do. It was slighty mute on the right hand so that the strings are heard just a bit. So it's since we're in the same key. They won't sound bad, even though they're not very clean plate on its basically, we let me start the league 3. SLIDING IN & OUT OF PHRASES: the next check needles were discussing is sliding in and out of phrases. So it's basically the difference between this on There are many different ways to slide into, like the first way is to start off from the same spring where the league starts. For example, if you have this like in B minor, semi tone up, let it go love to the seventh fret done for me s seven friends. So the first way is to slide from the highest range and it goes like this way Always use our third finger, the ring finger and slide from the same string. The secret behind it is to start off the slide in another belongs to be minor scale in this case is they have sharp here or the second friend of the high waken starts from the few threat from the seventh. You could even start off anywhere practically doesn't have to be in the scale, but you don't have to. You must not arrest on any of the nose before you arrived destination so that it doesn't sound bad for example now, depending on how fast or how slow you slide, the taste of the league changes a lot. For example, this is much more blues here. I think this but also depends on your taste. The second way to slide into a lake is by going through the stringers, writes about it. So, for example, if it starts on the high way start to slide from the B. In this case, it sound like this. The secret is toe end. The slide in a note that belongs to the same key or the same scale is the phrase in this case way started in the seventh. Sorry, we ended on the seventh. Fret off the B. Since it's an old belongs to the B minor pentatonic s, you can start it off anywhere Oregon started off and those that belong to the B minus scare , for example. Todo like you Never certainly situation how long and how fast, just, like deeply affects the taste of her leg. David Gilmour for Pink Floyd uses this a lot in his solos and especially it's noticeable on the comfortably numb for solar. When it goes like this theme s so what he does here is this Slice off from anywhere practically from the B strain. I up until 12 credible history when he starts the solo 14 Fred High. He doesn't like this because the soul is practically in D major in the situation, and it's another bill oscillate scale. So it start it anywhere and until we so once again, you can do the practically with any string this type of sliding. For example, if you start off, you can slide from the same string, meaning the history or from the string above. Ah, good way to use it is in combination with the first technique or the rakes. For example. What I did there is I was sliding from the string that's above the lake, but I combine it with a rake, same here, combining the rake with style. But the important thing is when you combine it with a rake, you have to start off in another's belongs to the scale because you have to be somewhere so that the rate is effective. Meaning that s so it's you wait up, for example, here in the second fret of the high that belongs to be minor scale. Do the rake the moment that you hit the how you I think this can be done with the first finger in the situation, sliding to a seven front order starts finger. So about sliding out of flicks. The idea is that you don't end a lick the moment that usually ends, but you slide it out, meaning that this like way so you can probably finish the sliding anywhere you want or anyway, feel it gives it more feeling more sense to the lake in two ways. The first way eyes to lift your fingers off Fred Border The way you want it to end the second way is that you stop it by palm muting with your right hand. So and it depends on what works best for you. As in every sliding situation that we discussed about up until now, it's important that if you want and face a certain knowledge, you wanted to understand a lot on the scale. For example, if you're in a way that light and so if we do it, I don't know that's not in the scale, for example, on, and it sounds horrible. The way that you can study them is that you can start off your solos next time that you practiced with a slide being on the same sprink or being on the string above, and you can slide it off. One cool, extra treated. I want to show years that when you want to slide off, you might do a quick slide into the root. For example, if you have a stick, what we do is we ended with a slide off to the mean but not here. Always end it is no, for example, noticed that. 4. DOUBLE STOPS & DOUBLE BENDS: the next techniques that we're discussing are double stops and double bends, which are my favorite ones to use in Frankie Rock situations. So they're basically the difference between this, like Theo regarding double stops. If you notice the pentatonic scale, many notes stuck on top of one another. For example, some friends of Toby Thing in front of the 11 spreads off the beaten in front of the seven friends of eso on and you have this combination, for example, What you can do in this situation is when you're going in a situation like this, you can make the last phrase with double stops or if you're going. Oh, thank you. Hey E, it's a much more funkier, more moving and even more having different C two inches. So I wanna show Cool trick about it. If you're on B minor, be major, even though things not here. So the ninth fret. It's not part of the pentatonic scale. You can still use it. For example, you're playing this leak. You complete the listeners double stuff. MM. Now want to get to the mechanics of it? What you dio the seventh fret of the D and B on the moment that you black them, you bend them a bit by using the power of your wrist. By doing that, you get a much more fun. Here, have your effect. You can do the same on the ninth right here with the 33. Bend them. What? I was just to the right now T o you have much more power impending them. The bending doesn't have to be precise. It just to give you like a more moving s. So another situation that we have never stopped other Hendrix double stops the world famous understand stops what they basically are Is that when you, for example, doing this movement What you do is your bar Fred here on you strike them both at the same time while hammering on to the ninth. Fret. So it's well, I'm hammering on only do that way from below in the GN audio. So if you want to be level like from a Tonto, it's a typical Hendrickson move. So what you can do about its for example, if you have this randomly meaning that spice it up and you know what I did? There was a part the whole seventh friend when I did the first hammer on a plane booth. Second, I played both the on sort of played both the G and the possibilities are endless when you use double stops and you can use them like in every kind of rock, blues and even frank situation now to talk about Double Ben's double bends are very useful if we want to give a more aggressive for a more power for approach to your soldiers. Now, the double bands that we're going to learn here are the world's 1st 2nd string, I thought. The idea behind it is that you place your finger anywhere in the first string, for example, here basis year and be pentatonic, and what you do is you go, three frets above it. In this shape, you struck strings, and then you bend the B string until it reaches a trance front, which is the same. So the goal is to make this frets sound like this. So it's basically struggling both, and you have to bend them until you reach. It would be not here, which is the same notice you're So it's it's a bit tricky to massacres in it, a bit power in the left hand and it's a bit tricker to read about brother. But with time it will come. So that, like that I want to teach you. Here is basically the comfortably numb second solo and then leak, which goes like so what? David Gilmour doesn't his occasion. He just goes up the pentatonic scale. Basically seven threat nine threat threat. But once it does during this time, he has a double bed meaning of this four times here I think it goes up two frets three times up, one fret four times up, two frets three times. The main thing about it is that you want to make it sound harsh will make you want to sound like it's not properly 100% into, and it doesn't have to be 100% of do so. Even if you don't get it 100% right, it might even work for you. So it's like you can do the same if you go once drinkable but change position. So it's, for example, the several Sprinkle me the nice trilogy. So it's Theo, the same goal. You have to ban Teoh the phone that sound the same 5. OCTAVES & 6TH INTERVALS: the neck stick needles were discussing our octaves and six. So there's a difference between this first thing we have to identify or octopus for this. I'm going to give you to practical shapes. The first shape is this, so it's basically seven spread of the string and nine threatened. With this ring, you have to use the case. Drink with the flesh from the finger here just now. They're basically the same note, but into different strings. Same shame. If applied, most spring below has the same effect. So in this case, ninos into different strings. Aziz Example. Before you have to mute dis ring with the flesh, remove her finger theme. Second shape. It's similar I have to use their first and your little finger, and you get this shape. So it's basically the several. Front from the string theory is the same note. Now this shake can be applied below. It's basically the same finger shaped seventh front ology. But how do used in Soling, for example, you have this leak or any other leg that passes through wants during. The thing that you can do is play the same but a knocked of shape. For example, for shame here, which is seven friend of the eight on ninth, fret off the G and it's equals now. The advantage of playing OC tips is that you can basically straight, because what you do is you mute the whole other streams, except it's very troubling. For example, the first spring here is merely where the flesh of the first and it is muted by the flesh here, while the others beat and the are generally muted, always by the first finger. So it's anything actually 1st 2nd with the 1st 1 of us over muting. So it sounds like this things gives a much more rhythmical parent and especially were playing some rock music or so far music. And you can. Actually, it was solely so it goes. It's a medical trick to add to your repertoire. Now we can do the same. Just most bring below. So you're basically saying here amusing based with our first finger. But the trick here is that Mr Mingle Finger, you can just place a gentle on the froth eyes. One way of doing it the other way is not muting it at all lonely, muting the my day. The situation is that the first fingers flashed gently touches the districts so that it doesn't notice what I'm doing here. I'm always hitting Knows that belonged to the B minor scale will be minor pentatonic scale . Let me sure trickier if you make passages from mom pentatonic shapes to another. For example, if you're here way you can go again or see there's a dynamic effect is much heavier in the situation. It makes more like, even smoother regarding 60 intervals we're going to use here to basic shapes. The first shape is this. Seven frets of the G seven B street with second shape is this so It's a limit phraseology done fertile high now how we can use them in a solo. For example, if you are going to be minor scale like Theo and it gives like lots of warm, it's a very sweet sound to well up any, For example, playing this leak wait. I noticed that the only thing that way add some notes or the high string tothis notes from the G, for example, to the ninth Fret in the ninth. I do the same. Hi, but when you know today living frets, we don't that? Because it's not part of the scale. Where the d notice? Because a pentatonic is Theo eso another score. Responsive breath. Is this not here, Fred? Yeah, you can try. Use them in your everyday soldiers. They met a very lovely small sound. 6. RIGHT HAND DYNAMICS: The next technique that we're talking about is, I think, the essential technique while soloing that most guitar players overlook and that he is the right hand dynamics, which include also praising this subject is brought enough to do another lesson just for that. But here I'm going to cover just some basics of it. What I mean, the December look. It's because most guitar players just tend to look on their left hand, being there very broad or the speed there on the right hand, mostly for the speed and its correctness. Or, for example, it's funky style for playing style. But they tend toe overlook how much difference dynamics making use it. And the difference between storming hardest running solved is everything will selling, meaning that is a different with this same note. Same speed but definitely different field. So let's check it out up close, how we can train ourselves for this. The weather re practice dynamics is basically by just playing one like that were familiar with. For example, I'm just gonna play a pentatonic lick. Now it's food have been from the 1977 s, so I wanted to play. For example, this leg but played softly and hardly by changing it all the time through the power of the right time, meaning that we start slow or, for example, district. You make it strong. Now that may think about it. It's not important Catholic use, but the important thing is to think about it when you change the power of your our first ramming. Because by doing that, your ear gets used much faster to the different sound of different dynamics and power makes . And this like, with changes solo seven different ways. One thing that I would suggest you its fury is going electric guitar, he said, to notice the difference when you're fucking light on your going. Not. Is that depending on the tone, that you have distortion of the sound in most several driven stronger you play on. You can use that to your advantage. For example, you can play by using the same sound rhythm patterns like on. It sounds good, because I'm thinking very light. Well, if I do, it's wrong. It's much more distorted. I can't do our patients with that so you can use that your advantage with. But it's still worth for acoustic guitar because this it's much more different than this in the snow. Compare yourself and it's almost clean now. He started 7. HOW TO PRACTISE THE TECHNIQUES: after having learned these techniques, The important thing is how do you practice them? So to answer that, I was having sees that you practice them based on the things that you already know or that you already I profession, that meaning that if you know certain guitar solo or improvised in a certain way, and all this leaks improve those legs and don't get ourselves by adding these techniques, meaning that if you're playing this okay, not think about it, why don't you Sly started with a slide or why don't you do you three that's right out of it . 8. CLASS PROJECT: regarding the class project. I insist that you do something that you already know and you already profession that. But adding this small elements, meaning that I would require a few to make a video of yourself playing or amputee recording of it off a leg or off a solo that you already know but implement. At least two of these ideas were playing the lake over playing that's so meaning that whatever soloing style that you're proficient and, for example, for a play some blues trying slide way show me that belong to protect sections so that I can give you my feedback about it and how to prevent further. 9. EXTRA TIP - EVERY GUITARIST CHALLENGE: so the expertise for this lesson is something the guitar players off all levels subconsciously do the whole time. And it's something that I also did lots of times during this lessons without me noticing. And it's something that if you improve it, your guitar playing will become drastically better. Whatever style or whatever level you are. It sounds funny, but it's basically not raising your fingers too much. Well, Soling or playing guitar in general, And it looks something like this. If I'm praying just a chromatic exercise, I'm playing it right, Correct or not, sir Clean. But if I pay close attention, I'm noticing that my hands are lifting too much on the fretboard and that in the long run can make a go off time because you don't have time to go to the next vote like I can make it not go fast enough. And this sloppy because your hand is just getting too high and I'm going close enough to regional on other, not on time. And it can also make a tired much faster and not catch the very bright off, probably because you don't have time to get to the note. So what I do in this situation? What I would suggest to do is tow pay, close attention and carefully watch your left hand when doing exercises, solos Alex in general and think, OK, I played is good, but can I do it without raising my hand that much and then you try to do it. So I did the same thing, but I did last time. But this time it wasn't much more easier to me for my left hand because I wasn't lived in my fingers. And if I do that the whole time, my soul is automatically get better, get cleaner and I don't get tired. So how I suggested to study is take the leaks and solution already and pay close attention while playing them and think if you play them well, can I do it without raising my hand that much? I try to do it. If you form a habit over time, doing that you're playing will become much more clear 10. RECAP & FINAL ADVICE: thank you so much for watching my lesson. I really hold that I help you improve your guitar playing and that over time you can adopt these techniques and tips into your own style. When I would highly recommend you is that you post the video or the algae off her projects , that I could give you feedback on how to improve it further and that you practice this ideas bit by bit in your everyday playing in the licks and riffs that you know already. So I think it's so much again for watching and please leave a comment if you have anything but about the lesson and if you would want another part of guitar techniques about the rhythm guitar or about Soledad, all the best guys.