I'm a rhythm guitarist by trade. Always have been. Only leads I've ever done were learned by rote, and they always took a while.

Here's my problem.

I have a lucrative gig sitting in front of me waiting to take (band is booked through March, nothing less than $125 per person per show, 2-3 gigs per week).

Originally, I had discussed coming in as a rhythm player to support their lead guitarist, who wasn't happy with the lack of density in the band's sound.

Now, the lead guitarist has quit, and I can take the gig if I can learn their set list (45 songs, none of which I've ever played on guitar) in a week and a half.

Now, I can knock down primary riffs, chords, things like that this fast, but no way in hell I can tear apart 45 solos (well, probably 30-35, since some of the songs have no "lead" parts per sec) and memorize them all in 10 days.

So I need a crash course in just basic trick licks so I don't sound like a complete noodling moron out there faking it with pentatonic scale quarter notes.

Anyone got a resource for me?

sorry man, I feel your pain. Wish I had some good advice for you, but I don't, other than to suggest that you not become another hack guitarist stringing together old tired licks.

You're further along than you think. Build your "placeholder" solos out of those chords and riffs. Pull apart a main riff and reassemble it in a different order or "double stop" it. Find the main chord tones, add some "flavor" notes like flat 5...there's a lot you could do here and you'll stand a better chance of improving your sound rather than recycling old stuff everyone has already done before.

If you need something quicker and dirtier, an old trick I learned was that you can basically play any notes you want in a phrase as long as you begin an end it on the root note. For example, if the key is A, you can start a phrase with an A, play whatever notes, then end on A. It won't sound perfect, but you'll hit more "right" notes than "wrong" ones.

I've never found this to work very well for anything other than weird, jazz/fusion stuff, however, though it can spice up a rock solo when used sparingly. You may want to experiment a little bit on your own before trying this out with the band,

You've got a lot of bookings through March, start advertising for a lead player ASAP, unless your sound will carry you through without a lead player...advise the next gig or three that you are minus a player and are reducing your prices and be willing to give up a gig if you can't pull it off....just thinking outloud and let the band decide...you may sound just as good with or without the lead parts...hard to tell without hearing you...

Just try arpeggiating the chords in these songs for a feel of where they go - in the Pentatonic scale, minor runs can be played in the same position on the neck as the chords, such as frets 5 through 7 for A, with major runs made 3 frets down - 2 through 4 for A. PM me if ya want.

The only thing you can do is fake it. Learn the general structure of the lead break, where it begins, where it ends and how it gets there. What sort of "story" it tells and try and emulate the path. You want to make it your own anyway. You're a good writer, just think of the lead breaks as little instrumental compositions and insert your melodies for what is already in place.

Without seeing the set list, I would second the advice of playing from the chords. Keep your hands in the same position, arpeggiate the notes and just add hammerons and pulloffs. Some people play solos entirely in that style.
I`m guessing that kind of gig would require you to play recognizable riffs note for note-not much of a shortcut around that and it always sounds like crap if you kinda sorta do it. You got some homework to do my friend. Good luck.

Just work the key signature in the correct major or minor pentatonic scale and you'll sound like a rockin' guy. Don't play minor pentatonics over major key chord progressions. Don't play the relative major over minor progressions.

Luckily for me, there's only one piece where there's an expectation of note-for-note - and it's a composed interlude, so it's understandable - Molly Hatchet "Dreams"...

Rest of it, as the bassist told me, "we really don't give a f*** as long as you're hitting the changes and it sounds good."

Here's what you need - "pentatonic scales" - search this online and learn, it's the only scale Angus Young Knows(ACDC) and it will get you through a lot, OK most of the rock songs out there today. When I played in a bar band they let let me improvise most of the solos and the pentatonic(5 note scale) saved me. Big time. 5 simple patterns on the fretboard, trust me,

Jim

I already know pentatonics, guys. I just remember sitting in an audience at watching a guy noodle through pentatonics and thinking "damn, he's ruining the song"

So I was hoping maybe there might be someplace I could swipe some quick and dirty "cliche" licks that are found in a lot of these solos so I could at least recognize them when they came up and cop that much of the original solo.

Have you seen this site?

http://chrisjuergensen.com/lessons.htm

I have listened to your recordings Griff and you can play, so you should at least take the gig. A week and a half is tough but approach it as simply as possible. Ask the band to maybe quickly arrange the tunes so that you aren't playing as many leads until you get your feet wet. If you are good at improvisation then maybe things will be easier, sometimes wanking on a pentatonic scale can be effective:).

I was in a similar situation on my first ever paying gig and had to learn a full three sets in a month. I was lucky in that most of the stuff was three chord rock and I just played lots of Chuck Berry type things, I hadn't played any of the songs before, and couple that with never having gigged you can imagine how nervous I was. I nearly threw up in the club the night of the show. If I had to listen to the performance I would be embarassed, but really it went ok, the club was really meant for 30 people but 100 were there.

So just attack this as a work in progress, no one expects you to learn 45 songs and be tight in 10 days. Do your best, work hard, and just realize that if these are people you want to work with then they will be understanding as you learn to fit into their musical scheme.

Hey Griff -

See if any of the songs are on vanderbilly.com - video lessons, song by song.

There really is no shortcut to excellence. Go with what you know for now, and work on it as you do. Things will improve gradually.

Not until just now, but it's going into the bookmarks.

There are definitely no shortcuts to excellence, but there are shortcuts to functionality on short notice.

I agree with the other guys Griff. Play "within the box" for now, just noodling a little bit over each song. As you go, learn the solos.

Until the gigs, start out by playing the songs from your set list, on an MP3 list and practice adlibbing solos. You will find that some have a natural melody that you can create and easily remember. With others, you will have to wing it. The really hard ones, that you just can't seem to get, ask them to remove for a gig or two while you work on those ones specifically.

Mainly, practice, practice, practice. But then...isn't that always the advice.

Believe you me, I'll be rehearsing probably 6-8 hours a day this week, more if I can get away with it.

He was probably playing the wrong pentatonic scale.

A lot of guys focus on the minor pentatonic, because its a close relative of the blues scale. That's more or less okay for a I-IV-V blues progression, but if the chord progression is more advanced, then there's going to be problems.

For instance, an A minor pentatonic will be a disaster on an A major progression. For an A major progression, you can just drop to an F# minor pentatonic, which is more closely related to an A major scale.

As you get more into the chord progressions of the songs, you can start incorporating pentatonic scales based on the root of the relative Dorian or Mixolydian modes. For instance, a C minor progression can be approached with a D minor pentatonic or G minor pentatonic.

You know...You got me thinking Bill. An easy way to pull this off is to use the blues scale and the minor scale. Then, he could use the major side of the relative minor for playing over major stuff and the minor scale for minor stuff. At least for now anyway...

(You probably know most of this, but I'm going to add it all in for others who may not.)

For example:

The A Minor Scale:

------------------------------5-
------------------------5-6-8---
------------------4-5-7---------
--------------5-7---------------
--------5-7-8-------------------
--5-7-8-------------------------

The note on the fifth fret, sixth string is an A. So you can tell which minor scale you are in, using that note. If you start on the scale down on the third fret, sixth string, it's a G so you are playing the G minor scale.

Now, the blues scale in A:

-----------------------5-8-
-------------------5-8-----
---------------5-7---------
-----------5-7-------------
------5-7------------------
--5-8----------------------

Now, if we apply the "relative minor" thinking, we can easily pull off a major sound:

-----------------------5-8-
-------------------5-8-----
---------------5-7---------
-----------5-7-------------
----3-5-7------------------
---------------------------

Instead of starting on the A, we are starting on the third fret, fifth string which is a C. I won't get into the semantics of it, but you can use this pattern over major sounding songs. Just make sure that the third fret, fifth string C, becomes which ever key you are playing in. So, if you have to solo over a D major, you would slide the whole scale up two frets so you are starting on the fifth fret, fifth string.

Try hitting the C power chord then sliding up into the A blues scale. You can hear that you suddenly have a major sound instead of a minor sound. You just have to adjust the notes you start and finish on. You can also play the A minor scale for C major, but for now, try messing around with the Blues scale.

I would point out that the 8th fret on the sixth string is also that same "C" note (I marked them in bold) so you don't even need to move your hand position.

All of the above, plus you can always re-state the melody, harmonize it, do the theme and variations, and/or arpeggiate the chords. I don't know of many good repositories for stock licks, other than GP's 25 Licks You Must Know series and 50 Rockabilly/Country Licks, etc. If you have GP back issues from the 80s and 90s you're good to go, or you can search for cliches online, like the one where you do a repeating lick on the B and E strings, moving the lick up a half-step with every other rep, playing it faster and faster as you go, 'til you get to the top of the fingerboard then do an up-bend with a really wide vibrato.....I think that one's called "The Climax", so maybe save it for the end. ;-)

What's that?

I've not heard your playing, but from what the guys are saying, you're already functional. If you are looking at a high profile gig with critics listening critically, maybe you need more than functionality before you dive off at the deep end. More power to if that's the case.

But if you're playing bars, most people can't tell whether or not a guy noodling pentatonics over a solo break is ruining a song or not. Shucks, most folks are there to get drunk and/or get laid, and you're just background music anyway. They couldn't care less if your music is technically marvelous or crap, as long as it gets them where they want to go.

And all bar owners care about is selling drinks and not running off the regulars with a band that is too obnoxious with volume. And if they are selling enough drinks, the regulars could be dispensable. So, they couldn't care much if you're Al DiMeola or Geech Crumbo either

From what you said, it seemed like you were asking how to get to where you were more than functional. I figured you were looking for excellence. Sorry if I misunderstood.

What I say next may seem very simplistic and formulaic, but I stand by it; if you don't want to noodle, don't noodle.
Good music is a matter of the tasteful use of what you know. Until you can broaden your knowledge base, take the knowledge you have and employ it in a musical way. Think your solos out ahead of time if you don't feel like you can do it effectively off the top of your head. Compose them thoughtfully and learn them. Then they won't be just a string of notes from a pentatonic or any other scale. They'll be music.

I've been going over that link frequently, since you posted it Caev. Some fantastic, free stuff in there!

I don't have a site (and I hate to admit I know this...I was 13. ), but the live version of Let Me Go Rock and Roll on Kiss Alive has Ace spitting out every Rock guitar cliche known.

Wow, can't believe I'd actually forgotten about that.

Some of the advice above is good, some very good, esp. the idea A-String posits of thinking in terms of scale reductions + variations.
However, even though this band seems relaxed about the whole thing, we all know that sometimes recordings get drilled into the fans ears so that they expect particular lines to be played.

First listen to nothing else but the songs you need to learn & if they're played in a certain order, listen to them in that order. May seem unnecessary but it will help.
Play along as persistently as we read Hendrix in 1965 did, that is, constantly.
Only listen to anything else if it seems your brain's getting fried.

Next, pretend you're 17 years old & scan every source for tabs to give you some idea of what happens in the tunes you're at a loss for [don't waste time evaluating them at site; copy & paste them into some collector, such as a notepad or your mail program's compose tool & then compare them side-by-side] & watch YouTube or other vid sources to scan the parts the original bands play.

Lastly, remember that playing has to be relaxed to work as entertainment.
Do the best you can & let it be.
Oh, & don't forget that old advice: That bum note you just hit is right next to one that will sound good; slide & keep going!

Don't make this an ordeal that it doesn't need to be; put your best foot forward, you'll do fine enough for the first gig, and just keep pluggin' away and improving the leads each week, little by little.

Solo wise, select two or three songs to try to nail or close to it (and NOT one after the other in the set-list; spread 'em out!); pick a few more to get a highlight or two for, like the beginning of a solo or another signifigant, memorable part; and adequately fake your way through the solos on all the rest. That'll get you through the first week, and on through the next and so on.

There are songs where the audience will want to hear the solo, note for note. Most of the rest of them, you can get away with some noodling. When you get to those songs that folks want to hear the note for note, either learn those ones specifically, or skip them until you do.

I have been watching this thread play out for the last few days and am impressed with how everyone has jumped in to help a fellow guitarist. We are all benefitting from your knowledge and experience and are in essence getting a free lesson.
You folks are the best!

Well, I've been going over the material, and as I ease myself into the actual riffing and chord progressions of each song, I'm finding at least competent solos coming forward pretty easily.

Much obliged for the directional advise. I won't be setting the world ablaze with godlike licks, but that was never really the goal here.

Glad you're hangin' with it, Griff'!

Yeah just learn the songs first. The solos USUALLY aren't that hard in most stuff. But if you can try to absorb the song, maybe you can at least just know what scales or arpeggios are being used and simplify it if you have problems.

The most important part by far is the ability to play and remember the songs. Solos are secondary.

Now if you are trying to play some flashy licks. I actually know a bunch of very cool SIMPLE fast licks that sound alot harder than they are.

All ears.

Actually Jeff Beck would agree. Asked in an interview if he was a flash guitarist, he said "Absolutely" and "I play simple things that SOUND hard." Some of those "simple things" are not that simple for the rest of us, Jeff!

But it IS true that not all flashy licks are terribly hard, and some things that sound easy are BRUTAL - especially if the piece was originally written for piano or violin and the fingerings are totally unnatural on guitar!

I doubt, though, if you'll be required to play any Bach violin pieces on your gig, at least not at tempo - LOL!

When in doubt, harmonic-squeal it out; I guaran-damn-tee it, the audience will LOVE lots of harmonic squeals at the ends of phrases, especially with heavy-handed vibrato an/or whammy-bar action (this latter warbling can be done with or without harmonics and still go over bigtime). Think Zakk Wylde, Jerry Cantrell... I'm sure you can name a bunch more...



I'll vouch for Bruce, I'm sure he can show you some cool licks and phrases that you can put to good use! I've heard him noodling around on an acoustic and he definitely has the goods. PM him and get together on that.

Good stuff griff, glad you're jumping in. We often need a prompt to push on in our playing...esp a set list full of new stuff to learn! Good luck with it...

This is why I don't play lead guitar.

I'll solo on bass all day long but not on guitar. Because lead guitar is so much more than just choosing what notes to string together. It seems strange to me that so many replies focused on note choice.

Hammer ons and pull offs only get you so far. Slides and bends go further. Basically having as many tricks up your sleeve as possible helps. Because you need variety.

Take some 3 note (triplet) figure and softly palm mute it. Gradually play louder until you end with Caevan's harmonic-squealies. Total notes used: 3. But you stretched it out for several measures. End with some long sustained note that you bend and shake for several more measures.

Yeah, it's been done before. So? You want to take a different approach to soloing then pick up a different instrument. Electric guitar is an antique already. Don't you think the innovation has pretty much dried up by now?

In the same time you could have exhausted yourself playing triplets all up and down the neck, working hard mentally to not repeat yourself. And the audience wonders why you're playing jazz to a rock song.

That's not to say that soloing should just be a vehicle for stringing together tricks. It should be based on melody, harmony, rhythm and dynamics. Phrasing. It should be musical. But if it doesn't have embellishments (tricks) then people may wonder why you don't play piano instead.

Update. Initial audition went well. Sunday will be the full band rehearsal, Wednesday will be the first gig.

Good luck!!!

G.

Break a leg! Keep us posted; looking forward to reading of your triumphant domination of the enthralled, rabid crowd.



Just so ya know, I only prescribed said squealin' wheelies as a quick 'n' dirty way to make it through an expected solo section while pleasing the audience enough to get by, until a few weeks of practices, thought, and hard-work can put more substance in there than filler.

Here's some comedy for you.

Yesterday, at our full band rehearsal, everybody is stunned as I bring in my rig - a Roland 1x12 combo, my trusty TS, and a wah pedal.

They ask what I gig with. I reply "You're looking at it. You need me to bring my own SM57?"

Jaws drop.

I fire it up. I've got my dirty channel backed down to around 6 on the pre, and my clean just on the edge of breakup at around 5. Neither are super loud.

Jaws drop farther.

Seems the last several guitarists they've had have used that horrible Dimebag Darrell wannabe tone (all highs and lows, no mids, with way too much gain) - and here I'm sporting a quasi SRV sounding thing with just enough dirty to say it's dirty.

I'm in like Flynn, with the "dress" audition being the Thursday night gig - as long as I translate well to the stage (not an issue - I play better in front of crowds than at rehearsal) this becomes a permanent gig.

What guitar ya playin' through that rig for 'em?

That was the funniest part. I pull out the only axe I have not in the shop, my little Epiphone Prophecy, and they're all just "oooh boy, metalhead in the house"...

Congrats Griff! I Hope the live audition goes well (I'm sure it will) and you get the gig!

The Epiphone Prophecy!

Uhmn... which model?

This one? This one? Or this one? Or, this one? Or... ??

And... what color izzitt?



Ya aughtta plant a few folks wearing "Metal Chef" T-shirts in the audience that night; at least one...

If you start bringing Metal Chef food to rehearsals, you'll eventually become band leader and take over.