PLAYING SOLOS is an absolute fundamental of what a guitarist likes to do, and what audiences expect from them. It’s pretty much an unwritten rule, certainly for electric players active in genres like rock, blues, jazz and country. It can be a minefield of countless concerns and aesthetics though, whatever level you are at, so is a worthy topic to address in GT. For this issue, we present you with a straightforward ‘soloing booster’ feature (page 14) that’s based on the stylistic traits of many of the greatest blues-rock guitarists. With many examples focusing on technique, theoretical and stylistic tips and two final short solos to learn (one is in a Minor key, the other is in a Major key), you’’re going to find this riveting material to work on. Of course, it’s not a ‘solve everything’ source as, in truth, one must develop the stylistic side (what is typical for the genre, based on the greats that populate it), the ‘knowing side’ (the technique and theory) and then where you yourself exist (what is your voice and preferences?). By fuelling all three of these zones, a soloist develops vocabulary that appeals to their sensibilities and (ideally) to others, too. So, in this article we’ve given you a good amount of the first two, it’s your job to fuel the third!
As to the rest of the issue, it’s full of great music that ranges from simple to complex, electric to acoustic, emulative to theoretical and all elements in-between. Be it great jazz lea
