Playing guitar solos is one of the highest aspirations a guitar player can have. We’ve all heard amazing guitar solos that are so inspiring that they make us want to do whatever it takes to be able to play them, right?
You may be in a situation where you don’t know where to start or how to have a better understanding of how guitar solos work. Keep reading and you will find really cool concepts that will make a difference in how you approach them!
1. What are guitar solos anyway?
To begin with, we can say that guitar solos are instrumental parts, and as such they provide a great opportunity for the guitar to abandon the accompaniment role and be more of a leader.
Guitar solos fulfill a really important role in the song. (No… not to show off, man!) In any song with vocals, the song gets to certain points where a vocal break is needed, noot only from the singer/vocalist’s perspective (to rest), but also for the sake of song construction.
Imagine if you hear a song with no instrumental gaps: it would be terrible! But guitar solos can give those breaks, and keep the song interesting at the same time. That’s why we need to make sure they are well crafted.
There are a great number of different possibilities in solos, but something we know for sure is that guitar solos always need to be aligned with the style of the song.
What kinds of solos are there?
Melodies – Some solos are basically melodies: a melody already used in the song, or a new one, is presented in a highly expressive and embellished way.
Improvisation – There are cases where guitar solo sections are basically left to the interpretation of the player at a specific time. (This mostly happens in live situations.)
Between 1772 and 1795, the Russian Empire, the Kingdom of Prussia and the Habsburg Monarchy divided and annexed the Polish-Lithuanian Commonwealth amongst themselves in a series of three partitions.
Though one of the largest and most populous countries in 16th– and 17th-century Europe, decades of protracted political, military and economic decline led the country to the brink of civil war, made it vulnerable to foreign influences, and ultimately rendered it unable to withstand the onslaught brought by the encroaching powers, even in spite of a revolutionary new constitution, a war in its defense and an uprising led by Tadeusz Kosciuszko. (As a side note, Kosciuszko was also a decorated hero of the American Revolutionary War and an accomplished military architect who designed and oversaw the construction of state-of-the-art fortifications, including those at West Point.)
In this approximately hour-long express session, Mark and Lloyd tell stories, look ahead to our future opportunities for ministry and community as church singers, and preview new music perfect for distanced, streaming and virtual choirs from Mary McDonald, Lloyd Larson, Tom Fettke and more.
Here are just a few of the titles featured in StreamSing:
Guest post by Jacob Levine, the founder of Chorus Connection and a proud member of the NYC Gay Men’s Chorus. Article reposted with permission from Chorus Connection. See the original post here.
On December 27, 2020, after a tumultuous political rollercoaster, the President signed into law another COVID stimulus package as part of an omnibus spending bill, the Consolidated Appropriations Act 2021. The 5,600 page bill contains nearly $1 trillion in pandemic relief, including four funding opportunities for which your chorus may be eligible.
Note: This blog is only relevant for organizations based in the U.S.
You know him as one of the world’s preeminent choral composers and conductors, as well as a former member of the King’s Singers, but like so many of us, even Bob Chilcott was forced to put down his baton this year and find other ways to make music.
Chilcott focused his musical attention on teaching piano and theory to his eleven-year-old daughter, Becky, and her friend, and ended up also writing a set of three short jazz-style pieces for the piano to help show his students and other early intermediate learners explore the technical building blocks of music and develop their musical instincts in a way that would also be fun.
The results, A Little Jazz Piano, is a short piano suite featuring Chilcott’s celebrated jazz style in three movements: “Bobbing along,” “Becky’s Song” and “Walking with Ollie.”
Those of us who teach beginners have specific challenges. Not only do we have to acquaint our students with new instruments, but we also have to begin to acquaint them with musical notation and theory, help them develop good practice habits, and be on the lookout for improper techniques that can turn into major challenges in the years ahead. If our students are very young, we have extra work to help them develop their motor skills, and if we teach ensembles like bands and orchestras, we have the added challenge of attempting to do all of this for many students at the same time.
On Habits Universal, students can watch videos of professionals introduce and play each exercise on each instrument. This helps them learn how music notation translates to the sounds they make, exposes them to what their instruments can sound like with proper technique and tons of practice, and gives them models to strive toward. This is especially critical for students who don’t have access to private lessons, masterclasses or high-level live performances.
Habits of a Successful Beginner Band Musician also addresses individual instrument techniques that many other methods ignore entirely, which are especially helpful for instruments that a lot of band directors find a bit trickier. Among these topics are:
The oboe F dilemma: Did you know that the oboe has three different ways to play an F? Many directors don’t even realize that there are three options! Habits of a Successful Beginner Band Musician indicates which F an oboist should use throughout most of the book.
Bassoon flicking: The best way to initiate sound on the bassoon for an A, B-flat, B, C or D is to flick on the C key. Habits of a Successful Beginner Band Musician describes what this means and how to do it, and employs the degree sign, the universal sign for bassoonists to flick, throughout the book.
This level of detail extends to other instruments with such features as left and right indicators for clarinets, thorough sticking for mallets, and chromatic fingering indicators.
Teacher Tips & Resources
Each exercise in Habits of a Successful Beginner Band Musician comes with tips for the teacher: how to approach an exercise with their students, what to watch out for in various instrument sections, and suggestions for how to help students master it. Below is an example:
On Habits Universal Interactive, students can play along with backing tracks and listen to real audio models of their lines. They can also video record themselves playing their lines and get automatic graded feedback on their performance. While this feature is especially helpful for remote instruction, it’s also incredibly valuable for students who can be shy about playing in front of their peers.
Notably, the assessment software scores pitch, rhythm and length separately, and tracks errors alongside the notated line, so that a student can go note by note and see exactly where they need to improve. (The teacher still has the option to change final scores on assignments and to add comments.)
As a note, grades can be integrated with virtually any software (e.g., Schoology, Canvas, PowerSchool) that a school uses to report grades via a simple export.
Written by band directors with decades of experience under their belts, Habits of a Successful Beginner Band Musician confronts the classic difficulty of getting kids out of what author Scott Rush calls the “B-flat/E-flat/A-flat Club,” where kids are only comfortable playing in B-flat Major and E-flat Major with some momentary departures into F Major. Rather than, as in other methods, playing in the B-flat pentascale 95% of the time, Habits of a Successful Beginner Band Musician quickly moves up a step to the C pentascale to get kids used to reading and playing in keys with naturals and sharps, opening up a larger portion of the literature to them by the time they get to middle school and high school.
With so much focus on specific tactics and features, it’s crucial to mention that what is perhaps the most important part of Habits of a Successful Beginner Band Musician is that its primary goal is to help students fall in love with music. Habits of a Successful Beginner Band Musician offers teachers developmentally appropriate language for teaching musical concepts so that even beginner band students can start to build musicality into their playing from the early days.
Guest post by Linda Hawken, MD of Edition Peters Europe, and Kathryn Knight, President of C.F. Peters, USA
Being a music publisher in the 21st century presents many different challenges to those faced by publishers at the beginning of the industry 200 years ago. Nowhere is this better illustrated than at Edition Peters, founded in Leipzig in 1800 – a time when the idea of music copyright was only just starting to be thought about, with no laws in place to protect the composer. Instead, a successful publishing relationship depended solely on a close and ongoing collaboration with the composer.
Edition Peters’ unique history tells one of the most extraordinary stories of the music-publishing world. The roster of composers with whom Edition Peters worked directly across the 19th century is dizzying, from Beethoven to Grieg and Mahler.
Edition Peters created the first editions of some of the most famous compositions of all time, with those editions being proofread and corrected by the composers themselves long before the concept of “Urtext” was conceived. Yet despite the provenance of these important editions, it became fashionable in the later 20th century to disregard them – and the unique value of the composer’s direct input – in favor of Urtext “interpretations” by musicologists.
The concept of the Urtext only emerged in the early 1930s, devised by musicologists who aimed to get closer to “the composer’s intentions” by reviewing multiple sources. Indeed it was Edition Peters who released one of the very first Urtext editions with its 1933 edition of J. S. Bach’s Inventions and Sinfonias. After the Second World War, other publishers took on this concept, producing their own Urtext editions. However, this led to much confusion about the meaning and significance of the editions, and whether they reflected the composer’s true intentions.
“Now Winter Nights” by British composer and baritone Roderick Williams uses an evocative poem by Thomas Campion as its text, helping him to pinpoint the excitement of Christmas he felt as a child and still holds onto.
Ludwig van Beethoven’s ten violin sonatas are among the most famous works of chamber music history and represent, together with Mozart’s works for this instrument duo, the core of violin repertoire from the Viennese Classicist period.
Though composed in a short span in Beethoven’s creative life (nine of the ten were written between 1798 and 1803, with the final one appearing in 1812), these sonatas bear all the marks of Beethoven’s compositional innovation: the breaking of formal tradition, a vast emotional scope, skillful musical manipulation, and, of course, the trademark urgency and power.
The new Bärenreiter edition of the violin sonatas — or, as more appropriately titled by Beethoven himself, sonatas for the pianoforte and violin — offers a revolutionary editorial approach to the music that does more than simply hand down the text.
These new volumes, edited by historical performing practice expert Dr. Clive Brown, present an approach to performance that is quite different from what most of today’s musicians are accustomed to. This approach not only falls much more in line with what Beethoven would have expected, but also imbues the music with a renewed vigor and offers musicians an incredible array of opportunities for creativity.
Here violinist Viktoria Mullova and pianist Alasdair Beatson demonstrate some of their most illuminating discoveries from the “Spring” Sonata (Op. 24) and show us why they’re excited to work with these new editions:
The Editorial Approach
Dr. Brown’s new editions of the Beethoven violin sonatas combine a traditional scholarly Urtext approach with a wealth of information on historical performing practice informed by the thorough study of recordings and editions made by 19th-century musicians, many of whom had direct contact with Beethoven himself or with others that did.
These historical sources reveal a striking discrepancy between performance and notation. Composers in Beethoven’s era, including Beethoven himself, simply did not write down a large swath of the expressive gestures that they would have expected musicians to make, including rhythmic and tempo flexibility, piano arpeggiation and asynchrony, portamento, cadenzas, and ornamental, rather than continuous, vibrato effects.
By not including these details in the text, composers created a space bursting with potential for the creative performer to exploit in what could and, most importantly, would be wildly distinctive and thrillingly emotional performances. In many respects, it was a creative freedom much more akin to jazz than to today’s renditions of classical music.
Founded in 2012, SongwritingWith:Soldiers (SW:S) is a non-profit that transforms lives by using collaborative songwriting to expand creativity, connections, and strengths. SW:S holds three-day retreats and custom workshops that pair veterans, active-duty and military families with professional songwriters to turn their stories of service and returning home into song.
Many veterans return home from combat and do not seek services, avoiding therapy or military resources because of the stigma associated with PTSD and depression. The Veterans Administration estimates that approximately 20 veterans take their own lives each day, and of those, 14 have little to no contact with the Department.
During SongwritingWith:Soldiers retreats, veterans and active-duty service members are paired with professional songwriters to share stories and craft songs about their experiences, often about combat and the return home. Participants are registered with ASCAP as co-writers of their songs and have ownership.
Sometimes participants know exactly what they want to say in their songs, but most of the time it’s the community of others who know the same struggles that lets participants find their emotions. And it’s the genuinely interested, empathetic ear of the artist that invites participants to openly share very personal stories that they’ve never shared at all.