How did you become a guitar master?

1. Motif:

You can regard the “motif” as the beginning of a solo, which can be a sound or a series of sounds.

There is a very quick way to create motivation, which is to find the sound in the chord as the beginning. Taking the C chord as an example, you can start with 1, 3, and 5 in the inner tones of the chord, and develop a simple Pattern (phrase) along the rhythm. That’s a motivation.

“Following the rhythm” may be a bit abstract. To put it bluntly, it is to analyze the syncopation point of the rhythm, and follow the syncopation point to change the length of the note. This kind of beginning feels a little bit.


After having a motive, we need to find out the sound of the motive as the starting sound, and then proceed according to its scale, which can be ascending (12345) or descending (54321), and then develop a continuous scale. This is a “gradual” approach.

This is the most useful method, which is to practice the scales thoroughly. If you look carefully at many rock musicians, they often add a series of scale speed plays when they are soloing. If your hands are not flexible, you must never Perhaps to achieve such a performance, when two motives are to be connected to each other, this kind of progression is the most commonly used method, or when you don’t have any playing ideas, using Step is a very useful method.

3. Skip:

When Solo is in progress, a jump of more than three degrees is called a skip (135 or 351). Skip can make the listener have a different feeling, and it is also a very useful way.

Playing broken chords (Arppegio) is the most common method of skip. In fact, you can always play the constituent sounds of this chord within the measure. This is the least out-of-tune and most harmonious way. But it takes some time to get familiar with the scattered chords of each chord in each position. This kind of practice is indeed one of the important courses of improvisation. There are many decompositions in the “practice room” of this book Chord practice.


Continuous appearance of the same sound (5444 4333 3222 2121) is also a way to develop Solo. Use continuous hammering and hooking techniques (343434343434…) or tapping techniques (3613 6136 1361 3613)

Many blues players like to play in this way. Although the continuous repetition sounds boring, the exciting effect can still be achieved by controlling the intensity of the playing.

5. Sequence:

Imitate the direction and beat of the previous Solo to form a new melody (1231, 2342 or 6546, 3213). The use of sequence is a very “flashy” approach, and it is also one of the tricks often used by many fast-playing players.

At the beginning, you can practice the modular combination of quadruplets first, and then gradually expand to the way of quintuplet, sextuplet, or different progressive combinations. It is a composition method that uses “Sequence” from beginning to end.

6. Expression:

If the melody is not strong or weak, fast or slow, the listener will definitely not feel it. Therefore, while developing motivation, timely add guitar-specific hammering, hooking, portamento, pushing, overtone, hitting board… and other skills. In this way, it is easier to arouse the emotions of the listeners, and it will also add some color to your Solo and trigger some imagination.

7. Sentence:

A perfect Solo is like a symphony, a painting, or a composition you write. Sometimes it’s soft, sometimes it’s passionate, sometimes it’s calm. We must give it room for imagination, so we must pay special attention to Solo’s “initiation, inheritance and transformation” when playing. Even if it is only a phrase of 8 bars, you have to have this idea. Then this Solo will be perfect.

Let’s stop here on how to become a great guitar master, see you in the next issue.