How to Add Dissonance to Solos

Published 2024-06-28
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Sound Tools Used in This Vid:
Soloway S14 www.solowayguitars.com/Models
Carr Bel Ray Amp www.carramps.com/bel-ray
Rode NTR active ribbon mic sweetwater.sjv.io/B05Oa1
Valhalla Vintage Verb valhalladsp.com/

All Comments (21)
  • @paulmundy7350
    Folks, save yourself some time & just learn guitar from this great teacher❤
  • I am the original Soloway and I definitely approve of this video. (and this guitar) :)
  • @jrmakawoody
    I love that you cover/discuss this type of thing. I learn more from you than probably anyone else out there
  • @stijn4771
    Great lesson! A player that came to mind is Gary Clark Jr, who's also very good at this. His live show on Glastonbury from a few years ago is a great source of inspiration for incorporating this dissonant vibe in your playing
  • I think the reason the 2nd is so cool is because it sits right between two important chord tones. Nice video Eric 👍
  • I definitely like the idea of just throwing in a few skronky notes into basic major/relative minor keys. I think a lot of guys who do the entire wrong scale thing are just pattern players moving their fingers vs thinking about the intervals they're playing. And rhythm is definitely the biggest factor to really anything we play. Maybe not enough to overcome truly wrong note choice, but it's what make the difference between a passable and great part.
  • I think a really good example of the schtuff you talked about here is 'Masterpiece' by Big Thief, really unique and dissonant guitar solo on that one!
  • @EdBender
    A wrong note is a mistake. A lot of wrong notes is jazzy! 😂 Great lesson!
  • God I love your music Eric. I don’t/can't play guitar but love to hear and watch you play. If you ever move to New Zealand, let's start a band!
  • @jrpipik
    I also like to toss in the #7 leading back to the tonic note like the melodic minor, particularly with a V7 chord behind it, in this context F-F#. Scronkier if jumping to the #7 from, say, the 4 (B-F tritone!). And the b2 (G) can work on lines going the other way down to 1 (F#), maybe an unbend. And I often play the very easy (lazy) 4-b5-5-7-#7-1 on the fifth and fourth strings, in this context B-C-C#-E-F-F# -- or play them together as a scronky double-stop. If the changes go to a iv or VI, I'm probably going to want to throw in the 4, too. At this point I've got most of the chromatic scale involved. Just so the A# and D# don't get feeling left out, maybe use them to bend up to the B and E respectively. Let's call it the Egalitarian Scale.
  • @crimfan
    "That thing you'll see people do" ---it's a partial quote of "Larks' Tongues in Aspic (Part 2)" from King Crimson's iconic album Lark's Tongues in Aspic. ;)
  • @blues61
    Nice! So many nuggets of soloing wisdom in this video. And, not just for playing skronky. Also, the design of that guitar is gorgeous. Love how the curve of the upper bout just flows under the neck into the cutaway. Stunning.
  • Much needed video! Another thing I would recommend to people who really wanna get weird is to study Snakefinger's playing on The Residents "Duck Stab" and "13th Anniversary Live" albums. Learning those songs by ear is a masterclass in weirdness, along with learning Larry Lalonde's parts on the first few Primus albums.
  • Did not like this dissonance at first however I watched to the end. Is the solo played in the lesson. Man. First the pentatonic which I forget. The triads. Arpeggios I never could remember. And then I meet the astrophysist of guitar
  • @vpovince1001
    Eric you are an amazing teacher and player !! Thank you for all you do!! I will recommend you to all players !
  • @hardyshmardy
    When it comes to keeping it real, you’re the boss!
  • @greenbrightly
    I like this style of soloing very much, Richard Thompson and Tom Verlaine leap to mind