If you're a new GMCer and haven't heard it and maybe fancy learning something new you can hear it here - the solo begins at 2:25
I'm diving it up into 4 parts that will appear in the forum one after the other, giving you enough time to assimilate the information in between. Plus it would be an unbearably long post and nobody wants that
Let me give you a screenshot of the first part. Underneath you will find GPro, PDF as well as the backing track with and without the solo.
Click to view attachment
Click to view attachment
Click to view attachment
Click to view attachment
Click to view attachment
The solo begins with a brief sweep beginning on the G string. Notice how the solo begins not at the start of a new bar but the end of the preceding bar? It's like taking a run up before a big jump. Beginning phrases just before a new bar is an effective way to tie licks together so they don't sound like exercises. If you always start and stop licks where they are expected then you run that risk of them sounding like a collection of... licks.
It goes straight into a semitone bend. Notice that it's using that Marty Friedman style outside bend technique. The C on the 20th fret would be outside of the key of F#m (it would be a diminished 5th - the blue note) so by bending it up to resolve itself we move back into the scale.
It then climbs down using 8th note triplets and then hits some quick hammer, pulls and slides. Mixing up note values this way makes it sound like something tumbling down rocks and then speeding up as it gains momentum. It's a good way of building tension so hopefully the listener gets swept along with it too.
The theme of mixing up note values continues next as it moves to an ascending sequence using the E Major Pentatonic. It's technically very simple to play but the speeding up / slowing down approach makes it sound more technical than it is and is very effective.
The E Pentatonic sequence reaches its zenith on the top E string and flows straight into a whole tone bend & release. Notice that it really squeals like a pinch harmonic. The key to getting a squeal on a high string is to use an upstroke instead
As an aside, I've been preaching the importance of mixing up note values in your solos ever since I've been teaching here and there's an old lesson (dare I say, classic?) that deals with this approach that's also worth a look.
Next: We will continue the next part from here as we tackle this Herculean solo!
pt 2: http://www.guitarmasterclass.net/guitar_fo...showtopic=54647
pt3: http://www.guitarmasterclass.net/guitar_fo...showtopic=54659
pt4: http://www.guitarmasterclass.net/guitar_fo...showtopic=54683
