Live 'Ukulele
Tabs, lessons, and info for 'ukulele enthusiasts
  • Home
  • Etc.
    • Parts of the ‘Ukulele
    • History of the ‘Ukulele
      • Kamaka Hawaii Inc.
    • Recommended ‘Ukulele Stuff
    • Blank Sheets (Chord Charts and Tab)
    • FAQs
    • Links
    • Artists
      • David Kamakahi
      • Herb Ohta Jr.
      • Jake Shimabukuro
    • Tips
    • Videos
    • The Correct Spelling of ‘Ukulele
    • Jam and General Etiquette
  • Tabs
    • How to Figure Out Songs
    • Picking Vamps
    • Ideas/Short Tabs/Intros
    • How to Use Powertab
    • How to Read Tab
    • Scales
  • Songs
    • How to Make Songs Easier
  • Chords
    • Vamp Chords
    • Resolving 7th Chords
    • Constructing ‘Ukulele Chords
    • Diminished and Augmented Chords
    • Slash Chords
  • Gear
    • Amplifying Your ‘Ukulele
      • Effects
      • Pickups
      • Amps
    • Changing Strings
    • Straps
    • Buying Tips
      • What I Look for in an ‘Ukulele
    • Picks
    • Capos
    • Taking Care of Your ‘Ukulele
    • Fingernail Care
    • ‘Ukulele Sizes
    • Types of Strings
      • Low G Strings
  • Lessons
    • Video Lessons
    • ‘Ukulele for Beginners
    • ‘Ukulele for Intermediates
    • ‘Ukulele for Advanced Players
    • The Scale Files (Video and Tab)
    • ‘Ukulele Techniques
      • Harmonics
      • Arm-wah
      • Hammer-ons and Pull-offs
      • Pull-offs Up and Down One String
      • Tapping
      • Octaves
      • Tremolo Picking
      • Bending
      • Slides
      • Palm Muting
      • Trills
      • Unisons
      • Mono Strum
      • Vibrato
    • Fingerings
    • Secquencing Scales
    • Strumming
    • Slack Key ‘Ukulele
    • Tuning an ‘Ukulele
    • Soloing (Pa’ani)
    • Playing Clean
    • Learning the Notes and the Fingerboard
    • Using String Sets to Jump Octaves
    • Picking Patterns/Arpeggios
    • Intervals – 3rds, 4ths, 5ths, 6ths, and 10ths
    • Some Thoughts on Music
      • Finding Inspiration
      • Soulful Playing
      • Silence
      • Patience and Improving
    • Finger Picking
    • Tones
    • Song Endings
    • Muting Chords and Notes
    • Warmups/Finger Exercises
    • Practicing
    • Playing High Notes Beyond the Fretboard
    • Weird Sounds and Modulations
    • Jazzy Intros and Outros
    • Harmony
    • All About Vamps
    • Theory
      • Transposing
      • Constructing Scales
  • Interviews
    • Interview with Chuck Moore of Moore Bettah ‘Ukuleles
    • Interview with Alan Okami of Koaloha ‘Ukuleles
    • Interview with Victoria Vox
    • Interview with Smiley Kai of Ukulele Source
    • Interview with Brittni Paiva
    • Interview with Herb Ohta Jr.
    • Interview with David Kamakahi
    • Interview with Kimo Hussey
    • Interview with James Hill
    • Interview with the Dominator
    • Interview with Aldrine Guerrero
    • Interview with Jake Shimabukuro
    • Interview with Kainoa from Easy ‘Ukulele.com
    • Interview with Benny Chong
    • Interview with Gerald Ross
  • Reviews
    • Sunday Morning – Jake Shimabukuro
    • Gently Weeps – Jake Shimabukuro
    • Follow Me – Manoa DNA
    • Facing Future – Israel Kamakawiwo’ole
    • Hear… – Brittni Paiva
    • Million Miles Away – Jake Shimabukuro
    • Play Loud ‘Ukulele – Jake Shimabukuro
    • Talkin’ Da Kine – Braddah Kuz
    • Hawaiian Style ‘Ukulele – Troy Fernandez
    • Boss RC-20XL Loop Station
    • ‘Ukulele Mike by Michael Conway
    • ‘Ukulele Journey by Herb Ohta Jr.
    • All You Need to Know About the Music Business
    • 2 to Three Feet – Herb Ohta Jr. and Daniel Ho
    • He Mele Aloha: A Hawaiian Songbook
    • Live – Jake Shimabukuro
    • Eat, Sleep, Music Sessions by the K-Town Heroes
    • Four Strings: The Fire Within by Brittni Paiva
    • 4 Great Guitar Books
    • ‘Ukulele Breeze – Herb Ohta Jr.
  • About
    • Advertise on Live ‘Ukulele
    • Privacy Policy
    • Contact
  • Subscribe

Soloing (Pa’ani)

Soloing is one of the hardest things to do in music – and it is one the best ways to separate the good from the great. To solo in a song you need to know a few things: what key the song is in, a scale that works with that key, how to emphasize the right notes, and a decent sense of “what comes next”.

Most of the time you will use the root scale or a variant for the key you are in (C = C major scale, Am = A minor scale, etc…). If you are playing a chord that has notes outside of the scale (lets use C as an example key – C major scale) like A7 (A7 has a C# in it) you need to use C# in place of C, then you change back when you stop playing A7. For example, the “Sir Duke” progression:

Normal scale --------------> b6 (Ab) -----> Normal ------>
C > > > > > > Am > > > > > > Fm > > > > > > G7 > > > > > >

Another example (in A minor using the Am scale):

Normal Scale ---------------> #7 (G#) -----> Normal ------>
Am > > > > > > Dm > > > > > > E7 > > > > > > Am > > > > > >

There are many different scales that you can use for getting different sounds. Major scales sound good over Major chords (go figure). The Major Pentatonic sounds best over Major and Major 6 chords. The Minor Pentatonic sounds good over Major, Minor, Minor 7, Minor 9, Minor 11, Minor 6, Minor 6/9, Minor 13, and Dominant Seventh chords. The Minor Pentatonic is great for soloing in blues and rock songs. There are many others that you can learn. If you would like to learn them I would suggest getting a chord and scale table that shows how to write scales and what genre and chords they work well with (this is a fairly standard music store item). I have put the notes of some of the scales up on a scales page.

To make a scale work for soloing you need to emphasize some of the notes. In his lessons, Herb Ohta Jr. suggests starting and stopping riffs on the notes of the chord that is being played (if you are soloing over a C chord, start and stop on the notes: C-E-G). This is important to making your solos sound smooth, so practice starting on the chord notes, and stopping on the chord notes. If you were to end a line on an off note, you probably will hear an unresolved sound. This can be a good thing and used to push the next phrase along. A way to think of it is:

  • Ending phrase on a non-chord note: question – unresolved
  • Ending phrase on chord note: answer – resolved

The sense of “what comes next” is something that you develop as you log more and more hours of practicing. It’s not just playing a note and hoping that it sounds good, but hearing somewhere off in your head or heart what should be played next – “hey, this would be cool!” Listen to Carlos Santana; the guy is the most phenomenal soloist you will ever hear.

Good solos all have a beginning, middle, and end. Kind of like a book, you need to introduce the main ideas, build up the story until the climax, and then bring the whole thing back down to wrap things up without leaving anything left to be desired.

Repeating ideas is okay too. If you play a really sweat phrase, play it again in the next measure, maybe you can build other ideas on it.

Don’t play up and down scales. A scale is not a solo. Just because you use a scale in a solo doesn’t mean you should play up and down that exact scale. We can all sing “do re mi fa sol la ti do”, so do something different. Interval jumps make for very interesting and beautiful sounds. A great example of a soloist that jumps to the good notes without playing something up the scale is Eric Johnson. He is a very underrated guitarist who plays consistent melodic solos with big intervals (“Bristol Shore” and “Trail of Tears” have great solos).

Practice is the only way to learn this, so jam with your buddies or along with a recorded song as often as you can. This will teach you what sounds good and what doesn’t.

This article is far from complete. Soloing is such an “experience” type of thing that it is almost impossible to teach. I’m sure as I improve and learn the whys and hows of soloing I can add to this, but for now here are some more pages that have to do with soloing:

  • Techniques
  • Tone
  • Finger Picking
  • Intervals
  • Playing Clean - If no one can hear the notes you play, they don’t really count
  • Fingerings
  • Muting
  • Soulful Playing
  • Silence
Comments rss
Comments rss

Leave a comment in the box below

Click here to cancel reply.

Big Island 'Ukulele Co. Hilo, Hawaii - 1-866-648-4036 'Ohana 'Ukuleles Moore Bettah 'Ukuleles - Opihikao, Hawaii Lele Music Productions Feat. 'Ukulele Artist Herb Ohta Jr. and Vocalist Jennifer Perri

Recomended:

Image of Hawaiian Blossom
Image of Little Worlds (Dig)
Image of Crosscurrent
Kanile'a 'Ukulele - Kane'ohe, Hawaii - 1-808-234-2868 Ukes.com - Bounty Music Top Ukulele Sites Top 50 Ukulele Sites FBI - Hawaii Island Bloggers

©2010 liveukulele.com

Privacy Policy | Tabs, Lessons, Reviews, Info | 'Ukulele