We are now ready to tackle our second Gilmour-style solo, inspired by "Another Brick In The Wall", and it's a tricky one! The really cool thing is that we'll be applying all of the new theory we have been working on. The sound is a lot cleaner than "Uncomfortably Sensitive", so we need to be accurate with our technique and draw the tone from our fingers! As always, take your time and have fun!
In this period of Gilmour's career, the playing and feel for the guitar combined to make one of the greatest guitar sounds in history! We have now covered most of Gilmour's technique and theory, so now it's all about putting it to the test. Please watch the full video through and then move onto the next lesson, where we'll start to break it down.
Let's go over the first three licks in the tab, which highlight how Gilmour approaches bends. To begin with, we'll put ourselves in the correct key: D minor. For the opening three licks, we will use the D Minor pentatonic shape 1, as shown in the fretboard diagrams.
As we progress to licks 4 and 5, we start adding in some minor scale notes. Remember the layering effect and how we can simply add the full-scale shape on top of the pentatonic shape 1. The shapes for these two licks can be found in the fretboard diagrams.
During licks 6 and 7, we start to see arpeggio shapes being used. In this example, we are using arpeggios to mark a chord change in the backing track. This is a nice way to break out of the general D minor noodlings, and create a slightly more ordered sound. The arpeggio we are using is a C major, as the chord is C major. Notice how we also return to the D minor pentatonic/full scale after each arpeggio lick. We are therefore combining the scales and arpeggios to achieve the effect.
The final three licks return to the D minor scales and pentatonics, but also move around the neck a little more. We start lick 8 in pentatonic shape 1, then move downwards to shape 4 (pentatonic and full scale), before returning to shape 1. The scales can be found in the fretboard diagrams.
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