Welcome to the first part of our David Gilmour player study! In this five lesson series, we will be learning an awesome solo that helps demonstrate how Gilmour uses bends, vibrato, double-note rhythms and minor scale notes. These techniques are crucial to mastering his style, and tackling a solo is the best way to see these skills in action. This is a great sounding, and challenging, solo, so take your time and enjoy it!
This cool solo is inspired by "Comfortably Numb"-era Gilmour. It includes a lot of Gilmour's signature sounds, such as the two tone bends, pentatonic runs and usage of minor scale notes. We will be breaking the solo down in detail over the next four lessons, so be sure to listen to the whole thing a few times before moving on!
Let's go over the first three licks in the tab, which highlight how David Gilmour approaches bends. We are in the key of B minor and for these first three licks, we are using pentatonic shapes 1 and 2. The pentatonic shapes can be found in the fretboard diagrams.
As we progress to lick 4 of the solo, we start to see the usage of minor scale notes rather than just the pentatonic scale. It is crucial you know how the minor scale relates to the minor pentatonic, which is something we cover in great detail in our intermediate lead course. For this lick, we are using pentatonic shapes 1 and 5, with minor scale notes on top! Remember that the Bm pentatonic scale has five notes (B, D, E, F#, A), whilst the full Bm scale has seven (B, C#, D, E, F#, G, A); all you are doing is adding C# and G to the scale! The shapes can be found in the fretboard diagrams.
Lick 5 is the most challenging in the solo, it is quick and quite complicated! Essentially, it's a blues scale run using the B blues scale. The run ends on the B root note of the A string, which is where pentatonic shape 4 sits in this key. The shapes can be found in the fretboard diagrams to illustrate this more clearly.
Lick 6 takes us to another classic Gilmour sound, where we double up the notes of the pentatonic scale and add in a repetitive rhythmical phrase, to create an awesome sound. In terms of scales, we are back in pentatonic shape 1 in Bm, as shown in the fretboard diagrams.
For the final three licks of the song, we need to be able to clearly visualise both the pentatonic and full-scale shapes. We are essentially starting in shape 1, but a full octave up from the 7th fret shape. We then gradually move down to shape 4, based around the 14th fret. The shapes for the final two licks can be found in the fretboard diagrams.
We have incredible tutors to provide you with feedback each month as part of your subscription.
Connect & chat with like-minded students & your mentors via our wonderful community.
Find the structure you desperately need to progress and take the next steps in your playing.
Get feedback every month from our YGA mentors by submitting a video of you playing.
You'll have every single backing track and jam track for every single course.
Our mentors go live once a week to chat to you, and discuss fun guitar topics!
Tab that moves along with the music! Slow down, loop and speed change with this interface.
No more YouTube ads or selling segments. Just the core content for the course.