Example SOLO STUDY
[Bars 7- 8] This section involves straightforward arpeggiation of the E and F chords. Refer to the previous lessons for the main major triadic arpeggio shapes (all three inversions). [Bars 9–11] The bulk of bars 9 and 10 is given over to the same six-note motif used in bar 5; again, using a two-string scale pattern with no C note arranged three-notes-per-string (G#-A- B and D- E- F) and shifted up and down in octaves the classically-influenced Yngwie is fond of four-note scale sequences which he uses virtically within a single scale shape, or laterally along the length of one string. Starting from beat 4 of bar 11, we see a descending four-note scale sequence played vertically down through the same scale shape to a 16th-note triplet count (which has the effect of rhythmically displacing it). Note how this section finishes off with an E major arpeggio to an E bend, even though an F chord is being played at this point. This still works because the overriding ‘home’ tonality (to the listener) is E. [Bar 12] This section is based around the three semitone intervals that exist within each octave of this scale. The rhythm in the first half of the bar could have been written as 16th-note triplets; however, conceptually, it’s easier to think of a four-note 16th-note motif shifted to a quarter-note triplet count. [Bars 13–15] Most of the notes in these three bars are derived from chord tones (arpeggio notes) relating to both the E and F chords. There are a few chromatic notes added for fun: in beat 1 of bar 13, a D# note is used to approach the E root (refer to the previous lesson for more advice on chromatic targeting); beat 3 of bar 13 starts with a G natural, which is often employed as a bluesy addition to the Phrygian Dominant scale (we will see some more examples of this later in the solo); and bar 15 ends with a Bb (A#) note as a means of targeting the B note at the start of the following bar.