CREATIVE Solo Vs. CLICHE Solo 

Yup. Because the mainstream wanker-listeners cant take "cacophony".

yes, there is a reason why something is used frequently.

@@Geraet Yes indeed ....Poor taste is rampant (like purposefully degraded schooling conditions )

*reads this while listening to a Alexi solo

I agree with this!

Totally agree

Basically Marty Friedman

This should be common sense

It was what?

​@@davisthedaviskids2574it was fire

Those things are beautiful

when you put lights on your christmas tree and didn't gauge it perfectly and only 70% is covered

I keep seeing ads for them as a training tool but honestly I just want sparkly frets lol

Pretty

sus

Didn't like the pirubi pirubí and the happy double stops descending but the rest was 👍 tired of hearing of running up and down scales and arpeggios not even following some interesting melody.

@@Zappabainok Zappa calm down

To me, Countdown to Extinction is the best album to show that contrast off. Dave's solos kinda ground you to know it's "solo time," but then Marty's solos just blow your mind, both tonally and rhythmically.

Actually even Marty can do both stuff. Mostly he uses exotic scales and plays out of the box, but sometimes even he utilizes regular pentatonic and other scales, but only for a lick or a very brief moment. This can be seen especially in CTE and Youthanasia albums. But you are correct, Dave and Marty did compliment each other with two totally different style overall.

Video reminds me of "Tornado of Souls".

@@rudimentaer4830 the backing track is basically Tornado of Souls but with less chug. Chords and rhythm are almost identical though. At least to my ear

The solo duel in the song Victory perfectly shows this

Nothing wrong with that

because it's just cliche. we've heard that one, over and over again. so we get to used to it.

@@INSOMNILOTUS no it just sounds cleaner. Like when a bassist plays too many fills it goes all flabby and hard on the ear. The cliche one is just way cleaner, and sounds better lol

@@INSOMNILOTUS No, the "creative" one just doesn't entirely fits with the music, it's too much "creative" to create a good really creative solo is that you mix rare scales and licks with the "cliche" ones, like marty friedman, jason becker and eric johnson always did

The creative one is just annoying

So true, I would have not liked it before getting into prog stuff. lol

@@ther701 I had to listen to it like 3 times before I started to appreciate it haha

Nicely put!! The cliche version is “easier” to listen to. But I personally prefer the first one because if it’s unique structure. I like something more if it doesn’t feel so familiar. Either way, amazing guitar playing and both beautifully written

@@ryanrobinson4072 totally agree there! If you dissect the two, the cliche solo won't take too long but the unique one will take hours.

I disagree personally, I found the creative one comforting but the cliché one has acceptable elements too

Fax

Yeppers

Makes perfect sense

Yup. Needs twin solos with their own personalities.

What is tonality? And what does it mean to change tonality?

@@bernieorbust6104 Since the progression only used power chords, it gives the soloist freedom to decide the quality of the chords. The chords are B5 G5 A5 that on their own imply basic B minor progression (Bm G A). But since they are power chords, you could get more creative with the notes you add on top. In this example, the more "creative" solo treated the B chord as a major chord, so it has this interesting alternating between major and minor sound (well, there were other things happening in it than just that, but this gives you an idea of what it means). The 2nd solo stayed in B minor all the time. Basically, the 1st solo is about approaching each chord individually and thinking about what kind of "exotic" stuff you can emphasize over each chord. The 2nd solo is about treating the progression as a "whole" - it's a basic B minor progression, so playing B minor scale over all of it sounds good. "Tonality" is basically the same thing as key/mode. But in this case, "changing tonality" refers to basically approaching each chord as a separate "tonality" (in other words, playing different scales over different chords). The actual key of the song doesn't change - the progression is still in B minor. But each chord is still treated as a separate scale. (And as I said, since they are power chords, this gives you a lot of different options, because you can decide whether the chords are minor or major, and you can also decide very freely what other notes you are going to add over the chords. If the chords contained more notes, you would have less possibilities. Power chords only have 2 notes, so you can pretty freely choose the 5 other notes in your scale. But a 7th chord has 4 notes, so your scale is only lacking 3 notes. In other words, the simpler the harmony, the more potential choices you have.)

@@MaggaraMarine Dear God, what a essay, man just asked what is tonality, it's just using different keys during a solo, not playing just in one, tonality = key

@@CarpeDiem23 Okay, but understanding when you can do that is pretty important, right? (And understanding what "changing key" actually means would also be pretty important, right?) If the chords weren't power chords, it would limit your potential note choice a lot more. Why you can take these two approaches over this specific progression is because you can interpret the chord qualities in many different ways. BTW, I don't believe you can actually change keys over this progression. The progression is in B minor, regardless of what you play over it. You can play different scales over it, but "changing keys" means something more fundamental than just playing a different collection of notes (it means an actual shift in tonal center, which I'm not hearing in this case). This is also why I think the last paragraph was necessary. And if you don't want to read my "essays" (BTW, wouldn't call it an essay), no one's forcing you to do that. But I assume the person who asked the question was interested in this stuff. If they had a problem with my answer, they would have pointed it out.

@@MaggaraMarine Some people can't read more than 2 lines, thank you for your fantastic essay. Great comment. I dont know music theory at all, so far I have been just playing around with tabs/scales/chords. Based on what you said, so far I understand that during the solo he can "choose" notes of a scale that represent each note of the progression? Bm G A So when he plays the B5 chord on the rythm, he can play around the Bm scale while the chord being played and it will sound good? Then switch to the G major scale when the G5 chord is being played? This while using the B as first and last note of a lick (Is that how you keep a tonal center btw?)

Hahahaha

Poetic way to say it’s drunk Jazz with gain...

@@andreypolyakov1593 🤣 True dat!

nah sick riffs from the 80's is all I can get hard too. LICH KING

@@andreypolyakov1593 knowing your profile name sounds like a soviet general I'll come across in a Command & Conquer campaign, that joke was funny man. Kudos

No way. More like Friedman vs Mustaine bc no way Kirk Hammett could pull off playing either of these 2 solos. I mean c'mon.. Kirk Hammett is just wrong for anything past the "intermediate" level of technique he has not needed to bother with in Metallica. He can't even bother with working on that nervous panicked 'vibrato ' that is forever going to keep him out of being taken seriously as a guitarist despite a very successful career in Metallica. Mustaine and Friedman deserve more respect. Leave Hammett down at the intermediate class . He can keep Kerry King company there

@@keefbartooow2828Slayer destroys Metallica , Kerry King is up there , Megadeth can’t touch Slayer either. Totally different vibe and attitude Slayers first 5 albums just different , it’s own category . I listen to Megadeth and Metallica way more then Slayer, Slayer hits differently , not for everyday

Yeah,the first one sounds like Tornado of souls

*claps in 7/4*

@@zubrhero5270 lol

@@zubrhero5270 7/4 is overused, I only clap in 13/2

i feel ur pain

@@redacted-0671 du pain

@@BradleyHallGuitar marvelous

Iron maiden blows

@@jackinsane6928 i'd much rather listen to Iron Maiden than your music, and i'm not even an Iron Maiden fan but it still sounds a lot better than listening to some nobody i've never heard of. At least i've heard of Iron Maiden. You've had 30 years and you're still not famous. No name, no brand, no record label, nothing.

Janick is super sloppy most of the time. Adrian IMO is the best because its not just 100km/h random notes. He actually puts a lot more thought into the structure, and note selection too.