Soloing Strategies_ Jimmy Page _ Guitar World

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20/10/13 Soloing Strategies: Jimmy Page | Guitar World

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Want to r ip like Led Zeppelin's Jimmy Page? We

show you how!

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Shred Zeppelin: How to Play Like Jimm y Page

Soloing Strategies: Jimmy PagePosted 04/14/2012 at 11:30am | by Tom Kolb

Truly a guitar god, Jimmy Page is one of the

most captivating soloists the rock world has

ever known. Daring, spontaneous, melodic,

bluesy, diverse, flashy, breathtaking, and, yes,

sloppyall are adjectives befitting his singular

style.

And while Page may occasionally crash and

burn, the next moment he's sure to be soaring

to unprecedented heights. Let's check out

some of his most electrifying licks.

The Licks

Fig.1Acontains the basic blues phrase that

Page used tolaunch many a killer lick. You'd

be hard-pressed to find an early Zeppelin

rockerGood Times Bad Times,Communication Breakdown, Dazed and

Confused, Whole Lotta Love, The Lemon

Song, and Moby Dick, to name a handful

that doesn't feature this move in one permutation or another. Practice the phrase with various

picking strategies, including raking (all downstrokes), a down-down-up pattern, and hybrid picking

(pick and fingers). Fig. 1Bfeatures a 16th-note variation on the same lick; note the rhythmic

displacement herethe accents now fall on shifting parts of the measure, rather than always on

the downbeat. Page uses this approach in the opening measures of his solo on Good Times Bad

Times (from Led Zeppelin). Fig.1Creverts to a triplet feel and adds 2nd-string pull-offs; this

phrase recalls the one Page cycles in the double-time section of Dazed and Confused ( Led

Zeppelin).

Throughout Page's diverse solos, there is one common thread: thematic repetition. While some

themes appear as extended melodic phrases (as in the opening bars of Black Dog, Over the

Hills and Far Away, and Achilles Last Stand), many come in the form of cycled adjacent-string

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licks carved from major (12356) and minor (1f34 5f7) pentatonic scales. Fig. 2Ais an E

minor pentatonicbased (EGABD) sextuplet figure played on the top string pair. Perhaps the

most famous example of this lick comes at the end of the Stairway to Heaven solo (Led Zeppelin

IV, a.k.a. ZOSO).

Consistent picking direction is the key for getting this one up to speed (try up-down or down-

down). Fig. 2Bmixes triplets with straight 16ths in a hammer-on/pull-off flurry of E minor

pentatonic notes. Fig.2Cmixes A major (ABC#EF#) and A minor (ACDEG) pentatonics

in the same pattern Page uses to cap his solo on Heartbreaker ( Led Zeppelin II). Fig. 2D is pure

A minor pentatonic. Listen for this one in the stop-time section of Rock and Roll (Led Zeppelin

IV). Picking down-down here should make for the best outcome.

Page's lines are also peppered with scale sequences. Fig. 3Ais a pull-off-fueled, groups-of-three

sequence that cascades down the E minor pentatonic scale in 12th position. Page fires off a

similar line in the outro solo of Good Times Bad Times ( Led Zeppelin). Fig. 3Bis a six-note

sequence that travels up the neck via the A minor pentatonic scale. This one's a bit trickier, as it

employs hammer-ons, pulloffs, and slides. Work through both examples slowly, gradually

increasing the tempo as you master the moves.

Page employs plenty of string bending in his solos. Fig. 4Ademonstrates unison bends, as heard

at the end of Stairway to Heaven. For the first two dyads, keep your 1st finger fixed on the 1st

string; and, with your 4th finger, bend the 2nd string to match the pitch of the 1st string. Use your

3rd finger for the 3rd-string bends. Fig. 4Bshows Page's superhuman over-bends (The Lemon

Song and Whole Lotta Love [Led Zeppelin II]). Such bends take some muscle, so give the string

a good yank-just don't hurt yourself.

Fig. 4Cshows Page's pedal steel-influenced bends as heard in Over the Hills and Far Away

(Houses of the Holy) and All My Love (In Through the Out Door). Keep your 4th finger fixed on

the 1st string while you bend the 2nd string with your 3rd finger. Fig. 4Dis an example of Page's

behind-the-nut bends in Heartbreaker. As you hammer on and pull off the notes with your fret

hand, reach behind the nut and push down on the 3rd string with your pickhand fingers.

Page also shows a penchant for pulling off to open strings. Fig.5Afeatures A minor pentatonic-

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derived pull-offs similar to the ones in Heartbreaker. Fig. 5Bis a sequenced minor-pentatonic-

pull-off-fest that he used in Whole Lotta Love.

Although he was a flashy soloist, Page could turn a slow-blues phrase like no other. Fig.6Ais

inspired by his opening lick in Since I've Been Loving You ( Led Zeppelin III). Fig. 6Bspeeds

things up a bit with an E blues scale (add major 7th) (EGABbBDD#) line like the one in

The Lemon Song.

The Solo

The 20-bar, riff-driven solo [Fig.7] is based largely on an A5 chord. The only change occurs in

measures 13-16, where C Lydian harmonies (Dadd4/C and C) modulate to E Mixolydian chords

(D/E and E5). The feel is hard rock with a funk undercurrent.

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Shred Zeppelin: How toPlay Like Jimmy Page

Soloing Strategies:Randy Rhoads

100 Greatest GuitarSolos: No. 16

"Heartbreaker" (JimmyPage)

Greatest Guitar Solos ofAll Time Readers Poll:

Round 1 "Johnny B.Goode" (Chuck Berry)Vs. "Since I've BeenLoving You" (JimmyPage)

Artists:

Jimmy Page, Led Zeppelin

Topics:

Jimmy Page, Led Zeppelin, Soloing Strategies, Soloing

Strategies, Lessons

The solo opens with the lead guitar mirroring the main riff-an open-position A5 chord vamp

interspersed with G and C notes. This continues for several measures before segueing to an open

string-fueled A Dorian (ABCDEF#G) lick inspired by the opening riff of Over the Hills and

Far Away. At measure 5, the solo begins in earnest with a gradual 3rd-string bend that spans two

and a half steps (five frets!). If your guitar is sporting heavy strings, you may want to opt for a

whole-step bend, from B to C#. Next comes a squirrelly A blues (ACDEbEG) lick that leans

heavily on the f5th (Eb). This is followed by a pair of quirky oblique bends: the first is a half-step

bend from F# to G, which results in a major 2nd (GA) rub between the 2nd and 1st strings; the

second is similar, but the rub is even closer this time, with the bend producing a minor 2nd (F#G)

between the top string pair. For both moves, make sure you let the two notes ring together

through the release of each bend.

Measures 811 provide rhythmic and melodic space with a sequence of quarternote unison bends

culled from the A minor pentatonic scale. The rapid-fire phrase in measure 12 is inspired by the

opening licks from the Whole Lotta Love solo. Fueled by pull-offs and slides down the 3rd string,

it begins with the A blues scale (pickup notes), segues to A Dorian, and culminates in A minor

pentatonic notes. Put the phrase together bit by bit and you'll begin to understand the sequential

patterns at work.

The Dadd4/CC changes in measures 1314 call to mind the unique harmonies of songs like

Dancing Days and The Ocean. Here, the lead guitar plays a pair of melodic motifs drawn from

the C Lydian mode (CDEF#GAB) and decorated with 3rdstring bends and slides. Measure

15 brings D/EE5 chord changes, and the melodic motif reaches its conclusion on the 4th string

with a bend-and-release move (F#GF#) resolving to E. What follows is sort of a backwards

version of the pull-off licks in Whole Lotta Love. View this as an open-position E blues-scale

pattern that segues to a 3rdposition E minor pentatonic line, which in turn yields to A major

pentatonic notes around 5th position.

Measure 17 marks the return of the main riff with a bluesy, stuttering series of prebent C notes in a

triplet rhythm. Measure 18 contains a gradual whole-step bend from C to D, and the solo goes out

with a couple of classic phrases lifted from Communication Breakdown and Stairway to Heaven.

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3 Comments + Add a Comment

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pearlj10April 17, 201 2 at 3:17 pm

These are great!! Can you guys add an audio file or do a video so I can be sure I'm playing it right.Thanks.

floodoneApril 14, 201 2 at 8:36 pm

I am glad that you guys s ent me this email. This wi ll help wi th the solo that I need for learning theblues at the guitar school. I have only this week to practice these les sons . Jimmy Page is one ofthe greatest guitar players that I gotten the pleas ure to meet in person, s ix years ago.

Sincerely,

Flood

gibsonlover69October 06, 2008 at 5:11pm

jimmy page rocks m y socks ! Sweet less ons

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