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Song Analysis 8-1 | Bireli Lagrene Solo over Minor Swing (Patreon)

Published:
2023-03-11 15:00:03
Imported:
2026-06
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Content

The Bireli Lagrene solo over Minor Swing. 

This one gets its own long video because it perfectly summarizes the main technique behind many solos you've ever heard, as well as most of the parts we will be going through in this batch of Song Analysis videos. 

This technique is TARGETING CHORD TONES, aka THE way to have control over your playing.

This solo is such a simple and obvious example of how valuable this approach is, as the entire thing is basically just chord tones with some extra stuff sprinkled on top. The video will be in two sections, the lesson and then the analysis.

Supplementary lessons:

The Spicy 3 Chord Series, In particluar parts 4A, 4B, 4C:

https://www.patreon.com/log_sounds/posts?sort=published_at&filters[tag]=PPOCK%20-%20Spicy%203%20Chord

Small Chord Shapes, Minor 1-4-5(maj):

https://www.patreon.com/posts/building-chords-75561560?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link

Files

Previews only

Song Analysis 8-1 | Bireli Lagrene Solo over Minor Swing

The Bireli Lagrene solo over Minor Swing. This is a long video because it perfectly summarizes the main technique behind many solos you've ever heard, which is TARGETING CHORD TONES. This solo is such a simple and obvious example of how valuable this approach is, as the entire thing is basically just chord tones with some extra stuff sprinkled on top. The video will be in two sections, the lesson and then the analysis. Lesson - Overview (0:00) Lesson - Chords (1:23) Lesson - Small Chord Shapes (4:02) Lesson - Passing Tones (7:48) Lesson - Chromaticism (12:27) Lesson - Color Notes (16:20) Lesson - Diminished Over Dominant (20:12) Lesson - Recap (25:37) Analysis - First Chorus (26:36) Analysis - Second Chorus (34:56)

Comments

Simone Stefanini

Hey Christian, wonderful video thanks! Interesting the use of the major seven especially on the 2 chord, I never used because it's the major 3 of the 6 chord so my mind has made the (wrong) choice before my ears could appraciate the sound when played in the right spot

LoG's Guitar Extravaganza
>>103883404

I agree, I used to think the same thing. I think the best mindset to be in for improv styles (especially jazz or jazz adjacent) is to always value the specific sound you're going for over abiding by any type of rule, like a key. These players are simply going for a specific sound, and if that sound is not in the key it doesn't matter. What matters more is having access to these specific sounds, which in this case is playing min/Maj 7 all the time!

Eric Whitney

This is great; very enjoyable sound. I did not know about Biréli Lagrène—thanks for pointing me toward him. I downloaded some of his stuff. I love this music. You might think I live under a rock or something because I never heard of this great player!

Simone Stefanini

Hey! When you do notey passages with diminished arpeggios how do you keep track to resolve correctly to the target chord (6 in this case)? I mean since the dim shape is identical everywhere is much more difficult to know which function you are playing in every given moment the (b2,3,5 or b7 of the 3 chord). I think having in mind the letter of the target chord can help a lot (in this caseA) so you visualize a nearby shape. Is there anything you use beyond the letter of the target chord? Maybe visualizing the letter of the 3 chord (where all the E are) while you are playing can help knowing what function you are playing and consequently resolve with chords connections between chord 3 and 6

LoG's Guitar Extravaganza
>>104418886

Everything you are saying is basically correct. Knowing the letters helps massively because you can clearly see the resolution points (like G# resolving to A), however the numbers also really help. For example, the 3rd of the 3 chord (G#) is the 7th of the 6 chord (A), so whenever you are playing this sort of "5 of 6" move, you know the 3rd of the transition chord will always resolve up a fret to the root of the target. Each note in the diminished has a place that it generally moves when resolving so it's just a matter of getting a feel for it. When I'm running these diminished things, I'm scanning the area where I will be resolving, spotting chord tones and then finding a way to land. I'm also heavily using my ear as the way the notes resolve will be very easy to hear once you spend good time with it. It's a long lesson, but I get into all of this in the Spicy 3 - Part 4C: https://youtu.be/y-z3F-SDM7o

Simone Stefanini
>>104418886

Hey Christian thanks, I'll sure take a look at the lesson very soon!.. but how do you track the numbers when you're playing those diminished shapes as they all look the same? In your example how do you know you're laying the 3 of E7 if you are doing a fast diminished run? Do you always notice where the 1 (E)...even if you don't play it?

LoG's Guitar Extravaganza
>>104418886

Yes, wherever I'm moving I'm looking at that position in relation to that major 3 chord (E7). I see the root as well as the other chord tones. So while I'm running the diminished, I'm visualizing the notes in the area. What I'm not doing is analyzing literally every note I'm playing in real time. It's as though my hands are playing the figures but my brain and eyes are saying "ohh look, there's the 3rd of the E chord. Once I hit that I'll resolve up to A and I'll be good!"