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A guitar solo is a melodic passage, instrumtal section, or tire piece of music, pre-writt (or improvised) to be played on a classical, electric, or acoustic guitar. In 20th and 21st ctury traditional music and popular music such as blues, swing, jazz, jazz fusion, rock and heavy metal, guitar solos oft contain virtuoso techniques and varying degrees of improvisation. Guitar solos on classical guitar, which are typically writt in musical notation, are also used in classical music forms such as chamber music and concertos.
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Guitar solos range from unaccompanied works for a single guitar to compositions with accompanimt from a few other instrumts or a large semble. The accompanimt musicians for a guitar solo can range from a small semble such as a jazz quartet or a rock band, to a large semble such as an orchestra or big band. Unaccompanied acoustic guitar music is found in folk and classical music dating as far back as the instrumt's first use in western music, the use of an acoustic guitar as a solo voice within an semble dates back at least to the Baroque concerto.
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The classical guitar is an acoustical wood guitar with six strings, usually nylon, as opposed to the metal strings used in metal stringed acoustic guitars used in other gres.
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A classical guitar solo concert is typically called a recital; it may include a variety of works, e.g. works writt originally for the lute or vihuela by composers such as John Dowland (b. Ireland 1563) and Luis de Narváez (b. Spain c. 1500), and also music writt for the harpsichord by Domico Scarlatti (b. Italy 1685), for the baroque lute by Sylvius Leopold Weiss (b. Germany 1687), for the baroque guitar by Robert de Visée (b. France c. 1650) or ev Spanish-inspired music writt for the piano by Isaac Albéniz (b. Spain 1860) and rique Granados (b. Spain 1867). Johann Sebastian Bach (b. Germany 1685) is another composer who did not write for the guitar specifically, but whose music is oft played on it as his baroque lute works have proved highly adaptable to the instrumt.
It is noted that their music can be se to be pottially influced by Vinese classicism. In the 19th ctury guitar composers such as Johann Kaspar Mertz (b. Slovakia, Austria 1806) were influced by music writt for the piano.
I Francisco Tárrega (b. Spain 1852) wrote more uniquely guitar music, incorporating stylized aspects of flamco's Moorish influces into his romantic miniatures. This was part of late 19th ctury European trd towards musical nationalism.
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Some classical guitarists play concertos, which are solos writt for performance with the accompanimt of an orchestra. Fewer classical guitar concertos have be writt compared to concertos for multi-instrumtal orchestras.
Some pottially notable ones could include Joaquín Rodrigo's Concierto de Aranjuez and Fantasía para un gtilhombre. In the 2000s, it has be noted that classical guitar is appearing more in classical music, as contemporary composers are increasingly writing guitar concertos.
Composers of the Raissance period who wrote for four course guitar include Alonso Mudarra, Miguel de Fullana, Adrian Le Roy and Guillaume de Morlaye.
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From approximately 1780 to 1850, the guitar had composers and performers including: Filippo Gragnani (1767–1820), Antoine de Lhoyer (1768–1852), Ferdinando Carulli (1770–1841), Francesco Molino (1774–1847), Fernando Sor (1778–1839), Mauro Giuliani (1781–1829), Niccolò Paganini (1782–1840), Dionisio Aguado (1784 – 1849), Luigi Legnani (1790–1877), Matteo Carcassi (1792–1853), Napoléon Coste (1805–1883) and Johann Kaspar Mertz (1806–1856). Guitar soloist Andrés Segovia
Popularized the guitar with tours and early phonograph recordings in the 1920s. Modern classical guitar solo performers who are known for playing modern repertoire include Kazuhito Yamashita, Agustín Barrios, Paul Galbraith, and John Williams.
The term guitar solo oft refers to electric guitar solos played in blues and in rock. The use of a guitar solo as an instrumtal interlude was developed by blues musicians such as Lonnie Johnson, John Lee Hooker, Muddy Waters, and T-Bone Walker, and jazz like Charlie Christian. Ernest Tubb's 1940 honky tonk classic, Walking the Floor over You was the first hit recording to feature and highlight a solo by a standard electric guitar—though earlier hits featured electric lap steel guitars.
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Howlin' Wolf, Muddy Waters, Willie Dixon, and Jimmy Reed played in Chicago in a style characterized by the use of electric guitar, sometimes slide guitar, harmonica, and a rhythm section of bass and drums.
In the late 1950s, a new blues style emerged on Chicago's West Side pioneered by Magic Sam, Buddy Guy and Otis Rush on Cobra Records.
The 'West Side Sound' had strong rhythmic support from a rhythm guitar, bass guitar and drums and as perfected by Guy, Freddie King, Magic Slim and Luther Allison was dominated by amplified electric lead guitar.
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Other blues artists, such as John Lee Hooker had influces not directly related to the Chicago style. John Lee Hooker's blues is more personal, based on Hooker's deep rough voice accompanied by a single electric guitar.
These and other blues guitarists as well as the fast-picking techniques derived from country and bluegrass inspired the appearance of many virtuoso blues rock fusion soloists, beginning in 1963 with Lonnie Mack's first major recordings.
Another important blues rock guitar soloist in the 1960s and 1970s was Eric Clapton. In the early 1970s, the Texas rock-blues style emerged, which used guitars in both solo and rhythm roles (e.g., Stevie Ray Vaughan).
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The earliest rock guitar solos, as exemplified by popular recordings of Duane Eddy and Link Wray in the late 1950s, were relatively simple instrumtal melodies.
In the early 1960s, instrumtal surf music represted a step forward in the sonic complexity of rock guitar melodies. In 1963, the dramatic, technically advanced electric guitar solo rose to the fore with Lonnie Mack's hit records, Memphis and Wham! (later covered by The Vtures, Stevie Ray Vaughan and others), and soon, with the advt of blues rock and psychedelic rock in the mid-late 1960s, became a characteristic part of rock music. Later still, guitar solos became a defining feature of the rock gre of heavy metal, in which most songs feature a solo. Metal solos oft showcase the virtuosity of the guitarists, especially in metal styles that use shred guitar techniques for rapid playing of scales and arpeggios. Since the 1960s, electric guitarists have oft altered the timbre of their guitar adding electronic guitar effects such as reverb, distortion, delay, and chorus to make the sound fuller and add harmonic overtones. Other effects used in solos include the wah-wah pedal and the talk box.
Rock bands oft have two guitarists, designated lead and rhythm, with the lead player performing the solos and instrumtal melody lines while the rhythm player accompanies with chords or riffs. In some cases, two guitarists share the lead role. Most rock music is based around songs in traditional forms. The main formal features are verses, choruses, and bridges. The guitar solo is usually the most significant instrumtal section of a mainstream rock song. In other rock-related gres, such as pop and dance music, the synthesizer usually plays this role.
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In classic verse–chorus form, it oft falls betwe the second chorus and third verse. Extded guitar solos are sometimes used as a song's outro, such as Christopher Cross' Ride Like the Wind, Radiohead's Paranoid Android, Lynyrd Skynyrd's Free Bird, The Stooges' I Wanna Be Your Dog, Pink Floyd's Comfortably Numb, Guns N' Roses' November Rain, Metallica's Fade to Black, Led Zeppelin's Black Dog, Journey's Who's Crying Now, The Cult's Love Removal Machine, The Beatles' While My Guitar Gtly Weeps, .38 Special's Hold On Loosely, The Rolling Stones' Sway, Pearl Jam's Alive, Red Hot Chili Peppers' Dani California, Cream's White Room, AC/DC's Let There Be Rock, Outlaws' Gre Grass and High Tides, The Alan Parsons Project's Eye in the Sky and Eagles' Hotel California.
Solos can take place in the intro, such as Voodoo Child (Slight Return) by Jimi Hdrix, Since I've Be Loving You by Led Zeppelin, One by Metallica, Lazy by Deep Purple, I Want It All by Que, Johnny B. Goode by Chuck Berry, Don't Take Me Alive by Steely Dan, Sails of Charon by Scorpions and Wish You Were Here by Pink Floyd. In rarer cases, the guitar solo may come after the first chorus as opposed to the second, such as Beast and the Harlot by Avged Sevfold, The Importance of Being Idle by Oasis and Black Summer by
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