In a post some time ago I outlined a possible overview of soukous guitar playing in three parts.
I didn't really work at putting together a clean and impeccable guitar method or tutorial but in some way I covered the first part, or at least provided a hint of what the first part should be, in a video demo on the diatonic major scale and its harmonization in intervals of 3rd, 4th, 5th, 6th, 8th and 10th and a related post.
In the same fashion I have now a video that covers part two of that outline.
The video tries to show how to use the notes immediately available under your fingers when you play the basic chords of your I-IV-V-IV progression to create lines, mostly rhythmic or that hybrid very rhythmic solo style typical of lead guitarists such as Kapaya and Mogratana.
This example shows a I-IV-V-IV progression in G, hence the chords are G-C-D-C.
Referring to the terminology of the CAGED approach, here I use only three chord shapes: C and G shapes for the first example and E and C for the second one.
I have to be clear about CAGED. I didn't read much about it and I don't really know to what extent the system has been developed. To me CAGED is just a way to identify the basic chord shapes that anyone who plays guitar learns first in the first position (first 3 frets) and that are easy to move up and down the neck and break down into smaller three or four-notes chords and inversions. If you don't understand the previous sentence that's not a big problem, just remember that by C shape I mean the position of your left hand on the fretboard when you play the basic C (DO) chord in the first position (first 3 frets). The same for A, G, E and D. If you shift that position up the neck you can play different chords (chords with different root) with the same position.
I refer to the chord shape only because it gives you immediately some 4 to 10 notes that you can play without knowing anything about scales or intervals. I tried to show that in the video by playing the notes immediately available given a chord shape. From there to a good line for rhythm or solo guitar the distance is short, albeit not a very easy one to cover. It requires developing your ear and being able to play the lines as you sing them, synchronizing, through singing and practicing, the lines in your mind with the ones under your fingers. Keeping the position fixed is a good "divide et impera" approach because by simplifying the task allows you to learn more gradually. It is at least as good as doing the opposite, which is singing and playing a line using only one string (completely horizontal, or linear, approach).
In the video you find two examples in G and they sound a lot like the lines that you can hear in several songs, including a Baloji piece where on the guitars are credited Tshotsho Mathiaba and Augustso Liandja. I am not considering this a transcription because I barely overheard the lines recently in that song and didn't take the time to do something more accurate, just noticed how they sound very close to the chord tones in the basic positions and used them as examples for this draft of a tutorial.
This is just a very first demo but it doesn't take much of an analysis to find the same approach in almost any other player I included in my videos, from Diblo to Makaba to Kimoko and Madoka and many others.
Maybe I could do another video using the same approach to explain a solo a little different in terms of style, since this one really uses a lot of dyads and sound more like a rhythm guitar line than like a typical solo line. Of course you could do that by yourself and I actually encourage you to do so if you want to learn and familiarize with this approach. Before gaining some real understanding of how to play this music I believe that several different approaches have to be used, not just one, and this is just one of the many, together with the scale and intervals demonstrated in the previous video-demo.
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