![Cory Wong: Exploring Meaningful Soloing Techniques Over Chord Progressions]](https://backingtracksfullcollection.com/wp-content/uploads/2026/01/Cory-Wong-Exploring-Meaningful-Soloing-Techniques-Over-Chord-Progressions-758x426.jpg "Cory Wong: Exploring Meaningful Soloing Techniques Over Chord Progressions] 1")
Crafting an appealing guitar solo for a song is always a creative challenge. There are many different approaches one can take: Do I follow the chord changes so that the notes line up perfectly with the progression? Or should I simply strive to “be melodic,” like a singer, even if the notes are a little less “anchored” to each chord?
For me, the best approach is usually to follow the “song within a song” compositional concept, while also being aware of what each chord in the progression affords me as a soloist.
A good example of this can be heard in the track Meditation, from my 2020 album Elevated Music for an Elevated Mood. It’s a song that I play at most of my shows, and I know there are certain things that will always work, but I don’t want to always lean on those things; sometimes I just want to explore and see where the music will go.
Compositionally, the tune is pretty simple, with a clearly defined melody built into a primary guitar part.
As shown in Figure 1, I begin by outlining the chords with 10th intervals, also known simply as “10ths,” starting with an E major chord built from the open low E root note and a major 3rd above it, G#, sounded in the next higher octave, which creates a 10th. I use my pick and middle finger to pick the notes on the low E and G strings.
These two-note forms built from 10ths move up to F#m, G#m and Bm, and then descend to A, followed by an E major chord. At the end of bar 3, I include G major, with the notes G and B, and in bar 4 move down to F#m and E. This is repeated in bars 5 and 6. In bar 7, I play a Jimi Hendrix-style riff on beat 3, followed by the chord changes D – A/C# – E.
Figure 2 shows the slight variations I introduce the second time through. In bar 3, I play Gmaj7 instead of G, and in bars 6-8, I move to higher chord voicings and phrases for the E – D – A/C# – E changes.
This progression sets up a great vibe to solo over, and I’ll usually begin in a reflective or contemplative way. And though I keep the individual chords in mind, I often simply think E Mixolydian (E, F#, G#, A, B, C#, D), E major (E, F#, G#, A, B, C#, D#), or E major pentatonic (E, F#, G#, B, C#) and sometimes even E minor pentatonic (E, G, A, B, D), depending on where I am in the progression.
Throughout the section, I’ll mostly sit on E major pentatonic, except over the G chord in bar 4 and the D chord in bar 8. In these spots, I try to avoid playing any notes that will clash with the chord, such as G#.
Figure 3 offers an example of drawing from a melodic sensibility first and foremost, which is always a solid approach. In bars 1 and 2, I’m moving freely through E major pentatonic, but at the end of bars 2 and 7, I target a D note over the D chord.
My goal is to make the lines sound like they belong together, “singing” my way through the solo as melodically as I can. And if the ideas are solid, they can become repeatable motifs.
Starting with a contemplative vibe allows me to build a slow arc to increase the intensity in a natural way, so that I can lead the listener on an engaging musical journey. And maintaining the connection to the chord progression can help make the solo sound and feel like an integral part of the song.
