Made New Solo tab by Lincoln Brewster

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                             Lincoln Brewster - Made New SOLO
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Tabbed by: Will Lane
E-mail: william.lane@macuniversity.edu

Tuning: Standard

Key:
() = Ring out
/ = Slide to
X = Signifying mute scratching
b = Bend to
1 = 1st Finger (pointer)
2 = 2nd Finger (middle)
3 = 3rd Finger (ring)
4 = 4th Finger (pinky)

I've labeled the sections in a few "phrases", good for getting down for practice.

Brewster might be using a Whammy for the octave jump in phrase two. I've tabbed just the pitches.

          3  2  3   3    3        4  3  4
e|X--#1---------------------X-#2--18-17-----|
B|X--#1---------------------X-#2--------17--|
G|X--#1---15-14-------------X-#2------------|
D|X--#1--(15)--15-15/17-15--X-#2------------|
A|X--#1--(13)---------------X-#2------------|
E|X--#1---------------------X-#2------------|

        1  3  2  1  4  3           1  3  1   4 2  3
e|--#3-------------------------#4-----17----18----18b20----|
B|--#3--------------18---------#4--------------------------|
G|--#3-----17----15----17/19---#4--------15----17----------|
D|--#3--15----17---------------#4--15----------------------|
A|--#3-------------------------#4--------------------------|
E|--#3-------------------------#4--------------------------|

Study:

Phrase 1 is nothing outside of modern Worship guitar solos. Just some dabbling around the 8th
and 7th. 8th, 7th, 5th lead notes are a pretty common motif. Brewster slides up to the 3rd of the D#/Eb
(that note is the 17th on the D, a G) right before the actual chord plays. The chord played, a A#/Bb5, kind
of has a resounding quality that lasts the phrase. One could easily accent this chord to keep the
line going, keeping the motif heard while thickening up the phrase.

Phrase 2 is the same motif, up an octave. It resounds more like a chime being higher in tone. In an interview
about "Today is the Day", Brewster mentions that he likes to start solos with a melodic, singable part
and then slams the listener with a complex, jumpy, although still melodic line. That is evident in this
solo as well. #1 and #2 are the singable parts, #3 and #4 are the complex.

Phrase 3 is borderline impossible. This is a complex, jumpy line. This will take some practice to get down.
Metronomes are your friend C: For an odd reason, the relative minor as a third is completed on the D string
at 17 and the G at 15, the 3rd and 4th notes of the phrase, respectively. The first 4 notes have little to do
with the chord at the time (A#/Bb). This is resolved to in-chord-tones in the last 3 notes. The phrase runs
by so fast the listener can't even keep up to hear the notes out-of-chord. You may want to drop the pick
here and use your right hand fingers to pick.

Phrase 4 is much more possible, and is a general Brewster-inspired lick. It heavily involves octave jumping.
The first octave jump is essentially the 5th chord triad (F#), the second octave is the tonic that resolves
the first octave, and the 3rd an incomplete octave (2nd to 8th, bend to 9th) that bends up to complete the
octave, resolved at the same time the first chord of the bridge is played (F#).
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