Solos

[Lola]

Why are we so lazy, paranoid, disinterested. Pick your adverb when it comes to learning solos. I am so guilty of learning everything in regards to a song but if the solo looks like a nightmare I tend to improvise. It’s a rut I am stuck in.

Any pointers on how to get out of this unproductive mindset?

 

[veinbuster]

I think choosing to improvise a solo is a productive mindset.

I'm interested in the cadence and progression of the solo, but going with that feel is good enough for me. I could learn it note for note, but there isn't really any benefit to doing that. The top players I am most interested in borrowing ideas from and probably not going to play it note for note either - and its their solo.

 

[alantig]

I think choosing to improvise a solo is a productive mindset.

I'm interested in the cadence and progression of the solo, but going with that feel is good enough for me. I could learn it note for note, but there isn't really any benefit to doing that. The top players I am most interested in borrowing ideas from and probably not going to play it note for note either - and its their solo.

This.

I'm generally not much interested in learning a solo note for note (there are exceptions), but far more often, I want to learn licks/ideas/techniques from a solo, then learn to play my own. I'm more likely to quote a couple little bits of a solo, often the beginning and/or end, because they've established somewhat memorable entry and exit points. I'm not all that keen on playing things just like the record (either myself or the performer) because I have the record and can play it when I want. Live, I just want to hear someone play what they're feeling in that moment.

I read an interview w/a guy who got hired to be a sideman w/a blues guy. He said he asked the guy how closely he wanted him to stick to what was on the record. The guy said, "Man, that's what it sounded like that day in the studio. I'm hiring you to play it the way you feel it when you play it." I love that Frank Zappa didn't play the same solos night after night - it makes hearing so many different live shows worthwhile. Sure, they may be thematically similar, but note-wise, very different.

 

[JasonE]

I have learned solos note for note. Some take a lot of time and I have to slow things down and work at it until I can play it at speed reliably. No matter how hard I try to play a solo note for note, over time it morphs into part of the note for note and part me. I make sure I keep any of the iconic parts and any of the parts I think are cool and then let myself have some creative freedom to go where I feel like going at that moment. I appreciate hearing someone play a solo note for note but I also appreciate hearing someone do something new with it.

 

[AP515]

I think choosing to improvise a solo is a productive mindset.

I'm interested in the cadence and progression of the solo, but going with that feel is good enough for me. I could learn it note for note, but there isn't really any benefit to doing that. The top players I am most interested in borrowing ideas from and probably not going to play it note for note either - and its their solo.

I do find value in learning it note for note. Then it doesn't feel like I'm slacking and just taking the easy way out. That feels like I'm learning what the composer was expressing when he/she played it. Then when I have it good enough for me, it usually morphs into what I feel more than what I hear. It still sounds pretty close to the original.

 

[guitarguy1964]

I think there are benefits to both mindsets. Early on I tried to learn everything note for note and then add my own slant if it were appropriate. These days because of the amount of songs I may me earning in a short time period I listen to the list and decide what songs in my opinion need to be note for note, learn those and improvise everything else.

I do prefer to improvise but I think transposing solos can be very beneficial. The material to me dictates what approach I take.

 

[JasonE]

I had another thought on this.

When I was teaching I would study solos with my students. The study was not to be able to nail the solo note for note. It was to see what scales the composer used and how they applied them to the underlying chord progression. This is also an example of looking at it note for note to learn something from but not necessarily sticking to that when you play it. I encouraged my students to take the same scales and apply themselves over the chord progression so they can learn how to apply the scales to their playing.

 

[Lola]

I do find value in learning it note for note. Then it doesn't feel like I'm slacking and just taking the easy way out. That feels like I'm learning what the composer was expressing when he/she played it. Then when I have it good enough for me, it usually morphs into what I feel more than what I hear. It still sounds pretty close to the original.

That’s how I think. I was trying to learn the solo to Sweet emotional. The teacher said you will never remember this solo note for note so just play with it. That really bugged me. I need to learn note for note and then if I want I can change it to my liking. It’s like following a schedule. You know exactly what you are doing!

 

[RickP]

That’s how I think. I was trying to learn the solo to Sweet emotional. The teacher said you will never remember this solo note for note so just play with it. That really bugged me. I need to learn note for note and then if I want I can change it to my liking. It’s like following a schedule. You know exactly what you are doing!

There’s benefit to the way you’re doing it. Learning what others do expands your vocabulary of ideas, phrases, and techniques. You can cook up your own recipes with all those ingredients later. Like learning a new language, we mimic before we originate.

Some songs require the original. Imagine Neal Schon not sticking to the melody line on “Who’s Crying Now?“ and just wailing in a whole new direction… that line is as recognizable as the vocal. Live, he just embellishes it a bit. In that way, I think there are some solos you’re well served to play as recorded. Others you can literally change whole-hog straight from beat 1. It’s judgement, but a balance between the two points is what I see as the prime place to be.

 

[Lola]

What's wrong with improvising? For some people it's a more natural way of playing.

Mike

For some it’s great! When you are a determined person that nothing else will do then I play note for note. I have to. OCD reigns supreme in my life. My problem I realize.,

 

[JasonE]

There will also be solos that are outside of our current ability to play. You may be able to play the entire song perfect but can't get the solo. Those times improvisation is the only way. Unfortunately, I think other guitar players think someone can't play the actual solo when they improvise. This is something that goes through our heads when we improvise a solo at times. Those are the times when I remind myself that I am the one getting paid to be on the stage playing the solo I am putting out that night, not the person thinking they could do it like the recording. Perspective.

I should probably mention that I grew up in a small town where the guitar players were very competitive for some reason. I never knew why but I know I have been told to my face many times that "they" could play it better than me instead of complimenting my learning and maybe even helping me with parts I may have wrong.

 

[László]

I write original music, but at one time did covers, plenty of 'em.

Learning covers can help you out of ruts from time to time. Doesn't mean anyone has to - I no longer do - but it's not a bad idea to learn other people's solos. It's also not mandatory.

One thing I always try to remember:

Music isn't a contest, any more than speech is a contest. It's self-expression. Whatever works for you as a player, works.

"Oh really? What about your spelling and grammar obsessions?"

"Stop already. Even those I don't always get right!"

 

[11top]

Learning covers can help you out of ruts from time to time.

Learning this solo (at about 2:20 in) should broaden one’s horizon:

btw, I’m still at the first downstroke of the pick.

 

[László]

Learning this solo (at about 2:20 in) should broaden one’s horizon:

See if you can hum the melody.