COLUMNS
COLUMNS Creating Contrast When Soloing
By Hal Rodriguez
Itranscribed over 100 solos last year as a freelance transcriber and as an
avid music fan with an insatiable curiosity . The solos were mostly from jazz , but also included other genres and instruments such as horns and lap steel . As you can imagine , I learned a lot in the process . If I could pinpoint one element that all my favourite solos had in common , it would be contrast . Contrast in a solo reflects creativity , requires command over the instrument , and creates enough interest to engage the listener from beginning to end . Here are some ways to create contrast in your improvisations to keep them fresh and inspired .
Play in Different Ranges of the Guitar One of the simplest ways to create contrast is to exploit the range of the guitar . Playing in one location on the fretboard for too long can sound repetitive to the listener and you may resort to playing the same licks over familiar “ boxes ” on the neck . By traveling up to higher octaves , you can create a sense that your solo is peaking and you are getting to the point of what you have to say . Conversely , descending to lower octaves can signal that your solo is coming to a satisfying end .
As you find new ways to travel horizontally and connect shapes along the neck , you ’ ll also come up with new licks . Listen to George Benson ’ s solo on “ Willow Weep for Me ” from the album It ’ s Uptown ( 1966 ) as an example of covering a wide range on the guitar for dramatic effect . In Figure 1 , I demonstrate how I combine arpeggios to travel up the guitar neck .
Fig . 1
Use Different Rhythms Old scales and licks can take on new life if you play them with new rhythms . Listen to Hank Mobley ’ s solo over the bluesy standard , “ Soft Winds ” from Live at the Café Bohemia Vol . 1 ( 1954 ). In the first four bars alone , Mobley ’ s opening phrase includes eighth notes , sixteenth notes , eighth note triplets , and sixteenth note triplets . The variety of rhythms creates an unpredictable line that sounds fresh over the familiar blues changes in the tune . In Figure 3 , I play a lick that incorporates some of these different rhythms over the song ’ s first three bars .
Fig . 3
Conclusion Just being aware of these simple ways to create contrast can result in immediate changes in your playing . I also advocate transcribing or listening closely to other player ’ s solos to uncover more ideas . Listen for moments where the solo grabs your attention and rewind , slow it down , and analyze it . As an added bonus , I ’ ve found that these tools also help with coming up with new parts during songwriting whenever I ’ m stuck in a rut !
Alternate between Fast and Slow Consider mixing up your fast runs with slower phrases with plenty of rests . The latter allows the listener to take in what you have to say and feel rewarded whenever you play your fastest licks . Check out Mike Stern ’ s solo on “ Giant Steps ” from Give and Take ( 1997 ) as an example of alternating between fast , continuous streams of eighth notes and phrases with rests . In Figure 2 , I play a lick over the “ Giant Steps ” changes that starts slow and ends fast . Fig . 2
Hal Rodriguez is a Toronto-based writer , musician , and freelance transcriber . You can view his transcriptions on Instagram @ jazzscriber .
CANADIAN MUSICIAN 31