PERCUSSION
[ HERE COMES YOUR SOLO | Mark Shelton ]
“After the second chorus, there will be a solo you can land the ending on any beat (or to me. Try to make your written solo sound
section. Drum set, take the first eight bars and subdivision of a beat). spontaneous when you perform it.
let percussion have the last eight. There’s no
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time to run it. It’ll be fine.”
Know the style and solo in that style.
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of speed and technical virtuosity.
(There are big differences between rock
When the directive to take a solo is given, and ragtime!) Your choices of instruments
will you be ready? Allow me to share some and rhythms should reflect the style of
advice for playing a solo break on indefinite music surrounding your solo.
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shift from a swing style to a straight eighth
Capture the licks that you like by
an
audio
recorder.
Those
This works to your
chosen fragments are vital parts of your
“lick arsenal.”
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situations as you practice soloing and be
prepared when a transition is required.
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Study recordings of soloists. Pay close
Practice
by
Keep the theme in mind as you continue
to improvise new variations. This is a
powerful tool for improvising. Experiment
with stating the main rhythm of a song’s
restate a lick.
your licks at a variety of tempos. Work on
variations.
times and gradually add slight variations.
Don’t be afraid to
Practice with a metronome. Learn to play
and
playing a short rhythmic theme several
taking a solo.
performances.
Develop your ability to play rhythmic
themes
advantage when
attention to percussion breaks at live
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different time signature. Imagine those
like repetition.
transcribing them onto paper or “going
on
feel, change the tempo, or introduce a
Human beings
Invest time in practicing improvisation.
red”
A solo break can be used as a transitioning
device. Your solo might be the means to
pitched percussion.
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Your solo does not have to include displays
melody at the beginning of your solo and
going on to improvise variations. The
improvising over loops.
groove from a song can also function as
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Human beings like repetition. This works your rhythmic theme. Try spinning out
you as comfortable in 12/8 as you are to your advantage when taking a solo. variations using something from your lick
in 4/4? Venture into odd time signatures Don’t be afraid to restate a lick. Use arsenal for the main motif. Check out
such as 5/4 and 7/8. dynamics to provide variety on a repeat this video to hear a short tambourine
of a rhythm, or spice up a reoccurring solo
If you have the freedom to pick which lick by re-orchestrating the rhythm onto https://youtu.be/4toGRMULd0w
instrument(s) to play for a solo, choose different instruments.
Improvise in various time signatures. Are
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wisely! Some instruments are better than
others due to volume capability and
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saturation of sound. Space and longer
the accompaniment. If it can’t be heard, note values can be a welcome relief.
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variations:
Don’t
be
shy.
Playing
with
insecurity.
timidity
Project
Record yourself playing a solo. Give it a confidence, own every note, and play
Practice improvising solos in various listen, improve it, and record it again. Keep musically. Enjoy your solo.
lengths. Can you say something in one repeating this process until you really dig bar? Two measures? Be prepared to your solo. Memorize your creation and “trade fours.” Do you have enough in keep it ready. It’s okay to compose a solo your tank for 32 measures, or an open- instead of improvising it. I’m giving you ended solo break? Learn to phrase so that permission. Send any complaining purists
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36
and
Solo for everybody--not just the cool
communicates
you might as well not play it.
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theme
musicians in the band. ‘nuff said.
A solo does not have to be wall-to-wall
possessing timbres that will cut through
using
January 2018
Mark Shelton
An active freelance musician, Mark’s percussion work
can be heard live and on recordings with Gateway
Worship. A member of the Texas Commission on the
Arts Touring Roster.
PercussionForWorship.blogspot.com.
WorshipMusician.com