Telling a story when improvising... ideas?

[ivers]

How do you go about working on this, to be consistent in the ability to 'tell a story' when you improvise a solo? I find this the most challenging aspects of playing these days, and I'm very interested in how people approach it.

[fyler]

this probably won't be very helpful advice, but i like to do creative visualization when i play. not necessarily in a narrative way, but i'll think to myself "what would someone falling down a flight of stairs sound like?", then proceed to attempt an approximation of that sound. it's not a particularly "technical" approach, but it's fun, and you can come up with some cool ideas/sounds.

[Dajbro]

Originally posted by fyler
this probably won't be very helpful advice, but i like to do creative visualization when i play. not necessarily in a narrative way, but i'll think to myself "what would someone falling down a flight of stairs sound like?", then proceed to attempt an approximation of that sound. it's not a particularly "technical" approach, but it's fun, and you can come up with some cool ideas/sounds.

Reminds me of a guitar teacher I had in college. He was teaching a jazz combo class and was getting frustrated with the drummer playing it too safe and traditional. So he threw a chair across the room and said, "Play that!"

David

[lhallam]

Depends upon the style of music and length of the solo.

For a long jam over easy chords I attempt to approach from the same way a classical composer does. That is, come up with 2-4 note idea and build on it. This is termed an organic approach.

Play it (statement),(then development) repeat it, repeat it up a 4th, up a 5th, up an 8va. Try playing it backward. Play it with different rhythms. The hardest part I find is to remember the original idea and bring it back later in the solo (restatement).

Dickie Betts solo on "Whippin Post" on Filmore East is a great example of this technique. Miles Davis also does this as well but it takes some study to figure it out. On Giant Steps and you can hear Coltrane playing the same idea over the changes but in different places.

For a short "pop" solo I tend to riff off the melody of the song. Garcia did this all the time. This is a great approach for me when I just can't seem to figure out what to play.

Another approach is stream-of-consciencious where the "glue" is more abstract. For example a repetative rhythmic idea where the pitches are not the same at all but the rhythmic figure is. In something modal you can hit the same 2-3 landing notes with flourishes in between. Zappa did this quite a bit.

[rwe333]

Sing when you play, work towards a climax, play off the melody, think rhythmically, emphasis dynamics, alter timbres, expand the harmony, develop motifs, etc...

[Mr.Hanky]

Wow, I don't know how you guys do that. I try not to think at all and I live in the moment and just let it happen and take it's course. Ususally the only time I will think about it is before entering, do I want to come in like a freight train, or like a hummingbird, and then go from there.

For me, not thinking and not knowing is where it is at, you simply get out of the way of the music. I find this fascinating because you WILL play things you have never played before. The trick is to capitalize on them, and not paint yourself into a corner.

My best analogy is that it is like surfing, every wave is different , you can never predict them, and would be foolish to try.

[lhallam]

Originally posted by Mr.Hanky
Wow, I don't know how you guys do that. I try not to think at all and I live in the moment and just let it happen and take it's course. Ususally the only time I will think about it is before entering, do I want to come in like a freight train, or like a hummingbird, and then go from there.

For me, not thinking and not knowing is where it is at, you simply get out of the way of the music. I find this fascinating because you WILL play things you have never played before. The trick is to capitalize on them, and not paint yourself into a corner.

My best analogy is that it is like surfing, every wave is different , you can never predict them, and would be foolish to try.

Just like practicing licks you can learn to formulate the structure of your solo until afterwhile it becomes internalized.

I agree 100% with you, when you're not practicing. I'm sure in the case of Dickie Betts solo, he'd worked out some of those ideas during jams. Then he put them together just as you describe.

I never know what's going to come out either and my best playing is when I don't think about it.

We were just answering his question.

BTW - great description.

[Mr.Hanky]

I agree, in my band I have some solos that are worked out.
They have come together from a lot of improv, the solo in "Beat Up" is a perfect example of a worked out solo. I wish I could pull one like that outta my arse on a regualr basis.

But for a blues, nah, just go for it. The more I pratice ( and I have been doing a LOT of that lately) the better my improv becomes (duh!). Most importantly is that the ideas keep coming and there is less repitition, that is what I have found lately.

[ivers]

Thanks for all the advice, folks, it will be very helpful in tonight's jam.

[Jimmydeez]

My favorite is when the whole band is brought into the solo especially drums. I love when a band latches onto a groove or a riff and they rock it out for a bit and then add variations. This really helps us add some cool dynamics to our songs.

Here is an example:

Straight forward rock beat..... then Bass, drums, and acoustic lock onto a cool groove while sax and lead guitar are playing a riff together.... then back to the rock beat as I take my solo based on the riff.

I love hearing this kinda thing. Lots of my favorite bands do something similar when they are jamming. I like to hear the whole band tell a story with the song with my solo just being one part of the story.

[lhallam]

Originally posted by Jimmydeez
My favorite is when the whole band is brought into the solo especially drums. I love when a band latches onto a groove or a riff and they rock it out for a bit and then add variations. This really helps us add some cool dynamics to our songs.

Here is an example:

Straight forward rock beat..... then Bass, drums, and acoustic lock onto a cool groove while sax and lead guitar are playing a riff together.... then back to the rock beat as I take my solo based on the riff.

I love hearing this kinda thing. Lots of my favorite bands do something similar when they are jamming. I like to hear the whole band tell a story with the song with my solo just being one part of the story.

Yeah baby, nothing like it when everyone is listening to each other and clicking. I always play rhythm gtr in every effort to enhance the soloist. Sometimes that means not playing at all! Sparse, thick, loud soft, that's how you keep an audience interested.

Dave Stewart from National Health once said, (paraphrase) "Play compositions like it's improvised and improvise like it's composed". Perfect.

[rh]

Originally posted by ivers
How do you go about working on this, to be consistent in the ability to 'tell a story' when you improvise a solo? I find this the most challenging aspects of playing these days, and I'm very interested in how people approach it.

Not trying to be glib, but do you have a story to tell?

[ivers]

Originally posted by rh
Not trying to be glib, but do you have a story to tell?

Good question, and I don't know. Perhaps not, but ideas about motif development, use of pauses and dynamics in order to expand a musical idea, and such are always welcome anyway.

[Mark Robinson]

A little bit of planning, and a lot of communication can really help.

I've played with the same crew now for nearly 10 years. We have two drummers, who alternate, based upon availabilty etc. For the material where there are opportunities for some development, beyond a couple bars, I like to discuss the stuff, right before the set starts, to share my intent with the drummer, and other soloists. (We always have keys, and sax, and sometimes, harp).

One of our drummers, years back, would automatically slam into a ride cymbal thing, at pretty high volume, whenever I would start a solo, this was his way of contributing energy etc. The problem for me was that we had too few options, when opening up at max energy for the section. Over the years we've worked it out, so that now, he'll cut me a break if asked, and reduce his footprint at the beginning of a solo so that I can do something other than blasting at the top of my guitar voice, with nowhere to go.

In a rehearsed context, some linked ideas, harmonized phrasing instead of riffing, is a good way to get some additional interest going. Trading fours or whatever chunks can be really exciting.

If there is no rehearsal, then listening is the most important thing I can think of. Frequently the most effective contribution I can make is to lay out, and I'm not joking.

[Mr.Hanky]

Originally posted by Mark Robinson

One of our drummers, years back, would automatically slam into a ride cymbal thing, at pretty high volume, whenever I would start a solo, this was his way of contributing energy etc. The problem for me was that we had too few options, when opening up at max energy for the section. Over the years we've worked it out, so that now, he'll cut me a break if asked, and reduce his footprint at the beginning of a solo so that I can do something other than blasting at the top of my guitar voice, with nowhere to go.

Oh man brother, I FEEL your pain. Been there, hated it.