Originally Posted By: Danny C.
...That plan is to try my best to think of the melody and play a solo by feel in, on and around that melody...


And that is what we should always strive to do.

Far too many are taught the modes and never get that idea.

And that leads to soloists who just string out scales, arpeggios, etc. that, while there aren't any clams, there isn't any emotion, art or feel to their solo either. These types usually gravitate towards flashy shows of fast runs and technique rather than the animation and drama of using the solo to accentuate that all important melody.

There is an inverse to soloing the melody, too, which involves a kind of negative logic. Try to play notes *around* the Melody that kind of paints an image of the Melody, much in the same fashion as a photographic negative appears.

My old teachers always emphasized never losing track of the Melody while playing. Even and especially while playing something seemingly far removed from it, that Melody should still be back there playing in your head. For one thing, if you exercise this, practice doing it, you will find that you will NEVER suffer the cruel fate of getting lost in the middle of your solo. Or the entire tune, for that matter.

Audiences love the solo that pays respect to the Melody, too.

The trick is to do it in such fashion that it is not easily recognized.


--Mac

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