How to Play a Great Jazz Solo

Many jazz musicians believe that playing a great solo is a matter of playing melodies that fit over the chords. They learn chordal scales, standard “licks” that fit over them, pentatonics, arpeggios, patterns, etc–and believe that doing this as virtuosically as possible will lead to a successful solo.

This belief comes from the unfortunate fact that this approach to improvisation is widely taught by armies of mediocre teachers, many of them tenured in major, respected institutions of Jazz education, and by uninformed peer guidance.

Although these are essential skills for an improviser (maybe not the “virtuosically” part), that’s only the beginning of the story–and doesn’t begin to touch the work of the true masters. If all you’re doing is the above, you’re playing elementary, bad solos–no matter how complex and virtuosic they may sound.

What makes a great solo?

The great saxophonist Gary Bartz said “I don’t improvise. Everything I play is prepared.”

Apply some forethought and intelligence in the construction of your solo. Use your ability to make a plan and execute it.

Use compositional devices in addition to the basics mentioned above.

These include:

1. The melody of the song (with further ornamentation)
2. Development of the melody of the song by expansion of fragments that it contains using various compositional techniques
3. An alternative melody that fits the harmonic scheme that undergoes compositional development consisting of theme and variation through devices including repetition, sequences, inversion, retrograde, elongation, contraction, etc.
4. Rhythmic devices and development including the rhythm of the song’s original melody

Each of these techniques deserves volumes of illustration and explanation–and I’m not going to do that here. The point of this article is to raise awareness–to point in the direction of better soloing. Information is available elsewhere for each of these topics.

Core Principles of Composition

It’s important to focus on some core principles of composition.

• Repetition breeds recognition
• Recognition breeds memorability.
• A good melody teaches itself to the listener. Listeners feel the reappearance of familiar material like the return of an old friend.
• Development builds on familiarity

When a player is ignorant of–or without respect for–these principles, the listener is subjected to a seemingly endless stream of relatively agreeable randomness, which quickly begins to sound all the same. Musicians who don’t consider compositional principles play essentially the same solo on every tune, and are boring and tedious to listen to. Musicians who are aware of these principles–and use them–are the true masters, and bring value to every solo they play.

Connection with the audience is a worthwhile goal. Familiarity and a sense of “story” breed connection. Playing for yourself is masturbation.

Awareness and intention are key

Improvement begins with awareness – and honesty. Ask yourself – am I an elementary soloist? What are my objectives in playing a solo? What is my intention? Am I trying to make music, or am I trying to prove my virtuosity?