In Part Two of "The Art of Improvising" we spent almost all of our time discussing two issues. One was the relative use of scales and the role that they can play in your quest to study the far more important core language on the fingerboard. We also touched base on the general definitions of dry and wet improvisation. This third, final article segment will center primarily on the subjects of model solos, transcribing, and recording. Let's get started.

The Model Solo and its Purpose

Yes, I know. I've heard the line before. Improvisation is all about being spontaneous and creating 'on the fly.' A great soloist never repeats himself. Right? Well, yes and no.

While it's certainly true that you want to be spontaneous, what you're really after is the ability to play well at the same time. In years past, players became better soloists because they found themselves playing the same tunes over and over and over again. Gigs. After hours sessions. After playing a song 'into the ground' you learn simply by trial and error what works and what doesn't. You keep what works, dump what doesn't, and guess what? The time and experience adds up to a highly conversant performer. Just listen carefully to any great player to hear just how often they use the same money moves in the same progressions. It's how they're putting those proven ideas together in often subtle ways that adds up to spontaneity.

Now let's segue to today's aspiring player, who doesn't have the luxury of playing those tunes night after night. Just how do you get better? How do you develop and apply the language (i.e. licks, solos, etc) that you've learned, in a way that also addresses the challenge of a particular song's chord progression? You create model solos, that's how. Let me explain how this can work.

First of all, take a progression. Any progression will do, even basic blues, but you can also choose to take on the challenge of that certain tune that manages to kick your rear end almost every time you play it. Know what I'm talking about? Thought so. Play the changes very slowly, slow enough to actually consider what lines would work over particular parts of the progression. When you find a good combination, memorize it or write it down. Continue this process until you've sculpted the kind of solo that you'd be proud to play in a live situation. When you're finished, practice your model solo endlessly, basically giving yourself a facsimile of what you would have accomplished had you played the tune night after night until you arrived at a smoking solo. Now you might not always be able to execute your masterpiece live, but what you'll find is that you've gotten to know the progression much more this way, and managed to get a lot of great lines under your fingertips. In other words, mission accomplished!

By the way, in case you think that the arranging model solos is cheating? Just keep in mind the fact that the great Wes Montgomery used Charlie Christian solos as models in order to learn how to improvise, and look where that got him? Or the historical reality that every single tune by the great alto saxophone legend, Charlie Parker, is really his favorite solo on a given set of changes. I don¹t know about you, but if the path was good enough for Wes and Bird, it's certainly good enough for me.

Transcribing: The Endless Source

I shudder to think just where I'd be as a creative musician without all of the time that I've devoted to learning music by ear. A knowledge of the principles of theory is indispensable, but the bottom line is always how good something sounds. With that in mind, I highly recommend that you find time to transcribe on a regular basis. You can be very selective with what or who you choose to transcribe. Your decision can be based on a stylistic need, admiration of a certain artist, or just general curiosity. Whatever your decision, I guarantee that if you transcribe every day you'll just keep moving forward, constantly digesting new information, as well as performing what you already know in a superior manner.

Just to remind you, transcribing is a two-fold endeavor. First tackle the project at hand by ear and instrument alone. Don't start writing it out until you can at least play a portion of it along with the source. The writing part of the equation can be just as frustrating and tedious as the ear part, but just weather the storm and hang in there. The benefits are priceless.

Recording Your Improvisations

I can't bring this improvising discussion to a close without mentioning how important it is to record yourself on a frequent basis. As I've said many times before, how we hear ourselves while performing is a drastically different experience than how we hear ourselves 'after the fact.' The strong elements in your playing that you take for granted become magnified when you can sit back objectively and listen, as do the weak elements that you often think sound cool. Think of this entire improvising process as acquiring language, then practicing and applying it, then observing the final product. Then you start all over again. Have fun!