NJF2023

“Sentences” with breaks, pauses, etc.
They can be their own entity with a beginning, middle, and end, but can also be broken apart or combined with other phrases to create longer lines/ideas
Always be listening to what phrase was just played, and think about what would make most sense going forward – use space to “digest” (as both the player and listener) the phrase before jumping into another
Shape transcription is a great way to learn why a solo sounds the way it does
Take a piece of paper and map out the chorus(es) of a solo, and divide the page accordingly
Write down (in real time) the literal “shape” of the solo – as notes gets higher, draw a line going higher on the page. As notes go down, go lower, etc.
If there is space, leave space. If there are short notes, write a dotted line, etc.

Dynamics

Reference recording: Cannonball Adderley “Work Song”

Dynamics are a great way to grab the listener’s attention and create an interesting contrast throughout the solo
Intensity doesn’t mean loud – you can use another element (articulation) while playing softly to create an exciting and intense feel
Typical “line dynamics” follow the musical line – when you play higher in the range, play louder. When you play lower in the range, play softer.
This is just a guide, and you can most definitely break away from this to create a different feel

Articulation

Reference recording: Roy Hargrove “Strasbourg St. Denis”

Articulation should be thought of like texture – too much of the same texture throughout anything (think food) will be bland and boring
Each note should have a specific articulation, whether it’s part of a long 8^th note line (usually played legato), a more rhythmic syncopated line (usually played marcato), or any other phrase within the solo
Articulation should fit the style first and foremost, but beyond that it should give a certain feeling throughout the solo and should be used to draw attention to certain notes and to connect others together
A great way to practice articulation in any style is to just play a whole note solo, but break up each whole note within each measure with various rhythms and articulations
This will help to think about notes as more than just notes (the whole point of this clinic!) and more about their use within the solo to create a specific “sound”

Interaction

Reference recording: Joshua Redman “Blues on Sunday”

A solo is only a solo if you’re the only one playing
As the “soloist” you’re the lead voice in the ensemble at that particular moment
Interaction can use any of the other elements, but rhythms and dynamics are most effective
As the soloist, if you want to interact with the rhythm section, you have to lead them into a specific musical context
- If you want to create an interaction, you can play a phrase (or a motif) that uses a specific idea (can be rhythmic, harmonic, etc.), then you can leave space for the rhythm section to either repeat the phrase, create something that plays off of it, or something that continues it
- You can then continue this idea or go away from it – the choice is yours! The idea is to have a moment where there is a connection between what the soloist and rhythm section are playing, and not just in a “backing track accompaniment” type of way

Motifs

Reference recording: Clark Terry “Blues for Smedley”

Motifs are short, repeatable phrases (can be rhythmic, harmonic, etc.) that create a “callback” for the listener and band
This is closely related to interaction, because you can start a motif and others in the band can continue or finish it
Motifs can be melodic, harmonic, rhythmic, or based on any other type of musical element
The idea is to create something in your own solo that can be called back to (either repeated by you or the band) or something that the audience can latch onto to give stability to the solo
Once a motif is established, you can repeat it, alter it, connect another motif to it – anything you want!
The stronger the motif is, the more you can get away with when altering it in real time

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