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>> A "solo" in pop-derived music (including for this purpose, jazz) >usually >> refers to something composed by the instrumentalist, usually in some >> semblance of realtime. In a live context (to kill the topic of >> punch-in's or comp'ed performances), it's usually improvised, perhaps >> using previous improvisations as a guide or starting place. Following >> the jazz tradition, I would say that in it's purest sense, the "solo" >> within pop music is different each time. >> >> I think a good case can also be made that most "solos" in pop-music are >> ego-driven displays, designed to cut heads, or earn the Blow Job (as >> Zappa said). To deny this is noble, but inaccurate. >> >> Travis > >I am not an expert on classical music, but most of the descriptive >literature >(liner notes, critiques, etc.) I've read on Western classical music >use the word "solo" to refer to a melody line that highlights a particular >instrument during a particular piece. For example (paraphrased from >memory): "Here in the 14th measure, the flute _solo_ evokes..." >A solo is a solo whether it is improvised or not. > >After all, there are quite a number of solos from the jazz genre that >are precomposed (e.g. works from Duke Ellington, the guy who wrote >"Powerhouse", "The Penguin", and other tunes that show up in Bug Bunny >cartoons; others). > >Heck, even in pop a lot of solos are precomposed. Yes, but pre-composed in the sense that the composer and the performer are often the same person. The solo may have been "composed" through multiple takes, keeping the parts that worked, perhaps incorporating the suggestions of band members, producers etc, but not by writing notes on a staff, the way that classical music "composes" solos. Think about the amazing amount of attention that guitarists pay to solos--why is that? In pop music, a solo may only occupy 10% of a song. 90% of the time a guitarist is playing rhythm--why so much energy spent on considering solos? Travis