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>> 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. > >But the end result is the same. The solo ends up set in stone, to be >recited in an identical manner with each new performance of the music >whether it be a pop song or a classical piece. With a few exceptions >(there are always exceptions) the solo does not change. This contradicts >your earlier assertion that the pop solo always changes. In my experience, the converse is true. Except for things such as the first solo in Pink Floyd's "Comfortably Numb", solos (and I suppose that I'm speaking of guitar solos at this point, since I haven't been able to recall a significant number of keyboard solos in pop/rock) are winged each time. Maybe they start the same, or there's an ending lick that it moves towards, but usually not. One of the things that I, and the guitarists that I've run into look forward to in a solo is the chance to make something new on the spot. > >> 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? > >Is this truly unique to guitar players? How about sax players, >keyboardists, >and other soloing musicians. > I don't know. The soloing role in pop music seems to be so completely dominated by guitar, particularly electric guitar, that asking the horn players what their take is will almost certainly lead you into the jazz field. In addition, horn players can't play chords (by themselves), but my impression of the jazz world is that solos are still the acid test. Pop (non-jazz) keyboard players, on the other hand...I don't know. I was hoping that some keyboard players (those who view keyboards as their primary instrument) would speak up regarding this. Kim, as always, is quick to defend non-guitar music from the Six String Klan, but I think even he is more of a guitarist than a keyboard player. Someone, I believe it was Kim, said that he enjoyed the more ego-free attitude in dance/electronic music, and while I'm opposed to excessive ego in any field, I've never been entirely convinced of the stance of synth humility. The whole "all solos are masturbatory, boring and needless" is as groundless as "all dance music is boring, repititive and needless". I'd prefer that guitarists have less self-importance, and keyboard players have more, to reach a happy mean. Although, as far as I can tell, the Age of Shred has been gone for some years now, and the guitarist who wishes to flount his technical ability needs to go to the independent labels that cater to metal. Please, keyboard players, speak up. Travis