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Hi,

I'm trying to take my solo past the level of a collection of random chops and I'm looking for some basic pointers in how to construct a coherent solo.

When I was taking lessons last year my teacher told me I should base the solo on a basic fill (using heel-tip and touches with the right hand). The licks and rudiments are thrown in around the basic fill which gives the whole solo some foundation. I was wondering if that is a standard approach. I personally have found it quite challenging.

Are there any good sources that anyone can recommend for building a solo that are actually followable (rather than a collection of lightning speed licks). I've seen Heinrich Kleinmann's youtube videos on soloing but they seem a bit technical and don't really do it for me.

I was also thinking that I should maybe just go back to a teacher for a while.

What do you think? Thanks in advance.

Rob

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rob280783 wrote:
Are there any good sources that anyone can recommend for building a solo that are actually followable (rather than a collection of lightning speed licks). I've seen Heinrich Kleinmann's youtube videos on soloing but they seem a bit technical and don't really do it for me.

Rob

Get an album called Sona Libre by Cal Tjader, listen to the song named Insight and the solo by Bill Fitch, about 100 times ought to do it. That should give you some insight on conga soloing.

Mongo Santamaria is one the Best to listen to when it comes to the solo(ok and Tata, and Patato etc)..but what they all have in common is one thing 2's and 3's...basic solo can be broken down in one way, to simple 'call and response'..for one example...you would do 2 of the same 'floreos/riffs' with slap flams and answer those slap flams with 3flam tones, or vice versa...and of course in clave...Mongo starts most of his riffs on the 3e and a 4e and a 1, so he always falls back on the one...or he will phrase thru 2 or 3 times before he falls back on the one..and also he will play one 'floreo/riff ' 5 times in a row and still fall on the one at the end of it...it's about phrasing.....and talking...and expression...not just speed,that is just one element to a solo, IF and when you know how to incorporate it so it works within your solo...and it's not sloppy or as i say gobble leegook...also you have to know how many bars you get to solo in so you know when to end it and get back into the form again cleanly...which also means you have to 'count' bars as you solo. Unless you can actually 'feel' the bars go by and 'know' what 8 16 24 and 32 bars 'feel' like, which takes some time to be able to do...

This is a good tool. Some of the best in the business explain and perform drum solos from basic to advanced.
http://www.lpmusic.com/Product_Showcase ... solos.html

If you know a couple of Parts or rhythms, you can go from one to the other,, and the other can be the "solo", then go back to your regular pattern.

A few years ago, I had to come up with something quick since I got roped into playing my school's (I'm a teacher) Middle school band. The band director found out I played congas, so invited me to play at their concert. Here I am a folklorist, not a contemporary player, and suddenly I'm thrust in with a bunch of kids barely holding down a mambo. So, I just played a tumbao basic pattern, and when it came to my big moment, I changed it to the lead pattern for Mozambique. Everyone thought I was riffing, when it was really just a pattern I knew.

Also, you wondered if you should keep getting lessons,, yes! If you're wondering at all, one-on-one lessons are best way to learn!

Here are a couple of videos of mine with me taking a conga solo....

http://youtu.be/LtAxcnVFWAw

http://youtu.be/WF4cBtNQ58g

http://youtu.be/zqaHLhinvPo see how I phrase thru the solos, and they are all different as well....any questions?...or Critique?..Im open ...

JohnnyConga wrote: see how I phrase thru the solos, and they are all different as well....any questions?...or Critique?..Im open ...

To what degree what is "up in the air" affects your solo? Meaning saying for instance that you are getting good vibes from the crowd/dancers and the band is cooking. I bet the "environment" around you affect your solo.

Ok I forgot to mention that a solo should have a beginning a middle and an end ..so it's built up gradually, to bring the '"people" into the solo with you..you dont start out necessarily burning it up off the bat then fizzle out at the end, it's the opposite...MY JOB is to 'excite and move' the "people' with my solo and playing...at all times...for some guys this comes very natural(as it does me) and others have to work at it...I have received many a 'standing ovation' for my soloing.Why? Because I know how to 'work' an audience, and can feel when the excitement is growing(and of course with the help of my band mates, holding it down for me, helps tremendously)....so it's a concerted effort as well...Im not talking about 'soloing alone" this is with the band playing along with you...

Thanks guys. Really great advice there. I think I'll get a couple of hours in with a teacher as well as you suggest. Since the original post I was taking a look at the late Anga's DVD. It's not one I would highly recommend but he does mention the fill base for the solo I was talking about earlier. Apparently this is from the Tata Guines school of soloing. Maybe that's where my original teacher got that style from.

Anyway, I'm going to Cuba next month so I'm sure I'll return with a better solo!

Thanks again!

I would look up Christian Weaver in Manchester..he is a leading Teacher in Afro Cuban drumming and has a Folklore ensemble ..He also can be found on Facebook and another brother named Marc Hough..look them up on facebook and you can hook up with them for learning...let me know how it turns out for ya...