In each of the solos I link to below, the soloist makes a change in their improvising strategy in the second chorus in order to create a contrast with the approach in their first chorus. In the comment section, please choose one of these solos and explain how the soloist’s improvising strategy in the second chorus contrasts with their strategy in the first chorus. Here is a list of one sentence analyses that I have made of solos in this list. Please choose the analysis that matches the solo you have chosen, and briefly explain some more specifics about how and where these two approaches are heard in the solo – for example, in which measures of the second chorus does the double-timing occur? or: in which measures of the second chorus does the soloist leave space? Also, please note that while the links will take you to the time in the video when the solo occurs, it is also crucial to listen to the entire recording. For the solos that quote the melody, for instance, you need to hear the head in to know when the soloist is quoting the melody.
The soloist uses melodic material that is different from the head (melody) of the tune in the first chorus, and references the melody in the second chorus.
The soloist references the melody in the first chorus and uses melodic material that is different from the head (melody) of the tune in the second chorus.
The soloist plays more continuous phrases in the first chorus and leaves more space in the second chorus.
The soloist leaves more space in the first chorus and plays more continuous phrases in the second chorus. A reversal of the previous strategy in piano solos: the pianist takes a ‘hand to hand conversation approach’ in the first chorus, leaving space after right hand melodic ‘questions’ for left hand chord ‘answers’ (or vice versa; see my blog post Leading With The Left for three examples of this kind of solo). In the second chorus, the pianist plays longer phrases and so has less left hand punctuation between phrases, and/or has more ‘paralinear’ comping (LH chording that happens along with a right hand phrase.)
The soloist works within the primary melodic subdivisions of the tune in the first chorus (usually eighth notes and triplets) and explores ‘double-timing’ (faster note values, often sixteenth notes) in the second chorus.
The soloist focuses primarily on scalar motion in the first chorus, with some melodic thirds interspersed, and explores wider intervals in the second chorus
Bud Powell’s piano solo on ‘Buzzy’ with Charlie Parker and Miles Davis (B flat blues, 1947) – here is a link to the blog post that contains my transcription.
Al Haig’s piano solo on ‘Twisted’ with Wardell Gray (1949) (see my transcription of the Bud Powell ‘Buzzy’ solo and see if you can figure out what Haig borrows from Powell’s solo.)
Kavita Shah’s vocal solo on Interplay (the link is to my blog post on this solo) (2018)