Chords for Bill Bruford and the Beat Part 2

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_ _ I could break down soloing for you [Eb] into two or three rough sort of categories which would
give me raw material from which I would then play and I would elect on different nights
to do different things from [B] perhaps these categories.
A big category is are you going
to keep a steady pulse in the solo and then embroider on top on the one hand or [F] are you
going to dispense with steady [C] metrical pulse altogether and [B] improvise short sentences which
may or [D] may not flow [Eb] well, hopefully will flow together but have no set metrical [B] pulse.
There's
a simple decision that you could choose between there.
_ Then again you might opt for a kind
of call and response thing which is more textural so that on the, [Eb] let's say the heavy acoustic
armament [E] in the kit, perhaps the [B] gong drum and the rototome and the snare drum and the
acoustic bass drum.
You can set up master drummer figures as it were.
This [F] would be
really where the master [Em] drummer states the phrase, the chorus of drums then answer. _ _ _ _ _ _
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Another interesting thing about soloing is that it can be your research and development.
Period of the evening, you know, I feel I can play very risky ideas to an audience in a solo
and [B] I'm doing something on the drums which I'm hoping the group will pick up on and be able to
use in its music.
I quite often offer [C] textures, particularly for my [E] drums in drum solos that I
would like to [Eb] be playing behind the [B] rest of the group except I haven't [G] quite figured out how the
rest of the group can play on top of these [B] things yet.
But I'm sort of offering them,
you see what I mean?
[Ab] It's kind of a research and development time for me in [Db] drum solo. _
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