Lee Allen - Slipping and Sliding
LEE ALLEN: SLIPPIN’ AND SLIDIN’
Analysing a rock & roll solo.
I’m now going to look at a classic solo by Lee Allen from the 50s and see how it can be analysed using the techniques we have looked at so far. This is from the Little Richard song Slippin’ and Slidin’.
(N.B: concert pitch).
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| Bar 1 | Long note flat 3rd |
| Bar 2 | Part of a major blues scale, but with a 4th at the end (the F) which is from the minor blues scale, but here it acts to give some tension as it resolves down to the flat 3rd on bar 3. (This is often called a "suspension"). Another nice thing about this is that it starts as if it will be an ascending chromatic scale (all 12 semitones), but then surprises you by coming down onto the flat 3rd. |
| Bar 3 | A small riffy phrase that is either from the minor blues scale with a 6th, or from a major blues scale but with a flattened 3rd. |
| Bar 4-5 | Another long note that repeats the opening, but a 3rd higher and starting earlier (it anticipates the second 4-bar prase at bar 5 by 3 beats) |
| Bar 6 | Minor blues scale without the b5th. (i.e. a simple minor penatonic) |
| Bar 7-8 | Major blues scale. Note the change from minor to major 3rd as the chord changes from IV back to I. The second half of bar 7 is a nice development of the pfarse at bar 3. |
| Bar 9-10 | Two phrases based in a minor blues scale (the A in bar 9 is an embellishment). The two phrases are rhythmically similar but add interest as the notes and overall shape (contour) of the pharses are different. |
| Bar 11-12 | Blues scale but with the major 7 suddenly appearing after the minor 7 to add a surprise and resolve nicely onto the C at bar 12. This then leads into a minor blues scale which is similar to the opening of the first chorus but with a descending line (bar 14) into the same phrase he played at bar 3 (at bar 15) |
| Bar 13-15 | Again the first phrase of the second 12 bar chorus starts with a long note, this time "kicked" in with a two-note pickup at the end of bar 12 |
| 16-17 | A development of the pickup he did at bar 12. This is an extended version leading to another long note at the begiining of the second 4-bar phrase (bar 17) |
| Bar 18-19 | Minor blues scale (pentatonic) phrase |
| Bar 20-25 | Same last 4 bars as he used in the first chorus, but the pick up (bar 20) is an extended version of the pickup he used at bar 8 the first time around |
As you can see this solo is constructed very logically with repeats and developments, melodic phrases and surprises - almost as if it is composed. (This was take 7 so he may have gradually honed the improvisation from take 1 into this very articulate and interesting solo). Of course Lee would not have been thinking about it the way it is analyzed here, it would just be a natural and almost subconcious process that comes naturally to a skilled and talented rock and roll soloist. But analyzing solos like this will help you to develop this talent. If you are a "natural" it may come quicker without so much theory but for most of us learning this little bit of theory along with careful listening, transcription and analysis is the best way to end up with a great rocking feel to your solos.
