Following the huge number of emails and enquiries I have received, I have decided to propose a "solo" with a more "contemporary" sound, non-mainstream and closer to what many define as "European Jazz" which has an approach clearly influenced by centuries of classical and folkloristic/traditional music.

Nothing better than a first-hand experience..!

The main points of the analysis follow:

• Lines without rhythmic patterns and only with pitches written down, are intended to be: "Libero, a mo' di Cadenza".
   
• Note how the solo spreads through almost three octaves. In this way one can use almost the entire range of pitches the clarinet has, form the darkest and lowest ones to the brightest avoiding, therefore, to insist on the medium-high part of the instrument and become, consequently, "monotonous". One can exploit one of the peculiarities of the clarinet (i.e. its range) which is considerably bigger than any other woodwind instrument.
   
• Note how the texture of the solo develops step by step. It starts with few whispered pitches in the lower part of the instrument and it reaches its peak just before closing the solo itself. Also the harmonic/melodic approach goes form more diatonic material to more dissonant one with chromaticisms that create stronger colours.
   
• Almost complete absence of swingy or bluesy phrasings.
   
• Note how dynamics are emphasized. This hardly happens in a straight-ahead solo.
   
• Note the great use of the "staccato-legato". These elements (e.g. intense use of dynamics, the harmonic-melodic approach and the way the compositional and improvised material is organized, etc.) give such modernity to the overall sound making it closer, at same stages, to some repertoire of the classical music and, at the same time, it does not sound "obsolete".
   
• The chorus of the solo is not exactly on the same chords of the theme, even if some of the chords are taken from the theme itself. The solo is conceived to be a section of the composition and it's meant to be a development (through improvisation) of the composition itself and still connected to the themes (partially from the harmonic point of view too) in order to create a journey through the music. In other words, there is the refusal of exploiting a tune as a mere pretext to improvise wildly on the given chords.
   
• Almost complete absence of chord sequences like II-V7-I, etc. Cadences like this one settle up and remark a key because in the pitches of their chords include all the pitches of the given key. Avoiding this cadences one can avoid being "predictable" and let the listener understand what is about to happen. Chords organized in this other way give all the time to the melodist to prepare them, develop and resolve them so as every chord embodies a feeling.
   
• There are different ways to approach a solo from the rhythmic point of view (see D. Liebman): on the time, against the time (polyrhythmic patterns, etc.) or "over the time". This way of playing is very much exploited in this solo where many lines have a certain rubato-feel (i.e. bar 5-6, 13-14, 39-40) or "cadenza libera". The melodist, though, has to be aware of where the original beat is. This kind of rhythmic approach helps emphasize some lines and helps create more tension.
   
• F# harmonic minor scale is played in bar 7-8.
   
• The chord F/F#- may also be F#-Maj7#11 (e.g. bar 11-12 and 27-28) or F-/F#- like bar 39-40.
   
• G# harmonic minor scale is played in bar 9-10.
   
• The chord G#-/G becomes G#-/Gtri in bar 41-42, but it could also be intended as G#-Maj7.
   
• C# diminished-whole-tone scale is used in bar 27-28.
   
• The minor pentatonic scale of "A" is played in the last four bars of the solo chorus. This helps release the tension built up in the previous bars and helps keep a better balance between consonance and dissonance, tension and release.
   
• The "Bach" scale (melodic minor) of G# is used in bar 25-26.
   
• The beginning of the theme is quoted in bar 35-36, but it is transposed this time in Ab major.
   
• The chords of the third chorus are, obviously, the same one of the previous two choruses.
   
• In bar 39-40 note how the two keys of F# minor and F minor are emphasized. Yet the superimpositions by the melodist in bar 41-44 are also written on the score.
   
• Note how the "cadenza libera" happen in the same point every chorus (G#-/G | C#7alt.) in order to get more tension (rhythmically too) before releasing such tension at the end of the chorus before launching, in case, another chorus.