Yngwie, Improvisation, and Iconic Solos

Back in the ’80s, guitar magazines always said Yngwie improvised his solos. So I probably shouldn’t have been so disappointed back in the day when I saw him live and he didn’t play the studio versions I’d spent countless hours trying to learn.

Anyway, if I remember correctly, they also claimed he improvised his solos in the studio. Trilogy is probably my favorite Yngwie album. I just recently learned the Fire solo, which I think is just astoundingly good. Still, even after 40 years, it’s hard for me to believe he just nailed the solos to “Fire,” “Queen in Love,” or “You Don’t Remember, I’ll Never Forget” (and everything else) just off the cuff, in one take. That’s how the magazines always made it sound though if I remember correctly. At the very least, his solos had to be comped, right? Surely he did multiple takes and they pieced together the best parts?

This kind of touches on something else. I hear these solos on classic rock radio that I’ve heard a million times before and I just marvel at how good some of the phrasing is. I mean, consider something like Appetite for Destruction–or any of these songs pretty much that are staples on classic rock radio Are they really as good as I think they are or have I just heard it so many times it’s burned into my brain and I just think it’s great? Or have I in fact heard it so many times because it is great. I don’t know, but it makes me wonder. “And it makes me wonder.” Is the Stairway to Heaven solo really that good? Or could he have played something else entirely and I would still think it’s great today because I’d have heard it a gazillion times?

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I’m not sure about Yngwie’s process, but I know Stairway to Heaven was “comped” from several takes. This is a super common practice, so you’re getting the best licks/performances from multiple passes to construct one unified solo that still has the energy of a full take. David Gilmour did his solos this way, and I know EVH also tracked his solos in “sections” (you can hear this in solos like Jump, where the tail end of some notes slightly overlap with the beginnings of the next phrase).

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I take that with a pinch of salt.

His solo on “Rising Force” can be heard in an early demo called Merlin’s Castle (which he has now posted on YouTube).

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Regarding the Improvisational part: I dont want to play it down by any means. But when you play/improvise solos for years, let alone are a professional, it is very thinkable you have played the building blocks of your recorded solos already hundreds or thousands of times before in some variation or maybe some altered context.
Is it still great? Of course.

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Comfortably Numb’s second solo, arguably the greatest solo in rock history is comped from I believe about 5 different takes/ideas.

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You wouldn’t believe the peace of mind I’m feeling after reading your comment.

I mean, they are ultra talented and stuff, but they are, well, people. :sweat_smile:

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“Improvisation” is a word that has different meanings to different people.

I’m not familiar with live Yngwie official releases and bootlegs, but I would imagine you’ve compared live performances of the same song from different nights on the same touring cycle? Have you also compared the live performances of the same song from different tours?

I’m just trying to see if he is really improvising, which to my mind is creating a completely different solo or parts that were thought of and executed completely on the spot and were never repeated before or since which is the true meaning of improvisation in the jazz sense.

I have a feeling that hundreds of great solos would fit in any YJM song, and all he has to do is come up with one of the many that is “appropriate,” and that’s what we learn to love! I don’t think that there is just “one ideal solo.” I’m no expert, but I’m sure that he has some idea about what he wants in general and then he searches a bit until he finds something “good enough” for his needs, and boom, time to drive the Ferrari.

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