A · previous solo
An exact PCM crop of the current album take.
Same guitar.
New solo.
The original guitar—not the newer guitar study. Only the solo writing changes here. These players begin at the solo, with the same accepted bass and matched guitar loudness. The original Ruth recording remains untouched.
Waltz for Ruth · one complete chorus · separate writing attempt
B · a remembered figure
The tune’s little neighbour turn is carried, answered and changed in colour instead of starting fresh on every chord.
A writing attempt, not a claim of soul or Pat-level improvisation. There is no new guitar model, random humanization, copied recorded solo or paid review. Its musical quality still needs judgment.
New full take · MP3 · New full take · WAV · Preserved full original
What changes—and what doesn’t
The new 32-bar chorus remembers the opening Bb/A/Bb turn. It lifts and displaces that thought, carries the answer into G, darkens it with the harmony, spends one busier passage and makes room for the existing bass replies. One late C5 crest then changes to Cb, Bb and A; the final Eb/D/Eb becomes the answer.
Phrase-wide touch is written directly, without resetting the accent on every bar’s first note. The shared clock and all original bass/theme score events stay fixed. There are 95 new solo notes; fewer notes alone are not the goal or proof of good phrasing.
Every new note uses the unchanged original guitar source, excitation, release, highpass, pan and source gain. One transparent constant matches only the new solo’s playback level. The original theme and its ring-out stay exact PCM in the full take; its original mix-minus-guitar backing stays exact everywhere.
Preservation and comparison measurements · The unchanged original guitar model · Written phrase intentions · New separate score · Study notes