Instrumentals have supplied some of music’s most evocative moments. We asked some top guitarists for their take on this iconic movement. This month: singer, producer, solo artist (as Lonely Robot) and current It Bites guitarist, John Mitchell.
GT: What is it about guitar instrumentals that appeal to you?
JM: I guess that I don’t have to write lyrics, lol. Also, in the absence of lyrics, you have to find ways to be expressive and unusual melodically without the lyrical vehicle. Plus you have a legitimate reason to let rip at some point.
GT: What can an instrumental provide a listener that a vocal song can’t?
JM: That’s it’s painting a picture without words. Lyrics have a visual pointer so in some ways that set the precedent for mental imagery off the bat.
GT: What do you embrace or avoid with instrumentals?
JM: I aim to avoid at all costs pointless shredding from the outset. It has to be about dynamics. If you start a song playing 32nd notes you have literally nowhere to go. Plus I can’t play 32nd notes above 6bpm, haha!
GT: Is a typical song structure (intro, verse, chorus, etc) always relevant for an instrumental?
JM: Not necessarily. Repetition of a theme with increasing urgency is a favorite of mine. At the end of the day, the basic concept of theme and variation is the benchmark. A LOT of prog rock is what I call ‘cut and shut’ which basically means clumsily gluing together irrelevant bits of music. It’s the musical equivalent of welding the front end of a 1983 Ford Escort onto the back end of a Corsair.
GT: How useful is studying a vocalist’s approach for creating guitar melodies?
JM: Well it certainly helps me being a singer and guitarist. If you have a foot in both camps, you certainly learn a different approach to phrasing. That said, I steal a lot of my guitar riffs off sax players, Leo P from Too Many Zooz is a fave.
GT: How do you start writing one; is there a typical approach?
この記事は Guitar Techniques の September 2019 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です ? サインイン
この記事は Guitar Techniques の September 2019 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
THE MOODY BLUES
This month Stuart Ryan delves into the picking style of this British prog legend whose acoustic guitar has powered many a Moody Blues song.
WAYNE KRANTZ
This issue Nick Mellor provides an insight into this brilliant jazz stylist, focusing on his approach to improvising over static chords.
OPEN G TUNING
Open tunings are great fun and can help create exciting new ideas. Simon Barnard shows how to incorporate open G tuning into your playing.
RODRIGO GOUVEIA
Last month we featured Mateus Asato, and mentioned the importance of the neo-soul style in his playing. Here we turn to his fellow Brazilian, the master of neo-soul fusion.
MARK KNOPFLER
Our topic this month is a master craftsman as both guitar player and songwriter. His style is unique and his influence spreads far and wide.
U2
Martin Cooper checks out the chiming pedal delay tones of this stadium-filling band from Dublin, Ireland, and guitarist The Edge.
LUTHER ALLISON
It’s blues with a touch of soul this month, as David Gerrish explores the dynamic, expressive style of an often overlooked Chicago bluesman.
JOHANN KASPAR MERTZ Capriccio
This month Declan Zapala explores the music of Austria at the turn of the Romantic period with a fiery caprice to level up your fingers and unlock your inner virtuoso.
THE CROSSROADS Michael Landau
John Wheatcroft explores the playing of a session ace _ and blazing blues-rock maestro who graces the top-flight m band of singer-songwriting legend, James Taylor.
VIDEO MASTERCLASS Troy Redfern
This month GT welcomes this slide guitar virtuoso. If you've been wanting to take your slide playing to the next level then this is one's for you. With Jon Bishop.
