GT : What is it about guitar instrumentals that appeals to you?
CR: I think that instrumental music offers a very creative context, within which ideas can be explored, without the usual constraints present in vocal music.The guitar happens to be my favourite tool, with which I formulate and express melodic trajectories, so the end results are guitar instrumentals, but I find all good instrumental music very appealing.
GT: What can an instrumental provide that a vocal song can't?
CR: Speaking in general terms, I think that instrumental compositions can contain more complex and articulated melodies, than ordinary vocal tunes. Most vocal tunes are created (quite often manufactured) with the purpose of reiterating and/or underlining - especially among young people - sexual, or romantic tension. In other cases to denounce racial, or social injustice. They need repetition and familiarity to be accepted by ever more distracted and uninterested ears. By their very nature, they require words to externalise these feelings… and, for better or worse, that creates limitations as to how intricate, or developed a melody can be. Because in recent years (with a few exceptions) popular music has rarely ventured outside familiar progressions (like the I-V-VIm-IV and its various permutations) and with the contribution of the majority of vocalists being restricted to function within those limitations, we’re are enduring an era of musical GIFs. I think that instrumental music has - still - the freedom and potential of being able to take the listeners into more musically informed territories and richer, more developed melodic lines and progressions.
GT: Any tendencies that you aim to embrace or avoid?
Denne historien er fra January 2022-utgaven av Guitar Techniques.
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Denne historien er fra January 2022-utgaven av Guitar Techniques.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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PAT METHENY
Nick Mellor offers an insight into the jazz great's 16th-note lines, and his approach to improvising over static Minor and Dominant 7th chords.
MARTIN MILLER
Another fabulous JTC guitarist demonstrates his impressive techniques for us, focusing on an approach called Rythmically Dependent Alternate Picking.
THE KINKS' RAY DAVIES
This month Stuart Ryan takes a virtual trip into to North London to get to grips with the acoustic style of the original Muswell Hillbilly.
STEVE LUKATHER
This month Andy G Jones looks at the fluent soloing style of the LA guitarist who co-founded Toto in 1977 then ruled the 80s session scene.
JEFF HANNEMAN
This month Charlie Griffiths Shows No Mercy as he lays down the gauntlett with five shred licks from Slayer's undisputed master of attitude.
10CC
This month Martin Cooper checks out Eric Stewart and Lol Crème, whose distinctive styles helped give this UK band its unique sound.
T-BONE WALKER
From the heart of Texas to the cool West Coast, join David Gerrish on the journey of this hugely influential electric blues guitar innovator.
FERDINANDO CARULLI Andantino In G (Opus 241)
This month Declan Zapala goes back to basics to explore core classical technique with this emotive miniature by the pioneer of classical guitar playing.
THE CROSSROADS Steely Dan's Mu Chord
This month John Wheatcroft shows us how Donald Fagen and Walter Becker dressed their harmony to the 'nines, as he explores their trademark chord voicings.
GET YOUR MOJO WORKING! 60 Years Of Blues Licks
From the Kings to Jimi and Eric, Blackmore, Stevie Ray, Gary Moore, John Mayer, JoBo and beyond, Jon Bishop introduces six decades of blues guitar innovation.
