GT: What is it about guitar instrumentals that appeals to you?
DG: Let me start by saying that I’m referencing instrumentals outside the jazz realm here. Writing an instrumental feels like a completely different genre to me. I feel like I’m tapping into a different part of my brain and heart than when writing lyrics and putting those to a melody (or having a melody and writing lyrics to fit). I’m not constrained by any rhyme scheme or the need to have repeated vocal hook lines.
GT: What can an instrumental provide a listener that a vocal song can’t?
DG: Obviously there is more space for improvisation and soloing. Often instrumentals are basically just vehicles to solo over. The listener’s imagination is not influenced by lyrics, so I think instrumentals can evoke a broader range of emotional responses and feelings. A lot is left to the listener’s imagination.
GT: Any tendencies with instrumentals that you like to embrace or avoid - rhythms, harmony, playing approach, etc?
DG: As with lyrics I try to avoid cliché or retreading ground that has been done a million times before, and that includes not re-writing something I’ve done in the past, which is easier said than done, as we all have certain rhythms and melodic ideas that resonate with us. I like ‘exploiting’ the unique sounds available in different keys, often dictated by the open strings that can be used both in chord voicings and melodies.
GT: Is a typical song structure of intro, verse, chorus, middle eight, etc, always relevant for an instrumental?
Denne historien er fra July 2023-utgaven av Guitar Techniques.
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Denne historien er fra July 2023-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.
