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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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.
