GT: What is it about guitar instrumentals that appeals to you?
SH: As I am a guitarist first and foremost, guitar based compositions will always be of interest. If you look at the history of music you will find that a high proportion is in fact instrumental-based rather than featuring a singer. The guitar can be used both for melodic lines and for chordal accompaniment, and so it can be used in a variety of ways to create instrumental compositions and evocative parts.
GT: What can an instrumental provide a listener that a vocal song can't?
SH: The human voice is a primary way of communicating emotion in music, plus the use of words brings an additional dimension of artistic experience. But non-vocal musical instruments can also convey emotion in both a subtle and an emphatic way, with other possibilities of abstract musical expression that are perhaps limited by the more blatant use of vocals. Orchestral symphonies are by definition instrumental and so non-vocal.
GT: Any tendencies that you embrace or avoid?
SH: The only thing I would seek to avoid is blandness or cheesiness. I wouldn’t avoid musical clichés, per se, as sometimes the use of cliché can make a statement in itself. But it has to be done in a cool way. Are there any set rules as to what is cool? Not really, it’s essentially an intuitive thing.
GT: Is a typical song structure always relevant for an instrumental?
SH: It can be relevant for an instrumental, but it most certainly doesn’t have to be like that. Instrumentals are more about themes and motifs than about verses and choruses.
Denne historien er fra Spring 2023-utgaven av Guitar Techniques.
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Denne historien er fra Spring 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.
Allerede abonnent? Logg på
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.
