Page 10

Intro Instrumental inquisition! Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: jazz-blues-fusion virtuoso, Oz Noy.

GT: What is it that appeals to you about guitar instrumentals? ON: I just like the tone of the guitar, whether it’s a nylon, a steel string or electric jazz or rock sound. I do like other instruments too, of course. GT: What can an instrumental provide a listener that a vocal song can’t? ON: More colours of sounds, wider range, a level of virtuosity that’s just not humanly possible on the voice. GT: Any tendencies that you aim to embrace or avoid? ON: Beautiful melodies are always great; good groove and

rhythm; nice sound; trying to avoid too many notes! If the composition and overall sound is good, most people can listen to it. GT: Is a typical song structure still relevant for an instrumental? ON: If you want to make a

important in terms of getting a melody or a lyrical idea across. I believe that the most important thing is to understand that the human voice is still the strongest form of communication we’ve got. I try to communicate my music

inspiration could come from anything that stimulates the brain and open some doors statement and make sure the listener grabs it, I’d say you have a better chance using this structure. GT: How useful is studying a vocalist’s approach? ON: I think it’s incredibly

– melodies and rhythm – to the audience, and the closest you get to a human expression, the best results you’ll have communicating your music to people, which is what all musicians want. Oz Noy: a superb player of guitar instrumentals

GT: How do you start writing one – any particular method or typical form of inspiration? ON: No, not really. Inspiration could come from different places; it could be a simple drum groove, just a rhythm idea, a melody, a chord melody, or even a sound effect, anything that will stimulate the brain and open some doors. GT: Many vocal songs feature a solo that starts low and slow then finishes high and fast. Is this useful for instrumentals? ON: It depends to some degree on the song and the style of music. But you can do anything you want if it sounds good to you; there really are no rules. GT: What type of guitar tone do you prefer for instrumentals – clean, distorted, fat or trebley? ON: Just whatever will deliver the idea of the particular song. GT: Do you have any favourite keys or tempos? ON: No. GT: Do you find minor or major keys easier to write in? ON: No, the same. GT: Any favourite modes? ON: No. GT: What about modulations into new keys? ON: Only if it’s necessary. If it fits I’ll do it; it if doesn’t, I won’t. GT: What are your views on harmonising melodies? ON: I love it. GT: Are there any particular guitar instrumentals that have inspired you, or that you would describe as iconic? ON: I can’t really choose, because there’s so many of them. But I really love Last Train Home by Pat Metheny, because it’s one long melody from beginning to end – including his solo. That’s the kind of stuff I like! Oz Noy’s new album, Who Gives A Funk is out now with guests including Robben Ford, Dweezil Zappa and Joe Bonamassa.

10

November 2016

Profile for Future PLC

Guitar Techniques 262 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk

Guitar Techniques 262 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk