INSTRUMENTAL inquisition!
Instrumentals have supplied some of music’s most evocative moments. We asked some top guitarists for their take on this iconic movement. This month: Austrian jazz-fusion virtuoso, Alex Machacek.
GT: What is it about guitar instrumentals that appeals to you?
AM: Instrumentals in general have no language barriers – they speak the universal language of music.
GT: What can an instrumental provide a listener that a vocal can’t?
AM: In most cases, the absence of lyrics allows the listener to develop his or her own understanding of the music. Meaning they can weave their own story for the piece.
GT: With instrumentals, what do you aim to embrace or avoid?
AM: In my music, which is very often referred to as cerebral, I am still aiming for the earworm factor. Even though it might not be a singable melody or theme, I want to come up with something that the listener can remember or hum. Even if it is just the rhythm of the theme.
GT: Is a typical song structure always relevant for an instrumental?
AM: In my opinion, no.
GT: How useful is studying a vocalist’s approach for guitar melodies?
AM: Very useful! It’s almost impossible to list all the nuances that come with the human voice. But as an example I would list: phrasing, breathing, the beauty of imperfection. Usually no one can sing a note 100% correctly from beginning to end (in terms of intonation – a voice is not a sinewave), which makes it so human and unique.
GT: How do you start writing one; is there a typical approach or inspiration for you?
AM: Very often I actually sing a melody – and if I like something about it and can remember it the next day as well, then It will be a starting point for a composition.
GT: What do you aim for when your performance is centre stage?
AM: Keeping the listeners’ attention!
GT: Many vocal songs feature a guitar solo that starts low and slow then finishes high and fast. Is this structure useful for instrumental writing?
AM: It is a proven and often used (and abused) concept – but to me, it totally depends on the song and the style of music.
GT: What type of guitar tone do you prefer for instrumentals?
AM: That simply depends on the composition. But in general I am not a fan of shrill guitar tones…
GT: Do you have favourite keys or tempos to play or write in?
AM: No, I don’t. I am comfortable in all keys – and with most tempos except for warp speed!
GT: Do you find Minor or Major keys easier to write in?
AM: I don’t have a preference.
GT: Do you have any favourite modes?
AM: At the moment: Lydian Augmented, Harmonic Major
GT: What about modulations into new keys?
AM: What about them?
GT: Do you view the backing band in a different way to how you would on a vocal song?
AM: In my music I don’t call my band a backing band. I am looking for as much interaction as I can get from my band members. Our focus is always on our interplay and, of course, dynamics.
GT: What are your views on harmonising melodies?
AM: Well, I believe that harmonising a melody is like choosing the right clothes for the occasion. Do you want to fit in, do you want to stick out, maybe offend or outrage? Do you want to be as unnoticeable as humanly possible? All that and much more can be achieved with the right harmonic vocabulary. I have always been deeply interested in harmony and am constantly working on exploring the seemingly endless universe of harmony.
GT: What three guitar instrumentals would you consider iconic, or have inspired you?
Ben Monder: You Are My Sunshine Miles Davis: Don’t Stop Me Now Frank Zappa: Black Napkins.