JOEY LANDRETH
Guitar instrumentals have supplied some of music’s most evocative moments. Jason Sidwell asks top guitarists for their take on this iconic movement. This month: the stunning guitarist from The Bros Landreth, Joey Landreth.
GT
What is it about guitar instrumentals that appeals to you?
JL: Namely, that the guitar is my instrument by trade. While I do play a few other instruments, the guitar is the instrument that I find I’m most fluent on. That said, I love the spirit of evolution around the guitar. Other than maybe synthesisers, I don’t think any instrument is constantly trying to re-invent itself. With guitar amplifiers and effects the sky's the limit!
GT: What can an instrumental provide a listener that a vocal song can’t?
JL: I feel that it’s easier to invent your own narrative to an instrumental piece.
GT: Any tendencies with instrumentals that you aim to embrace or avoid (rhythms, harmony, playing approach, tones)?
JL: As a singer-songwriter, I actually don’t write instrumental music, but as a great lover of instrumental music, I find that my influences from that world sneak into my songwriting. From layering sounds, to extra sections, reharmonisation and key changes.
GT: How useful is studying a vocalist's approach for guitar melodies?
JL: I find vocalists to be the best for developing emotional melodies. I love to channel my favourite singers to make something feel less guitar-y and add depth.
GT: How do you start writing a song; is there a typical approach or inspiration for you?
JL: When writing, I almost always start with a basic outline for the harmony. Once I have that in place I can start experimenting with the melody and, in my case, lyrics.
GT: What do you aim for when your performance is centre stage?
JL: I’m always trying to be as 'present' and 'in the moment' as I possibly can when performing. Improvisation is very important to how I play, so I don’t like to have too many pre-conceived ideas. If I am 'present',
I get tons of ideas from the other musicians in the band - and even from myself. I love to build off of ideas melodically, rhythmically and also dynamically.
GT: Many vocal songs feature a guitar solo that starts low and slow, and then finishes high and fast. Is this structure useful for the way you play a song?
JL: I think pace is always important, because music is storytelling in one way, shape or form. If it’s only about showcasing the things you’ve been practicing; as a listener, I won’t get anything from it.
GT: What type of guitar tone do you prefer for playing (or listening to) instrumentals?
JL: My favourite guitar player in the instrumental realm is Michael Landau. I love everything about what he does and I wish I could play like him. He is so creative and spontaneous and all of his sounds are an adventure and so unique to him. No, he’s not using new and cutting edge devices. He uses classic pedals but he uses them in ways that I feel are truly unique to him.
GT: Do you have favourite keys or tempos?
Eb
JL: I love the key of and also C.
JL: Do you find Minor or Major keys easier to write or play in?
JL: Even when playing in a Minor key, I tend to always think about the relative Major. I know that might not be technically correct but it’s just how my brain sees it!
GT: Do you have any favourite modes?
JL: I love anything from the Melodic Minor scale. I use Lydian Dominant all the time because of the IVm chord. I also use the Altered Scale, also known as the Superlocrian.
GT: What about modulations into new keys?
JL: I really love to use harmony pulled from the Half-Whole Diminished to move around in Minor 3rds.
GT: Do you view the backing band in a different way than you would on a vocal song?
JL: Ideally, no. I want my band to play as dynamically and as focused as they would if they were improvising.
GT: Do you have particular views on harmonising melodies?
JL: I’m a big fan of harmonising melodies both vocally and instrumentally. I feel that adding a harmony to a line can add weight and draw attention in a really great way. I also feel like it can help a melody blend into the rest of the production when you want something to tuck back but not disappear.
GT: Name three iconic guitar instrumentals...
JL: I can’t choose individual songs so I’ll put down my favourite instrumental records. Mike Landau - Live 2000 (released 2003); Mike Landau - Live (released 2006); Robben Ford - Tigerwalk (released 1997).
GT: ...and why?
JL: These records had a massive impact on my playing and also my pursuit of creativity. Both Mike and Robben are monstrous guitar virtuosos, but these records are compositions to me and they taught me so much about intentionality. I love this music so much!
“IMPROVISATION IS VERY IMPORTANT TO HOW I PLAY, SO I DON'T LIKE TOO MANY PRECONCEIVED IDEAS"