INSTRUMENTAL INQUISITION
Guitar instrumentals have supplied some of music’s most evocative moments. We asked some top guitarists for their take on this iconic movement. This month: founder member of the original prog-rock band, Yes: Steve Howe.
Yes’s guitar master answers our questions...
GT: What is it about guitar instrumentals in particular that appeals to you?
SH: They feature the guitar! I was about 10 years old when these erupted into being and they are a big part of the reason why I play the guitar in the first place. What’s not to like about them? The way this form of music has developed fascinates me. I’ve been allowed to develop my own style to incorporate my writing and recordings and so to release massive amounts of tracks that retell and continue moulding what are guitar instrumentals. It’s just fundamental to me, although, since it’s lost its pop-chart-hit sensibility I guess millions of folk don’t truly know of its existence or relevance to the guitar story.
GT: What is it that an instrumental tune can provide the listener that a vocal song can’t?
SH: Escapism from vocals! The voice is the most pleasing sound to us, but all instrumental music - think millions of classical compositions - soothes our ears without the division or selectiveness that voices require. Liking a voice is normal but quite a finite choice, while instrumental music allows more ebb and flow, less decisions about interpretation and meaning so allows greater expanse of freedom from definition.
GT: Are there any the tendencies with instrumentals that you aim to embrace or avoid (rhythms, harmony, playing approach, tones)?
SH: An instrumental must embrace all devices, all methodologies, all components of music otherwise it would become tedious and level, uninviting, unlistenable. Surprise is required, drama and release. Go write something now!
GT: Is a typical song structure of verse, chorus, middle 8 etc, always relevant for an instrumental?
SH: No of course not. Not always but sometimes yes, of course. Rules are there to be broken but sparingly used because they are perceived to often work when creating tunes. But we don’t want that all the time, do we? Well I don’t. Each to his own, it’s a free world!
GT: How useful is studying a vocalist’s approach for creating guitar melodies?
SH: Oh yes, now we are talking! The instrumental must emulate this ultimate sound, regularly in fact, possibly most of the time. Without voice-like nuances, all tunes would lack expression. This is the most important idea; if there’s no expression in your playing, sell your guitar right now! Give up, throw in the towel and go back to where you cometh from, please - do us a big favour.
GT: How do you start writing one; is there a typical approach or inspiration for you?
SH: The answer is in as many different ways as possible. There can’t be a formula or, if there is, it can’t always work. Many artists hate words like ‘inspiration’. It’s rather like ‘perspiration’; it stinks of pretentiousness. Let’s revisit with the word ‘influence’. Of course we all have styles we like, ways we work and goals we hope to achieve. To get along developing these we have to start with an idea. There the mystery begins. It’s about who are you, what is your potential, how good are you at working stuff through to the finish with an end result? Start somewhere, end somewhere else, it’s all a game of chance and opportunity! Jump in and discover yours. No one’s there to hold your hand.
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, developing pace and dynamics over the instrumental’s duration?
SH: Some go Up... or Down... or High or Low... or Fast or Slow... or Across or Below...
GT: What type of guitar tone do you prefer for instrumentals?
SH: Nothing is fixed.
GT: Do you find Minor or Major keys easier to write in?
THE VOICE IS THE MOST PLEASING SOUND TO US, BUT ALL INSTRUMENTAL MUSIC SOOTHES OUR EARS
SH: Please, a combination is required so get to work on that now.
GT: Do you have any favourite modes to write or play in?
SH: I play from or by or with my ear only. Facts obstruct beauty.
GT: What about modulations into new keys?
SH; Yes. As often as possible but never if it’s not required, or necessary, or purposeful.
GT: Do you view the backing band in a different way than you would on a vocal song?
SH: No is the short answer.
GT: What are your views on harmonising melodies?
SH: Not too often. It hides things that can be stronger without them.
GT: What three guitar instrumentals would you consider iconic or have inspired you?
SH:Classical Gas by Mason Williams (where the hell did he go after that?); Vivaldi’s D Lute Concerto. And the entire What If album by Dixie Dregs featuring Steve Morse, because how could anyone explain these wonderful things, really?