Mark Lettieri of Snarky Puppy and much more.
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: Snarky Puppy’s guitarist, plus producer and composer, Mark Lettieri.
GT
: What is it about guitar instrumentals that appeals to you?
ML: As a writer especially, I’ve always been comfortable in the genre. I wouldn’t consider myself a singer, nor am I much of a lyricist, so the idea of expressing myself with the guitar as my voice has always felt the most natural.
GT: What can an instrumental provide a listener that a vocal song can’t?
ML: While lyrics can certainly have multiple meanings and layers, language generally offers some kind of initial direction as to a song's message or story. Without the words, I think there is a greater chance for multiple interpretations of the subject matter. Five people can listen to the same song, and have five completely different emotional connections to it, or ideas as to what the song is about.
GT: Any tendencies with instrumentals that you aim to embrace or avoid?
ML: I’ll use whatever techniques or musical elements that I feel will best convey the theme I want to express with the song. The focus is always on the overarching arrangement, and I’m very aware of how it includes and uses all the instruments involved. My goal is for the music to feel like a complete composition, and often this is achieved by keeping the guitar as just a ‘member of the band’, and not always the centerpiece.
GT: Is a typical song structure - intro, verse, chorus, middle, etc - always relevant for composing an instrumental piece?
ML: No, I wouldn’t say it’s always relevant. You could argue that one of the things that makes instrumental music special is that it doesn’t have to conform to any typical form.
Personally, however, this is a form that I use often as a starting point. I’ll then take some liberties with it, if doing so helps the composition. Because I’m a fan of so many different kinds of pop music that use this structure, it seems to fit well with the way I write.
GT: How useful is studying a vocalist's approach for creating guitar melodies?
ML: Absolutely. Studying vocalists and vocal melodies is a real asset to developing phrasing. Vocalists have to breathe in between lines, so applying that idea of space into your melodies can help give the phrases more meaning. Hopefully, this results in something that’s more memorable to the listener, because they can sing or hum along.
GT: How do you start writing one; is there a typical compositional approach or inspiration?
ML: Sometimes they just pop out during freeform practising sessions. Other times, I’ll hear something in my head while on a walk, for example. Could even be a rhythmic idea that I’ll put notes to. I’ll also write melodies, chord progressions, or grooves as a personal response to a real-world or life event that I want to express in a song.
GT: What do you aim for when your performance is centre stage, as with an instrumental?
ML: I try to make sure that everything I play - whether it’s a melody, a rhythm part, a fill - even a particular tone or sound - has purpose. Again, it’s about putting together the most appropriate performance for the music.
GT: Many vocal songs feature a guitar solo that starts low and slow then finishes high and fast. Is this useful for instrumental writing, in developing pace and dynamics over its duration?
ML: It can be, sure. I tend to favour somewhat shorter solos for my studio recordings, and then expand on the solo sections for the live show. So if you’ve only given yourself eight or 16 bars to work with, this structure can be great. On the other hand, if the song’s got a series of changes or a vamp with open repeats, you’ll have to approach it differently, and tell a longer story.
GT: What type of guitar tone do you prefer for instrumentals?
ML: I don’t think I have a particular one that I prefer, as I’ll use whatever tone I feel is needed for the theme of music. I’m pretty comfortable expressing myself at all levels of gain, modulation, reverb, delay, etc. The tones from my Baritone Funk music, for example, are very different from some of my more ‘traditional’ guitar instrumental material. But I’ve tailored my live rig to approximate as many of these studio tones as possible, without having a total spaceship of a pedalboard.
GT: Do you have favourite keys or tempos to write or play in?
ML: Not exactly, but I am kind of a sucker for a mid-tempo R&B groove, or an uptempo Minneapolis-style funk track. But I’ve got 12/8 ballads, Texas shuffles, and straight-eight rock songs too.
GT: Do you find Minor or Major keys easier or more inspirational to write in?
ML: I don’t think of one as being any easier, necessarily, but I suppose I have written more songs in Minor keys - but I have a fair amount of material in Dominant keys too, though.
GT: Do you have any favourite modes to write or compose in?
ML: I’ve always thought Lydian was a really beautiful sound. Dorian can feel pretty funky. Lately, I’ve been interested in different sounds stemming from the modes of Melodic Minor.
GT: What about modulations into new keys?
ML: A lot of my music features modulation. If used properly, it’s a great compositional tool.
GT: Do you view the backing band in a different way than you would when playing a vocal song?
ML: No. I feel like the arrangement needs to favour the whole ensemble (big or small) in order for the song to shine, regardless of vocal presence. Otherwise the ‘backing band’ is just that…a backing band. And I just don’t want that dynamic in my music, especially not during a live performance.
GT: What are your views on harmonising melodies?
ML: I think they’re awesome if the music calls for it. I don’t do it too often, though, as my music generally doesn’t require that sound. I do harmonise a lot of rhythmic parts and fills, however, especially within the baritone funk material. That kind of ‘guitar orchestration’ is a tool I picked up from Prince, who was a master as stacking rhythm guitar lines. Also, since my live show only has one guitarist (me) and we don’t play to tracks or stems, I can’t go overboard on harmonising melodies.
Although, I’ve messed around with some pedals to achieve that effect, to varying degrees of success.
GT: What three guitar instrumentals would you consider iconic, or have inspired you?
ML: Well, of course I’ll have to mention Jeff Beck’s version of Cause We’ve Ended As Lovers. It’s just pure beauty, and a real masterclass in restraint and expression. No one plays that melody quite like he does. Another song that was important me, certainly early on as a player, was Joe Satriani’s Cool #9. It’s not one of his more popular tunes, but for me it was kind of a gateway into more funky, jazz-oriented instrumental guitar music. From there, I started discovering John Scofield, Charlie Hunter, and Larry Carlton, for example. Lastly, I’ll say Whippersnapper, by Wayne Krantz. It was recorded live at the 55 Bar in New York City, and is just one of the most wild combinations of ‘rhythm as lead’ playing I’ve ever heard. Wayne’s time feel has always been a big influence on my sound.
“I ALWAYS THOUGHT LYDIAN WAS A BEAUTIFUL SOUND. DORIAN CAN FEEL PRETTY FUNKY. LATELY I'VE BEEN INTO THE MODES OF THE MELODIC MINOR SCALE”