Joe Satriani – Guitar Lesson (Guitar Clinic – Master Class)
Joe Satriani – is a very famous American guitarist. He worked as a guitar instructor with Kirk Hammett (Metallica), Steve Vai, Larry LaLonde ect.)
He worked with Mick Jagger as a lead guitarist in 1988 and as a lead guitarist of Deep Purple in 1994.
In 1996 Joe founded the band G3.
Joe Satriani guitar lesson:
Text of master class by Joe Satriani:
Satriani about Satch Boogie:
“With Satch Boogie we have a very traditional style playing guitar: lot of pushing, lot of pulling. And not to modern now but somebody other stuff is with a two handed tapping. But the other thing that’s probably a little bit more transperian about that song Satch Boogie. Is a first part here is just like a jazz swing band playing. Just like it was a saxophone’s playing. And it’s build of a regular blues progression in the key of A. But the middle section with a two handed tapping is really a completely different kind of composition. Because it uses a Pitch Axis Theory. And what I’m doing is I’m keeping one tonal centre which is A and I’m taking different chords.
That particular style of composing goes back to nineteen hundred and you wouldn’t call it new. But I suppose sticking it together with Blues & Swing and modern guitar style – then becomes, what I would call a modern hybrid.”
Satriani about Flying in Blue Dream:
“On the opposite side of it we have the song “Flying in Blue Dream” which instead of it be in one tonal centre and the keys shifting around it. I take a melody that based in a Lydian mode and whatever chord I go to – it becomes the new Lydian mode. Just the opposite of Pitch Axis – keys just move around. Your ear hears it always as it been a Pitch Axis in a key of C. But actually if you look at the piece of manuscript it’s just seems to be the same key and it’s moving over different base notes. Of course a guitar style is a lot of Hammer-On and Pull-Off sounds. Instead of picking each note, instead of playing where you pushing and pulling it like in a blues song, I’m actually… It involves Hammering and pulling on more than you picking. Together with feedback in a Lydian modes moving around it creates an entirely different effect. You know, this is particular style that I’ve been working on the last two decades. Involves understanding Blues, R&B and jazz on one hand and the other hand you have to understand Western European harmony for the last few hundred years. Understanding diatonic scales, diatonic modes, all the world of scales. We only listen to about 17 of numbers among nearly thousands of different permutations of the 12 tones that we work on. And what I’m trying to do – is put all this together.”
Satriani about Midnight:
“What I did many years ago – I wrote a piece of music that was base entirely on some chords that I like. And then I took a melody in a chords and put them into a two handed technique. But I played it more like Chopin piece where the timing would fluctuate as the song called “Midnight”. It’s not really as hard as you think. What you mentally get passed the idea that you’re not good and a strong at all and you have to find the notes everywhere. Then something else starts to work inside of you and you start to see where everything is. But I got to say there’s one thing that you need to know – when you try to explore some more difficult parts about music on the guitar – you have to know where every note is on the guitar. After that every time you look on it you see a familiar roadmap. And almost anything could be put together if you spend enough time.”
Satriani about House Full of Bullets:
“This one has a special little trick. I took a normal suspension resolution that exists on the top part of your chords. And I decided to write a chord progression where that never happened but I put it (and it’s necessary if you want people to listen to a piece of music for a long time. You have to have a question and an answer, a tension and the resolution) in the bass and then all other notes on the top could stay in a state of suspension. I hate it, but this thing happens over and over again – this thing that happens when you take a tension resolution out of the treble and you put it in the bass – is that this feeling of suspension alous the melody or improvisation to also visit many different places and almost change a direction of the sound of the melody or improvisation. Because they have this freedom. Because the third in this case – the major third or the minor third – is never expressed. You don’t know what it is, unless I played it. And I can avoid it and leave you wondering what’s happening. Or I can play different ones over and over again.”