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You can go to cart and save for later there. Joe Satriani: Guitar Secrets. I took two months of lessons with him and it had a profound affect on how I organized my life as a musician. I now understood what dedication was to practicing. Lenny was a very unique person and master musician. He had a way of getting inside of you in about a minute and figuring out all the things you lacked.
Joe Satriani – Guitar Secrets | Hal Leonard Online
I was 17 at the time and he said to me, "You're not too bad Joey. Maybe in about 15 years you'll be able to play something.
Lenny didn't have a crystal ball, but that was sort of eerie when I think about it. TCG: What was his approach in teaching you? JS: Well his approach was when you made a mistake during the lesson, the lesson was over unless it was an improvisational part. There were chordal studies and scales, learning a melody, improvising, going back to the melody. There was singing along with recordings and memorizing every note and the inflections of a solo from anyone.
It could have been Charlie Parker or Tony Iommi, he didn't really care. It was overwhelming. It would take six to eight hours a day to figure out how to play it. The first couple of lessons were over in less than fifteen seconds because I'd get freaked out.
He would tell me that to be a great musician you can't get freaked out. It was very inspiring and I realized that you never stopped working on Lenny's lessons. It's a life quest. Every night on stage, something he said comes to mind. TCG: You're songs and solos are extremely lyrical and melodic. Is this related to the Lenny experience?
JS: I'm not really sure what makes me edit my melodic ideas, but it probably has a lot to do with what I listened to when I was young. I was born in and I was listening to the music of my parents and older siblings. Even though I later picked up on other music I still had these other roots echoing inside of me.
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A lot of that music was very melodic sounding. When I play some music and it's not quite melodic enough, I actually get offended and I'll edit it down and make sure that it's a unique melody and it's not just me playing. And then I try to make sure the solo content is some extrapolation of the melody. My point is not to show people how well I play. I'm just concerned about the music and creating a feeling and a mood. TCG: How do you balance the musician and the technician aspect of the music? JS: I realized early on that music that had an affect on me was accomplished by technique.
My hero was Jimi Hendrix and he had that ability to turn the technique on and use what was necessary to make his music. People will hear it and their emotions and state of mind will be elevated to the point of the music. Then the technique is looked upon as a positive thing.
So really, I only try to use the technician part of my playing when I think it's necessary to complete the vibe of the song and get the message to the audience. TCG: Do your compositions come as inspirations or do you sometimes attempt to play a tune in a certain time or harmonic format? JS: Usually I hear it as an inspiration but it's difficult to put into words. It sort of comes together before I know what's happening and I scramble to write it down or record it before it evaporates.
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I have about songs recorded and maybe there's three or four that had more of an intellectual beginning. I thought the chords produced from this scale were amazing and I ended up writing this riff based on the scale and sounded so spooky. I tuned the guitar to a D diminished scale and the result is one of my favorite recordings. TCG: Do you explore many tunings? On the new CD there's one tune where all the strings on the guitar are tuned to E. That's on a double neck. I've used open Em7 and Em11 tunings.