Just came across a new interview with Joe Satriani. There was something interesting I found around the 10:45 mark where he discussed his approach in writing instrumental music vs vocal-oriented music.
Here’s the quote from the video, starting at around 10:45, transcribed for you here to digest:
In instrumental music, the solo section is often used as a ball of frenzy. You know what I mean?
Because you already played guitar – minute and a half, leading up to it, right?
Sometimes people want, just a ball of frenzy -“You’re a guitar player and I’m only listening to you because you do your thing” you know?
And of course I kind of rebel against that, immediately. Anytime sometime tries to put me in a space and say, “Please go do what we ask”
I’d go, “no i’m not going to do that”.
Right, just because, I”m not going to do that.
There are a lot of these spaces where I don’t feel that’s the right thing to do.
Perhaps it’s the attitude, the setup that, convey the real message.
Maybe when the solo comes, you kick back and you can show the other side
if I can get a little more song-writing-vibe about this, I’d say
You can use the solo section as a bridge
and that way you don’t have to put in a bridge.
If you got a vocal song you need a bridge to give you another side of the story
and it’s usually a softer sell
sometimes if the verses are dreamy
the bridge can be something that’s pretty outrageous
It could be 2 sentences. The break out part of the story.
The instrumental can be something different sometimes
because you can’t get away with 2 verses back to back
you have to go intro, verse, right to the chorus, and then somewhere else, because you don’t have words… To give a different take on this story telling…
So then this leads me to this idea that maybe the solo should not be a ball of frenzy, that it should not be a self promotional thing where you say, again, that after 15 records, you can really play the guitar, and I’m going to show you right now.
Because that bothers me when I’m listening to a record, and I go, that guy is really trying to hammer me with that, you know.
So I would take certain songs – I tell the guys in the studio, “The solo is going to soar. This melodic thing – you can play though through it.” Whereas another song or solo, they may go, “If you play a lot of notes here, pull it in tight, so you’ve got a really rigid canvas to put the ball of the insanity on top of it.” We have to think about that as we put together the record to make sure we produce every song right. I mean I’m looking at that too, but I’m thinking, “This record has needs to be the most melodic, and I want every solo has to have an invention in it, a motif.” Every couple of bars is a signature that you would say is a melodic signature, not just proof again that, “yes he did practice for all those hours”.