otherwise have as an option. If a song is in for me playing live to be able to be a lead guitar [Daniel] You want to match the temperament
F#, I might capo on two and all of a sudden player and the rhythm guitar player. That’s a of the song. If it’s a really passionate, exciting
that opens up the high B and E string for open concept that if you have two guitar players you song, you really want to dig in and have a tone
chord voicings where I can leave them ringing. I don’t have to worry about. and feel that matches that. And I think that’s
can play all my melodies on the G string, or up
really what it means to have an attitude. If
on the B string against the E string that rings For the longest time I was trying to marry the there’s a passion to the vocals and a passion
out, and suddenly you’ve got this whole world lead guitar player and rhythm guitar player role to the song, you want the guitars to mimic that
that opens up. You can get really cool voicings by having simple parts, going back to the idea if you can, especially live. In the studio, you can
with just a few hand movements, and without of doing more with less. At the very beginning kind of get energy out of a lot of different things.
having to do a bunch of guitar acrobatics. of “Your Grace is Enough” I’m playing the whole But live, if you’ve only got a couple of people
melody on the B string, which is fine. But if you on stage, you have to find ways to bring the
[WM] Is there an open string you have a put it up against the ringing root note suddenly energy.
tendency to play the root on most? it sounds more aggressive with more attitude. Again, that goes back to the producers and [WM] As you’re playing around the G string,
[Daniel] Mostly it’s the G string in the key of G. the people I was hanging around when I first that also gives you a whole other octave
Then, if you capo up the same rule applies. In Ab started playing guitar. It was so much more between where the bass player is usually
you ‘capo one’ and for A you ‘capo two’ so you about attitude than it ever was how you played playing. Is that part of the consciousness about
can let your root note on that G-string ring out. technically. It’s about the feel and the attitude hanging out on the G string or the D string
If you’re playing G chord shapes wherever you of the song. – getting more separation between what’s
capo you can play lots of interesting melodies
happening on the bottom, so you’re creating
on the B string or even play melodies on the D [WM] It’s interesting you keep coming back to string up against the open G. That’s a tool I’ve attitude. Can you give us a breakdown of some used. Anyone who’s had to learn guitar parts of the different attitudes that are in your tool kit [Daniel] Yeah that would probably be a part of
for Chris’ songs is probably familiar with that that you frequently utilize? where that came from – trying to separate things
trick. It’s something that became really useful
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separate layers in the arrangement?
in an in-ear mix or even just where the guitar
September 2018
WorshipMusician.com