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Q: Pardon
me if you've answered this somewhere before, but what is the actual
time signature on 'Solent'? Is it 20/8? - from Adrien
A:
Actually, 'Solent' is simpler than this. The main riff is in 5/8. In
the bridge it goes to 7/8 but the last bar is 8/8 (or 4/4). With this
tune, like many others I usually come up with the riff or motif first
and then sing melodies in my head as if they are songs. I then try
playing them and modify them to suit the guitar. Hope this helps.
Q: How do
songs like 'Desert Rose', which have so many different parts/tracks
develop? - from Adrien
A: A song
like 'Desert Rose' is not reliant on the guitar. It is more production
driven. The guitar has its place but it is not central to the song. On
songs like this I like to do various parts or layers and then let the
producers come up with a composite.
Q: I was curious about a song included in Sting's 'Ten Summoner's
Tales' album, called 'Everybody Laughed But You'. What's the story
behind this song and have You also worked on it? I think this is a
very lovely song and I was surprised that it has such a small
publicity compared to other songs from this album. Have you ever
performed this song at some gig? - from Arthur
A: I
remember this song well and am a big fan. We used to do this and still
do in soundchecks. We have often tried putting it in our set but there
never seems to be a place for it. It is kind of isolated as a song.
But we all like it.
Q: I was
wondering what effects do you use on your Guild Paloma when you play
'Fields Of Gold'. - from Carlo
A: I use a
bit of chorus for this song.
Q: I was wondering what tuning you use for country/slide guitar, e.g.
on 'Fill Her Up' from the 'Brand New Day' album. - from Lars
A: I use
normal tuning for slide. I am not a slide expert. Sometimes it is good
to use DADGAD.
Q: I've
been obsessed for years by the 'Mercury Falling' album and specially
by 'I Hung My Head.' What's your opinion about this song
(lyrics/melody/harmony and time signature ) Have you ever thought
about making an acoustic version of that with Sting? - from Nuno
A: I also
love this song. The time signature is out there (9/8). It reminds me
of the Mahavishnu Orchestra approach to a guitar riff. Perhaps I will
one day do an acoustic version!
Q: I
really like the guitar on 'I Was Brought to my Senses' and was
wondering if you came up with that part, or if Sting worked that out,
or was it collaborative? I also really like how it starts in D and
then shifts up into G. I was wondering if that was like that from the
beginning, or if that was something that was arrived at after some
evolution etc. It's really effective musically I think, fitting what
the song is about, (a kind of epiphany) so it seems like that may have
been the plan from the beginning, but wondering if that was indeed the
case. - From Brian
A: 'I Was
Brought To My Senses' was initially Sting's creation. Actually, it is
he who plays the intro on guitar and then I take over when it goes
into tempo (which I am sure you worked out was 7/8). The opening bars
were jammed for a while in the making of the song until Sting started
singing, finding his melodic idea too high. This is why we were
looking for a better key to go to. I remember the moment well when we
realised the best place to go was G major (which is just down a tone
from the previous chord (A major). The thing with key changes is to
make them sound natural and not mentally (or emotionally, more
importantly) challenging. A good example of this can be heard on 'When
we Dance'. It actually goes up a semitone but it very well concealed.
Going up a semitone is the hardest key change of all. Some people just
go up one, but there are better ways and I think this song
demonstrates this very well.
Q: The intro to 'Mad About You': normal or open tuning? Which guitar
and which effects? - from Neil
A: 'Mad
About You' is played with the guitar tuned down a semi-tone. On the
album I used a Buzuki and a Telecaster playing the same riff.
Q: I
always wondered where did the guitar progression on 'Bring On The
Night' came from, as it always looked to me as a classical study. I've
seen you have added the song into your solo concerts' set list, so I
guess you do like it quite a bit. Could you also tell me how did it
evolve to become 'Never Coming Home' and what was your participation
on the arrangements? - From Julio
A: 'Bring
on the Night' was played by Sting and I think it is influenced by a
combination of Villa Lobos and Spanish music. If you listen carefully
you will see that the shapes are the same as 'Fragile'. 'Never Coming
Home' is indeed based on the same riff. I came up with the electric
ideas for that song but also played the acoustic part (which is
Sting's).
Q: I've
seen you play 'Seven Days' a few times live and you seem to be using
open tuning. Or are my eyes deceiving me? - from Neil
A: 'Seven
Days' is played with normal tuning.
Q: In the
song 'Hounds of Winter', you play a guitar figure over verses 3 & 4.
It's quite low-down in the mix. It's a rolling, finger picking sort of
thing. I love it - it complements the song just right. I've seen you
play it several times but it's kind of over in a flash. Can you
describe it? I want to play it and I know that with a description from
you I'll be able to. - from Garry
A: I am
glad you picked out that part for 'Hounds of Winter' because I like it
too. I had to kind of sneak it in there when we were making it so as
not to draw too much attention to it which might have made the boss
reluctant to have it "survive" on the track. It's basically an open
arpeggio motif using the top E string as a kind of drone or pedal. the
notes are (from low to high) C# A E (fretted) and open E, next chord B
G# Eflat and open E again etc. If you grasp this concept of the part I
think it will make it easier for you to get the rest.
Q. What
classical guitar did you use on 'The Soul Cages' album? And what
electric guitar gear did you use - I've found out that you've used Vox
AC30 (combo?) but I'm very curious if you used any additional
distortion, especially on the title track. What electric guitar did
you use (on the videoclip for 'Soul Cages' I can see a strat-like
shaped guitar)? Did you use any pedals? - from Mateusz
A. I used
a Rodriguez classical guitar. I played mostly on a P-Project Strat
copy. P-Project is the custom store of Fernandes guitars. I
occasionally used a Les Paul. I played a Basuki on 'Mad About You'
which was doubled with a Telecaster. I also used a few Boss pedals
(delay, chorus, distortion, and compression). I mostly recorded the
electric DI (straight into the desk). Hugh Padgham, the producer and
engineer had me going through some good pre-amps. Yes I did use a Vox
AC30 but also used a Messa Boogie Mak 3 amp.
Q. How did
you compose your parts on 'The Soul Cages'? Did you improvise a lot or
maybe you had a more classical approach? - from Mateusz
A. It was
mostly Sting, Manu and myself in the studio (Kenny wasn't there much)
so I had a lot of freedom with my parts on this record as I was
covering all the harmony. I try to compliment the melody as much as
possible by playing chords that are more ambiguous than anything else.
There is no formula. I like to colour the music more than play heroic
guitar parts.
Q: I
recently came across my copy of 'Soul Cages' and remembered how much I
loved your tones on that album. I wondered if the clean electric parts
on that album were stereo "rack sounds" and what you were using for
all those great ambient tones. Any pictures of your rig back then?
Also loved your tone and parts on the title song 'Soul Cages'.
Excellent riff. Was there some slight pitch detune on the main guitar
part? - from Paul
A: You
might be horrified to hear that the the set up I used for that album
(and the track 'Soul Cages') was very simple. The stereoness comes
from sometimes tracking myself. I like to get a good clean Strat sound
with a clear part and then track it and/or embellish it with something
else. I used a basic pedal board with compression, delay and some
chorus. For the heavier sounds I used a boss Heavy Metal. Most of this
album was recorded DI (direct input). I used an amp occasionally (Mesa
Boogie Mark III). I used a Fernandes Strat copy for this record and
sometimes used the Les Paul and a few acoustics. Most importantly, I
had the freedom to express myself the way I believed in on this album
perhaps more than on any other. Sting didn't really know me so he
listened. This is why it still remains my favourite.
Q: I want
to know what guitar effects are used with your good ol' Fender Strat
on 'The Wild Wild Sea'. - from Filip
A: For the
'The Wild Wild Sea' I remember going straight to the desk (no amp) and
the only effects were compressor, delay and chorus pedals. Quite basic
really.
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