![]() It’s something I haven’t really done for a whole song before. It’s just simple chord vamps, and it was a lot of fun to record and just play emotively over. Its harmonic structure is based largely on the diatonic 7th chords in D major. “Carlos Santana is a master at this kind of improvisation, and this song was obviously inspired by him. I’d often use major and minor 7th chords, which are the kinds of things you don’t hear in heavy rock contexts too often. When I was younger, I would sometimes write by laying down simple chord progressions on my cassette recorder and just improvise over them. “This is one of my favorite tracks from my new record. I can be obsessive about things, and if I get sucked into that vortex it can take way too long to get anything done.” "Fly" – To the Core (2009) Now I trust my instinctual first response a bit more. There was I time when I would experiment with all different possible modulations and permutations if I needed to find a chorus to fit a verse, for example. “One thing that’s evolved in my writing process over the years is that I tend to make decisions much more quickly than I used to. I’ll either have nothing or too many ideas to fit in one song, and I’ll have to go into editor mode. It’s kind of a feast-or-famine thing though. When that happens, usually the floodgates open and I’ll get a bunch of related ideas. “My writing process is essentially me picking up the guitar and playing until I hit on a riff that inspires me. I get much better results if I let things happen organically.Īround the time I wrote 'Fly', I was influenced by some techno music, and you can definitely hear it on that whole album ![]() I find that I’m not very good at that anyway, because I’m not inspired. “I don’t put limitations on myself, nor do I set out to write something in a specific style just for the sake of doing it. I’ll imagine how people may react, but I’m not governed by what I think their reaction is going to be. “At the time I remember being aware that I was changing things up and wondering how people might perceive it, but I really didn’t let that influence me. This song became something of a catalyst for me as well, as it opened the door that took my playing in other directions. To me, it kind of sounds like a rock band, but without a singer. It’s much more blues based, and there’s added emphasis on riffs and rhythm playing. “I totally changed directions on the title track of my third album, Meltdown. But I’ll do my best to explain it anyway.” "Daydream" – Mind's Eye (1986) I tend to play and write more by intuition and am not always conscious of where my inspiration comes from. "But it’s harder for me to talk about my own stuff. ![]() “The open-string pull-offs on Van Halen’s ‘I’m the One,’ the harmonies on the solo to Deep Purple’s ‘Highway Star' and the phrasing and lyricism of Santana’s ‘Samba Pa’ Ti’ were all things that found their way into my style, for example. “If you wanted me to name the songs that inspired me as I player, I could immediately reel off several,” he explains. It’s really important to me to compose with a coherent structure and have melodic hooks that stick in people’s minds When asked to cite his quintet of career-defining tracks, Moore is earnestly humble. Moore’s ninth and latest solo album, Soul Shifter (Mind’s Eye Music), is a cornucopia of thrilling, yet tasteful guitar virtuosity that pushes the boundaries of instrumental guitar music beyond the narrow confines of neoclassical shred. He’s also logged time with Vicious Rumors and appeared on recordings by Destruction, Jordan Rudess, Glen Drover and Michael Angelo Batio. Before joining forces with UFO, he was drafted to be in Alice Cooper’s band and appeared on his 1991 release, Hey Stoopid. Now I trust my instinctual first response a bit moreįar from a mere speed demon, Moore became known for the melodic lyricism of his lead lines, the structural cohesion and accessibility of his compositions, and the general diversity of his style. There was I time when I would experiment with all different possible modulations and permutations.
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