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 The basic contents of “Always With Me, Always With You” came to Satriani's creative mind while he was sitting by himself with a guitar in his hands. While his mind was free of distraction, the tune simply founds its way down to his fingers. From that point, Satch worked tediously on the piece, editing down every nuance of his playing in an effort to keep it appropriately subdued.
He was going for the kind of vibe a saxophone player in a small jazz club exudes while on the bandstand -standing alone playing the melody of a tune, improvising a bit, then bringing the tune back in the end. He felt that each of his melodic outbursts had to be free of any guitaristic self indulgences. It's an approach that much more subtle than some of the in-your-face, over-the-top chops displayed on the other cuts from Surfing with the Alien.
First Part – Introduction and Primary Theme
To achieve combination of maximum gain and sustaining power while also maintaining the ability to allow notes to die out naturally with virtually no feedback, Satriani used a Pultec tube equalizer in combination with a GML equalizer and a Rockman. These items helped him generate the stinging, horn-like guitar tone he used to perform the staggering melodies and solos in this song.
Like “Rubina” from Not of This Earth, this song is another powerful example of Satriani's sensibilities within the confines of a basic major scale – in this case, B major (B-C#-D#-E-F#-G#-A#). Joe sticks to notes from this scale exclusively for the tune's entire melody.
You can listen the streaming audio of above notes. Click the play button to start
Part 2 – First Guitar Solo
While composing the harmonic structure for this song's guitar solo, Satriani employed a concept he previously used to extremes on the title track of his album, Not of This Earth. Remember the pitch axis theory? Since this solo fluctuates between B major (measures 1-16), and then shifts to B natural minor (B-C#-D-E-F#-G-A), it pivots between major and minor tonalities using the note B as a pitch axis.
Satriani's touch on his favorite Ibanez axe is simply beyond reproach. He's not being overly heavy with his pick, which keeps his phrasing smooth and even. In fact, the sound of his pick amidst slurred passages is almost imperceptible (measures 21-24). One effective way to incorporate the phrasing style of another instrumentalist into your own playing when studying a note-for-note transcription is to play along with the artist's recording, keeping your volume level well below his/hers. This will enable to clearly hear every nuance of the player, making it easier to replicate his/her phrasing. Focus on emulating all the basic elements of musical expression; everything from the player's vibrato intensity, bend intonations, and pick attack; to their tone, dynamics, and rhythmic feel. Studying the phraseology of a passionate player will only make your personal melodic statements all the more powerful – broadening your own range of musicality.
Listen to streaming audio below for above notes :
Slow version below :
Do you want to listen to the full song so you can catch Satriani's idea? Click here to listen.
I will limit this article ( to make sure that you won't get bored) only to this second part. Try to listen, catch Satriani's idea of the song, and replicate it with your picks. Then, you can enjoy the music.
Enjoy!
Bithear, 'cause a bit of music is not enough.
Resource :
The Best of Joe Satriani
Joe Satriani Website
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