On this new record, I tuned to C#-the Black Sabbath tuning-but on anything else that involves piano, it’s always standard tuning.
On the first album, I dropped the E string to A, so I had two A strings on the bottom. On the early records, I would drop the low E string down to B, so the rest of the strings are normal, and all the scale patterns would still be the same. What are the drop tunings that you use most?
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I mean King Edward didn’t just wake up one day knowing how to play “Spanish Fly.” This is stuff you can do while watching TV, but the important thing is to do it constantly. You can go from playing pentatonic scales and diatonic scales and harmonic minor scales, then you start working in passing notes, and bring things up to speed by constant repetition.
So when you’re cooking stuff, you can put a little bit of seasoning salt from everything you’ve learned from all these different amazing players and bands that you love listening to. That’s your Rolodex of knowledge, and your pantry of flavors. You learn certain things from Dime and certain things from Metallica-like how to compose song structures and stuff like that-and certain things from Zeppelin or Sabbath. That’s all it takes-so you learn those riffs and you expand on them. That’s why I sometimes just grab a bass when practicing. The cool thing is that so much of that stuff, whether you’re talkin’ Zeppelin or AC/DC or Sabbath, can be played on one or two strings. I mean, you can tell a kid that it’s important to learn from Clapton or Hendrix or whoever, but it’s not going to do them any good if they don’t like that kind of music. When you were teaching guitar, what were some of the things that you instilled in your students?Ī lot of it was just helping them learn how to play the stuff they loved listening to. So you’ve got to know what it is you’re going for, and use the right sounds for it. If you want to write stuff that sounds like Dickey Betts, you’re probably going to want to back off the distortion, and maybe just play straight into the amp. If you write on an acoustic guitar or piano, it’s going to bring out entirely different things, and you’ll write songs that sound like Neil Young or Elton John.
If you’re using an overdriven tone, that’s going to bring out certain things. You have to be inspired by things that you’re into, and your technique and sound play right into that. Songwriting is all about creating what it is that turns you on. How do technique and tone factor into your songwriting? When I recently came off the road with Sabbath, I had like 22 days to write songs for the new Black Label album, so that’s what I did every day until we had enough tunes to go in and record. It’s like a daily muscle-building workout, and, sometimes, it leads to coming up with new riffs that turn into songs. The patterns and the picking and all that was just a mindblowing experience for me. My guitar teacher turned me onto McLaughlin, and that was my first time hearing somebody play pentatonics that way. His use of pentatonic scales is just so extreme-even on acoustic-and he’s picking everything.
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