Joe Satriani: Master Class "Flying In A Blue Dream" Chords

So the beginning of course, it's all about the proximity of the amp, the guitar, and the monitors in the room.
The other thing that was kind of interesting about that was that I could get some positive, just regular good fundamental feedback on the B string notes.
And once I get a _ go-ahead from the feedback goddess that like, [C#] that's going to work [B] tonight, then I'm going to do that again, I'm not going to try something else. _ _ _ _ _ _
_ _ _ [F] _ _ _ _ [B] _
_ [F#] _ _ [B] _ _ _ _
[G] The whole thing _ is built around this, again, this very strict structure.
There are no drum [B] fills anywhere.
We actually had a full drum performance, but we got rid of it in the studio, and we decided the only _ fill would [F#] be a [C#] backwards [F#] cymbal swell, and then a crash, and that would be it.
So [B] we decided in [E] order to focus more on the performance of the [B] guitar, we had to make everything just completely supportive.
No drum fills, no bass fills. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [D#] _ _ _
_ _ _ When _ [B] _
I [F#] was writing it, I thought, [B] can I do this?
Can I hold the [F#] audience's attention [B] with such _ strict arrangement [G] rules?
As a melody _ _ [G] starts down low and tells a story and [D] ends with the chorus [B] as the [F#] high notes, does that [B] work?
Or should there be a verse, [F#] a [B] refrain, a verse, a chorus, and a bridge, you know, [F#] a verse and a chorus, that kind of [B] thing.
It's like, I'm fooling around with structure.
So as I play, I'm in the studio and I'm playing this verse, we realized, well, we have to get a very unique tone,
[C#m] and I have to be able to get [B] the right harmonics and feedback [G] exactly what I want, and I stood right next to the recording desk,
and we had [B] pieces of tape [E] _ on the console that [B] told me [F#] to go [B] here or here or here to get certain notes to ring out.
And the NS10s were on the [F#] console, and they were aimed right at the pickups, we're not playing too loud, [B] so I could control feedback.
I wouldn't get wild squeals and low thumping, [E] humping noises, you know, I could really control [C#] just by doing [B] this and stepping to the side.
That worked really well. _ _
[E] _ _ _ _ _ _ [Bm] _ _
[B] _ _ _ _ _ _ _ _
[F#] _ _ _ _ _ _ [C#m] _ _
[B] _ _ _ _ _ _ _ _
[C#m] The other thing that's risky is trying to get the high C harmonic.
That's one of the things I noticed many decades ago, that [D#] I really liked the screeching noises here and [B] there,
but I [F#] thought it would be [B] better if guitar players played them [G] in tune, and if they hit notes that were part of the song, rather than just going wee, you know, all the time.
Because it has, there's [D#] a comic effect to it.
Even when it's done really well and in tune, it's risky. _ _ _ _
[F#] _ [C#] _ _ [F#] _ _ _ _ _
_ [B] _ _ [E] _ _ _ _ _
[B] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[G#] _ [C#] _ _ [F#] _ _ _ _ _
_ [B] _ _ [E] _ _ You put yourself [B] in a position that you're out of your element, you don't know really how you're going to be able to pull it off.
It's not hard, like lifting [G] something heavy, [B] it's not like the fastest thing you're ever going to try to play.
[F#] It's just a new [B] environment to try to create some musical [C#] magic, and tell [B] a story that people will like to listen to.
_ [C#] _ _ [B] _ _ _ _ _
_ [C#] _ _ [B] _ _ _ _ _
_ [C#] _ _ [B] _ _ _ _ _
_ _ _ _ _ _ _ _
_ [D#] _ _ _ _ _ [Bm] _ _
_ [N] _ _ _ _ _ _ _
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