Artist Interview:
Franco Morone
by Stephen Rekas
Who or what events inspired you to play the guitar? Was music a part of your household when growing up?
When I was child I was always listening to music and choosing my favorites LPs by the color of the label, even before I was able to read.
How old were you when you began to play?
I was 11 years old.
Do you feel that your starting age is a critical factor in playing your style?
Not in my case- but sure, it helps a lot.
What styles interested you when you first began to play? How do those preferences influence your current music? As a youngster growing up in Italy, how were you exposed to American fingerstyle and Celtic styles?
With my first bands I was playing mostly 70s and 80s rock and pop songs; later I got into progressive rock like King Crimson and Deep Purple...neither of which resemble the music I play now. Of course, that was a long time ago, but when studying at the university in Bologna, being very impressed by Kottke, Fahey and the pioneers of the blues guitar- I started to play acoustic guitar.
Please describe your formal music training.
At first I got lessons in flatpicking guitar and played mostly chords; then after a couple of years I was playing with bands.
So are you basically self-taught as a musician and fingerstyle player?
For the most part, yes. I took a degree in law but as I never enjoyed business and routine, so I never took a job in that field.
That's remarkable!
Did you seek out any particular teachers, artists, or method books? Do you play any other instruments besides the guitar? Any particular advantage or disadvantage to being a multi-instrumentalist?
Any teacher, artist or book could help you if you really like their music and the way they play; that is the most important ingredient. In that context I could mention many artists who influenced me. Playing more instruments opens your mind and increases your musicality, but then if you want to be a professional, you must choose one and possibly decide what style of music you like to play.
Is there anyone you would like to collaborate with in a recording or tour?
Recently I performed on stage with [woodwind player and composer] Paul McCandless in Oregon; he likes my music, and I certainly enjoy playing with such a great musician; I would like to play with a few other musicians like Donal Lunny, Dave Spillane, and Darol Anger.
What musical avenues do you wish to explore in the future?
Recently I toured with Tim Sparks so I've got some idea of Klezmer and Eastern European music, and I think that ethnic fingerstyle could really be a new direction in guitar music.
What keeps you interested in the music business?
I'm not really interested in business; if I were, I would have a different job! [laughter]
I enjoy performing on stage more than working in a studio or writing music on a computer. Teaching is also great, but much better done in my summer workshops in Italy than in a traditional classroom or studio situation.
Have you ever had to weather a creative dry spell in your playing or composition?
Being creative is a mental condition that requires communication; I mean, you must feel something, but also having a good vocabulary [for expressing your thoughts and feelings]; otherwise, that communication could become difficult- especially on the guitar.
Which of your albums would you recommend to someone buying one of your recordings for the first time?
I would suggest Running Home and Melodies of Memories.
Technique
How did you assemble the body of technique you have now and how do you go about teaching it to others?
Techniques are just a series of tools to play music; sometimes a given musical genre requires specific techniques. I generally teach my students how to use those techniques in particular tunes or exercises without too much theory- just enough to speak about the music you are playing at the moment.
Have you produced any instructional materials - books, videos? Planning to write or produce any?
I've produced various books and videos, and I'm very proud that Mel Bay put out my collection of fingerstyle jazz tunes [Blues & Jazz for Fingerstyle Guitar 99397]. I would like Mel Bay to also publish a book about blues that I use in my workshops. I'm just finishing a transcription book of the Running Home CD. The next one will be an Italian fingerstyle project; then I need to put out a DVD of some kind, maybe something Celtic.
What sort of practice routine would you recommend for the beginning, intermediate or advanced player? Describe your own practice routine.
I don't like routines very much; my method is to play parts of tunes or compositions or arrangements in the form of exercises, often changing positions and note values to achieve a flexible interpretation of the same piece of music. I just have fun! Having no routine is much better than playing Giuliani's 120 arpeggio variations on the C chord ...or studying sequences of II/V/I progressions in different keys. I try to sight read musically and conversely, with no sheet music, play tunes as precisely as possible while applying good dynamics and accents.
When preparing for a concert, do you put yourself on a focused practice routine?
I might practice a few difficult passages immediately beforehand, nothing more. I don't like to play too much just before a concert; that way I reserve the pleasure of playing for the audience.
What are your technical strengths and weaknesses?
I can drive miles and miles before a gig without asking for directions...and setting stuff on the stage and changing strings, and then I'm lucky if my nails are ok. I really have no time for stretching [working out/warming up] but now after age 50, I need to find time for that.
What are the key elements of your technique/style?
I need to enjoy what I play; that is the main point for me. If something works for me, for example in the arrangement- the duration of the sound, the way the bass works with the melody, or the way I play the melody- which on the guitar you can do in lots of different ways...but to say more about my style- I would say ornaments, harp-like effects, bottleneck, drone and open string chords characterize my style.
What is your opinion of tab vs. notation?
Piano players read in two notation systems, so I think guitarists should also do this, reading music mostly for the note values and tab for the location of the notes.
What do you do to keep your repertoire sounding fresh?
Probably by using different tunings and ornaments; I really don't know. Practicing with flexible interpretation may help.
Do you use alternate tunings in your arrangements or original compositions?
Yes, in both.
What areas do you emphasize with your students?
Love for the music they play, but first they must to learn to play what they read; I wasted a lot of time by not doing that; playing by ear is ok but there should be a healthy mix of 50% discipline and 50% freedom. As in the old Latin proverb: Virtus in medium est! [The truth lies at the midpoint!]
Do you have any suggestions on forming a concert repertoire or preparing for a concert?
Just play the easiest tunes first and remember that for various reasons we always loose some degree of quality when performing on stage; if you play a tune very well alone in your room, then you should have some chance of playing it well in front of an audience.
Creative Process
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