the JOHN TAPELLA interview with Joe Matera for

This interview is published with the courtesy of Joe Matera--songwriter, guitarist and freelance writer. Joe's website is DiBliss Music where he posts guitar and bass lessons, the Official Aria/Aria Pro II Guitar Page, recording credits, and interviews with other artists.

John Tapella is a neo-classical guitarist and guitar transcriber of many titles for Hal Leonard Publishing, such as Vinnie Moore's "Time Odyssey" and Testament's "Practice What You Preach". He recently got together with Joe Matera to discuss the many facets of his work, from transcribing to "challenging the masters."

the JOHN TAPELLA interview

JOE MATERA: Tell us John, about your guitar background such as your influences, education, etc?

JOHN TAPELLA: I started teaching at 18, for a guitar housecall company. I went to SDSU (San Diego State University, where I actually saw Jake E Lee play with the band Teaser, five times before he was with Ozzy. I even watched him play piano?!! for awhile, and then opened my own guitar lesson shop in San Francisco called GUITAR EMPIRE which is now www.GUITAREMPIRE.com

JM: You are also a transcriber with many books under your belt, can you tell us a bit about this aspect of your work and what it entails?

JT: The first book I ever transcribed was for POISON, Open Up...followed by Eric Clapton Crossroads - the boxset followed by the first authorized Stevie Ray Vaughan book Lightning Blues. Stevie was still alive while I was writing the book, and just before I finished the book the whole crash thing happened. Man, that was a downer. First off, to transcribe, I use the Ibanez rock'n'play which breaks easily, (I've been through five of them, but I would not say I use them carefully - full-time transcribing for years is tough on any player), but it is easy to use. Basically, to transcribe you need to study the rules of notation, I mean how long stems should be and so forth. Take each tune phrase by phrase or note by note, or even one note at a time and write it down. The more scales and chords you know the better! The whole thing is if you already know it before you hear it, then you just need to transcribe the order of the notes. Speed playing and distorted mixes can be impossible to transcribe because sometimes the guitar notes are covered, they really aren't in the audio.

JM: What's your gear set-up?

JT: I'm back to basics: Fender amps, Randy Rhoads Jackson guitar, and a rare Clark nylon string (there are probably only 30). I have been through everything, I mean Lab series to Marshall - I might try Line 6, maybe?

JM: I have noticed that "shredding" and "classical" are back in vogue in the guitar playing world with Satriani, Malmsteen, Gilbert and the like all releasing new material in the genre, so do you think that it's a natural progression from the "alternative" scene or a backlash from it?

JT: It's almost a seasonal thing. Each market gets oversold or exposed and then fades for awhile returning again sort of like that cartoon "the goddess of spring". The natural state of things, I think, is what happened in the 60s and 70s. You were able to see each band play several different styles in a set, and this was great. In the 80s and 90s, we have been trained to focus on one sound and one style, basically because it's easier to sell, not better music.

JM: You also have a new album out?

JT: Actually, it's probably the first collection of guitar songs I have ever put together, called GUITARKNIGHTS. It has a great piano guitar piece by Shubert on it called Erlking, and some moody meditative warrior music, available at www.GUITAREMPIRE.com. I'm also coming out with a new lesson site called CHALLENGETHEMASTERS.COM out soon. (Now on-line)

JM: What has been the highlight of your career?

JT: Today is probably the most happening time for me. The GuitarEmpire web is really happening, and I just finished scoring a 20 minute musical for the famous Lido Theater in Paris.

JM: Have you any advice to share with guitarists to help them reach their full potential?

JT: Don't get jealous. Don't put other people down for their playing. You have to concentrate on what you want to do and study and appreciate the works of other people. Don't rip off works of your friends, take a little from them and add some originality. I have found that the people who take ideas and riffs from others blatantly without giving credit are usually mediocre musicians and writers. I mean, if I use a Mozart riff, I give the guy credit when possible.

JM: The Internet has made it possible for any unsigned bands and guitarists to get their music out, and reach an audience that would have been impossible 10 years ago. This certainly would have to be the most positive thing to happen to music in many years?

JT: Definitely the guitar magazines have become a closed market. The Internet is everything!

JM: Any touring?

JT: I just turned down a two week tour, but I'll get there eventually.

JM: Thank you for your time, John.

Special thanks to Joe Matera for the use of his interview with John Tapella. See Joe Matera's website at DiBliss Music where he posts guitar and bass lessons, the Official Aria/Aria Pro II Guitar Page, recording credits, and interviews with other artists.