Genius guitarist Steve Morse talks about Steve Morse, the composer.

On the surface, Steve Morse is a blazing guitar hero of the first order. But that characterization seems quite shallow when compared to the talent that dwells within. Morse is also one of contemporary music's most brilliant composers–a storyteller who weaves wonderful tales via the six strings of his guitar. Instrumentals like "Ghostwind," from High Tension Wires, and "Vista Grande," from his latest effort, Southern Steel, are certainly equal to the best of Jeff Beck, Jimi Hendrix and John McLaughlin.

I recently caught up with Steve while he was on break from his busy schedule. Rather than talk about his obviously impressive technique, I decided to ask Steve about his underrated prowess as a composer.

GUY MANN-DUDE: Opening your High Tension Wires album with the highly melodic "Ghostwind" was a very bold move. Normally, guitar records start with something more aggressive.

STEVE MORSE: It was time to make an anti-statement. I wanted to get away from the hard-and-heavy school of playing. I was working on the Kansas record with Bob Ezrin at the time and he was always encouraging us to do the unexpected. Also, I worked real hard on that song and wanted people to hear it, so I put it first.

GMD: I thought High Tension Wires was a real masterpiece.

MORSE: I'm real happy with the way it turned out. A lot of time went into that album. Even a song like "Third Power" was an intense study in counterpoint.

GMD: Do you ever run out of compositional ideas?

MORSE: I have more of a problem with finishing things. There's always a lot of ideas floating around–in fact, I think I take it for granted. The hard part is to turn the ideas into completed tunes that I'm completely happy with. When I write something too quickly I'm usually dissatisfied with the results.

GMD: Do you compose on a regular basis, or wait until you have to make an album?

MORSE: A little bit of both. I usually write when I get bored of practicing, so I have something new to work on.

GMD: Do you ever compose on the piano?

MORSE: I try to write a certain percentage of my music on the piano so everything doesn't sound the same. I tend to write my counterpoint stuff on the piano.

GMD: Do you have a specific methodology for writing melodies?

MORSE: I try not to. Sometimes I'll record ideas into a simple, hand-held tape recorder; other times I'll work things out on a sequencer. However, a good part of my music is written on the spot during band rehearsals. I really enjoy that approach, because it forces you to think on your feet.

GMD: You put your music career on hold for a while to become a professional pilot. That seemed like an odd move.

MORSE: I like to do many different things. I simply thought that being a pilot would be neat. I've flown for 16 years, but never did it professionally and I wanted to see what it would be like. I also didn't want to worry about having to make a living from music.

GMD: Did you touch the guitar during that time?

MORSE: I tried. I had a long drive to work, so I did a lot of practicing in the car. It used to freak people out because I used to steer the car with my knees while playing with my hands–that was a trick I learned while at college. I even have a guitar with a small neck that allows me to play and drive more easily.

GMD: What new techniques did you explore on your latest album, Southern Steel?

MORSE: 'Vista Grande' is interesting. I approached the melody from three different directions. It's played with a distorted tone, then it's arpeggiated, and then I play a variation with harmonics. It's a tough one to play live.

GMD: Do you ever get attacked by guitar purists for using a guitar synth?

MORSE: Not really, because I don't let it dominate my actual guitar sound. Most people don't even notice I'm using a synth, because the guitar sound is usually pretty prominent in the mix.

GMD: How much do you practice?

MORSE: I practice about an hour every day–less if I'm playing a gig. If I'm performing I'll usually only play after the show. I'll go back to the hotel room and review all the parts I screwed up or things I want to improve. Sometimes I'll work at things that are more obscure, like trying to play certain solos more freely. I'll just spend a little bit of time going over the solo trying to pin-point small problems. Those 20 or 30 minutes really help in improving the caliber of my playing while on the road.

GMD: Are there any areas of your playing that you pay special attention to?

MORSE: Sure. As a result of playing with people like Vinnie Moore and Frank Gambale, I've been trying to work on my sweeping.

GMD: How much attention do you pay to other guitar players?

MORSE: I'm generally intrigued with people who put emphasis on music rather than pure technique. I recently worked out a few Stanley Jordan things note-for-note to get a feel for his tapping technique. I also tried to work out a lot of Eric Johnson's licks because he was getting a lot of interesting tones.

GMD: What are your future goals?

MORSE: I would like to score films. I scored a chase scene in a movie called Ski Patrol, and I thought it was really fun. I would also like to run into someone who would say, "Steve, you really ought to take advantage of our symphony" [laughs]. Writing for an orchestra would really be great. I think I have the vision for it, but I'm not sure if I have enough practical experience. I'd also like to expand my clinics to include younger kids. The guitar is really a very constructive hobby.

Transcribed by John D. Smith