Cris Cohen: Regarding your album “Green Chimneys: The Music of Thelonious Monk,” what are the challenges in playing pieces on the guitar that were created for the piano?
Andy Summers: Well, that's a good question. I guess the challenge is to make it sound authentic on the guitar, which specifically for me involved things like changing keys, which of course some people think is sacrilegious. I think that is a little purist. For example, a piece like “Round Midnight” was composed in the key of E flat minor, which is difficult on the... not difficult, but it doesn't give you a lot on the guitar in terms of the guitar voices. If you move it up one fret or half a step, you get into E minor, which is of course basically the key the guitar is in, and you’ve got a lot of open strings, a lot of very interesting dissonances and open voicings that you wouldn't get in E flat minor. So it starts to really sound like a guitar piece then. It can sound a lot more beautiful, actually. There's a lot of stuff you can do, which is not available in E flat minor.
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