Style
Batio is ambidextrous, a skill he taught himself. This enables him to play two guitars at the same time either in synchronization or using separate harmonies. This includes playing completely different parts at once, as shown while playing his famous Double-Guitar. Though naturally left-handed, he plays as right-handed when playing one guitar. Batio invented and often demonstrates the "Over-Under" technique, which involves flipping his fretting hand over and under the neck rapidly, playing the guitar both regularly and like a piano.
Batio gave lessons to guitarist Tom Morello (of Rage Against the Machine and Audioslave fame) while at college. Morello has credited MAB with teaching him in a feature article in Guitar World Magazine in 2005. Michael also gave lessons to guitarist Mark Tremonti after Creed broke up and Tremonti wanted to learn more techniques. Batio is also widely known for his extremely fast and well articulated alternate picking, which he credits to his use of anchoring, or planting the fingers he does not use while picking on the body of the guitar to restrict motion.
Batio has an advanced knowledge of music theory, having a deep understanding of complex scale combinations and time signatures which assist him in his compositions. Batio has cited F-sharp minor and F-sharp phrygian dominant as one of his favorite keys. He has described F sharp minor as a "demonic" key, giving a dark, evil sound.
Read more about this topic: Michael Angelo Batio
Famous quotes containing the word style:
“The difference between style and taste is never easy to define, but style tends to be centered on the social, and taste upon the individual. Style then works along axes of similarity to identify group membership, to relate to the social order; taste works within style to differentiate and construct the individual. Style speaks about social factors such as class, age, and other more flexible, less definable social formations; taste talks of the individual inflection of the social.”
—John Fiske (b. 1939)
“Everything ponderous, viscous, and solemnly clumsy, all long- winded and boring types of style are developed in profuse variety among Germans—forgive me the fact that even Goethe’s prose, in its mixture of stiffness and elegance, is no exception, being a reflection of the “good old time” to which it belongs, and a reflection of German taste at a time when there still was a “German taste”Ma rococo taste in moribus et artibus.”
—Friedrich Nietzsche (1844–1900)
“One man’s style must not be the rule of another’s.”
—Jane Austen (1775–1817)