세션 기타리스트의 음악적 특성과 연주 기법 분석 : 로스앤젤레스 세션 씬 사례연구: Steve Lukather, Dann Huff, Michael Landau 비교 = Musical Traits and Performance Techniques of Session Guitarists: A Los Angeles Studio Scene Case Study Comparing Steve Lukather, Dann Huff, and Michael Landau

다국어 초록 (Multilingual Abstract)

This study examines the musical language and tone aesthetics of three Los Angeles–based session guitarists—Steve Lukather, Dann Huff, and Michael Landau—and clarifies how their practices shaped track-making in the late-1970s through 1990s studio environment. Using representative recordings for each guitarist, I prepared performance-accurate transcriptions of both lead and rhythm parts and analyzed them along four axes: (1) scale materials and note targeting, (2) phrasing and time feel, (3) rhythm voicings and part-building, and (4) tone design and signal flow. I also evaluated song-level energy design (build/release) and the placement of guitar timbres within the mix.
Across all three, common traits emerged: a consistent balance of simplicity and complexity; groove-first harmonic support that avoids root duplication with the bass; selective emphasis of chord tones as landing points; and tone choices made for mix readability (dry center image with time/modulation effects placed in stereo). Individual profiles, however, were distinct. Lukather combines blues-derived behind-the-beat phrasing with aggressive whole- and 1½-step bends and high-gain sustain, often interleaving major scale and pentatonic runs within a single phrase. Huff favors pentatonic materials articulated with hybrid/chicken-picking, frequent duplet–triplet interplay, and top-string triad inversions that sit above dense arrangements; in chorus sections he prioritizes syncopated groove over explicit chord spelling. Landau’s phrasing is subtly behind the beat with an underlying triplet feel; minimized pick attack, chorusing, and carefully paced bends yield floating legato lines augmented by blues-scale colors and chromatic passing.
Methodologically, the study systematizes on-the-spot part making, mix-oriented voicing, and tone decision-trees that recur in high-pressure session contexts. Practically, it offers an applied framework for performer training and production: (i) four-stage solo design (motif → ascending run → chord-tone landing → release), (ii) root-avoiding upper-structure voicings for rhythm clarity, (iii) intentional time placement relative to vocal/snare, and (iv) dry/wet routing that preserves transient focus. These results help re-define the creative and economic role of session guitarists and provide a transferable template for contemporary in-studio and remote-session workflows.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 배경 1
• 2. 연구의 목적 2
• 3. 연구의 방법 3
• Ⅱ. 본론 4
• 1. 스티브 루카서 4
• 1.1 기타 Rig 5
• 1.2 분석 8
• 1.2.1 Michael Jackson: "Beat It“ 8
• 1.2.2 Michael Jackson: "Human Nature" 10
• 1.2.3 Olivia Newton John: "Physical" 12
• 1.2.4 Earth, Wind & Fire: “Back on the Road” 15
• 1.2.5 Lionel Richie: "Running With The Night" 17
• 2. 댄 허프 18
• 2.1 기타 Rig 19
• 2.2 분석 23
• 2.2.1 Lou Gramm: "Angel with a Dirty Face“ 23
• 2.2.2 Clint Blacks: "Summer's Comin'“ 26
• 2.2.3 Chicagos: "I Don't Wanna Live Without
• Your Love"‘’ 29
• 2.2.4 Michael Boltons: "Soul Provider“ 31
• 2.2.5 Madonnas: "Like a Prayer“ 33
• 3. 마이클 랜다우 34
• 3.1 기타 Rig 35
• 3.2 분석 38
• 3.1.1 David Garfield and Friends:"Bad Girl" 38
• 3.1.2 Michael Boltons: "How Am I Supposed to
• Live Without You" 42
• 3.1.3 Maxus: "They Danced" 44
• 3.1.4 Joni Mitchell: "Wild Things Run Fast“ 49
• Ⅲ. 결과 및 논의 51
• Ⅳ. 결론 53
• 참고문헌 56
• Abstract 58