Fingerstyle Guitar Journal 4 (Digital) [PDF]
Feature Stories Workshops Jon Gomm 5 Sean McGowan 75 Sandro Albert 11 Steve Herberman 55 Miche Fambro 23 Roger Hu
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Feature Stories
Workshops
Jon Gomm 5
Sean McGowan 75
Sandro Albert 11
Steve Herberman 55
Miche Fambro 23
Roger Hudson 39
Kevin Loh 29
Eric Lugosch 95 Tim Sparks 92
Departments
Troy Gifford 47
Dream Guitar Gallery 111
Walter Rodrigues Jr 101
Sight and Sound 117 Artist/CD Profile 109
From The Editor 3
Dylan Ryche 105 Bill Piburn 51 & 89 Craig Dobbins 63 Stephen Davis 73 Tanausu Luis 83 David Oakes 81
Letter From Editor In My Humble Opinion I once knew a young man who was very gifted and he also had passion and humility. He was someone you liked right away and you wanted to do anything you could to help. At the time he was still in high school and yet to set out in the world. Once this likeable boy made his way, he started to believe every word of praise. Then his humility began to erode. Just like wind and water erode a hillside, the words of many uninformed and yes, unqualified opinions, destroyed what once was. In todays “it’s all about me society,” humility seems less common and to be honest, it bothers me. Over the years I have met many great musicians. Many I would consider genius however, for the most part, they were all humble. I believe their humility lies in maturity. They understand how vast and truly deep music is. They have been humbled by their art and by time. Innately they understand that humility is the beginning of knowledge.
I understand that it takes some level of ego to perform music however there can and should be a balance of healthy ego with humility. After all, it’s not about you, him, her, or me, it’s about the music or at least it should be. Robert Roberts, professor of ethics at Baylor University said, “What does it take to have intellectual success, to come to know and understand something challenging? Well, you need some raw intelligence and memory, and you need to work hard and persevere when it doesn’t come easily. You’ll be better off if you’re surrounded by learned people and have enough leisure and resources to support your inquiries. However, you will also need to BE a certain kind of person. To achieve significant and challenging knowledge, you’ll need some virtues. One of those virtues is intellectual humility.” “There is nothing noble in being superior to your fellow man; true nobility is being superior to your former self.” ― Ernest Hemingway
L I V E . P L AY. P L AY.
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Jon Gomm is from Blackpoll, England but he currently lives in Leeds. He is a singer/ songwriter as well as a virtuoso guitarist who has defied the odds. Jon has rejected the mainstream music industry in favor of his independence, artistic control, and a deep commitment to self-expression.
2013, and the latest is Acoustic Asylum. Do you see an artistic evolution in these projects and if so how?
To date your song “Passionflower” has close to eleven million plays on YouTube. I understand that your career took a huge leap once this song went viral. Please tell me about the inspiration behind the song and how your musical and personal life has changed since.
I watched an interview with you where you talked about being an independent artist, free of the bonds of a corporation. This is to be admired but also it’s very impressive considering the level your career has reached. Please share your thoughts and feelings on this.
Today Jon performs throughout the world and is highly respected among his peers. He is selling thousands of recordings, having YouTube plays into the multi millions, and is inspiring a new generation.
It’s about an actual plant. I threw some seeds from a passion fruit in a pot in my backyard. As a joke at the idea that a tropical plant would grow in the inner city of a northern British town. I went off on tour, and when I came back, the bottom half of my house was just covered in vines. Then when the first day of summer hit, dozens of huge exotic flowers opened. All on the same day. It was incredible to me. It seemed like a lesson in what is possible, with patient, gentle, but resolute persistence. It’s kind of a myth that the viral video was the start of my success. It’s hugely important, but I was already touring in quite a number of countries and selling a good number of records by then. But weird stuff did start happening. Suddenly people wanted me on their TV shows. You made your recording debut in 2003 with Hypertension, then Don’t Panic followed in 2009, Secrets Nobody Keeps in
I get better as a performer. That’s the biggest development that I hear. My voice gets better, my dynamics and touch as a guitarist, all the techniques that convey emotion is hopefully improving over time. That’s the stuff that I work on. My songwriting is always a snapshot of where my mind is at that time, so it doesn’t necessarily evolve. I just have different stuff I want to say.
Independence is about control, really. It suits a certain kind of person. The corporate music industry is slowly ruining music as an art, making it unsustainable financially. So I exist outside of it as much as I can. It can be really stressful but rewarding to know that every listener I have, every gig that’s booked, I can trace a line from each of them, through all the networks and whispers, back to me. Please tell me about the early years of growth as a musician and your early gigs.
I started taking guitar lessons at age four, and was in bands all through school. Then while I was at college I was paying my rent with all kinds of gigs. Jazz trios in wine bars, rock covers in pubs, country and western for line dancers, everything you can imagine, as well as recording sessions. I never expected to make my living exclusively from my own music, and I didn’t even know what my own 6
music was going to be back then. It was fun playing music. I didn’t care it about deeply, so there was no pressure. But the spiritual rewards of expressing myself artistically are important to me, so I’m glad to be doing that now. Your lyrics are very powerful, different, and poetic. Do you have any idea where this comes from or what inspires your way of thinking and approach?
I just write about things. It sounds obvious but a lot of songwriters don’t start from a point of having a burning need to get something out. They just write lyrics as a craft unto itself. It can be anything. I just finished a song about how it feels to be a human aware of the infinity of the universe, and to know we are ourselves a tiny, temporary speck of universal matter. Before that I wrote a song about a fish, so, you know, whatever. In late 2012 you found yourself both physically and emotionally exhausted from extensive touring. If you don’t mind please share your experience and tell me how things have changed since.
The first rule of being a jobbing musician is “Say yes.” Take the gig. It’s very hard to get out of that mindset when you’re suddenly being offered lots of opportunities. It can be a dangerous situation. I have a thing called Bipolar Disorder too, which is like adding nitroglycerin to that mix. Since then I’ve taken up three things: Yoga, meditation, and saying “No.” Who and or what inspire you both in life and music?
I don’t know if I’m ever inspired, as in “Holy smokes, this experience is intense and now I want to write a song about it” and I usually find music like that somewhat difficult, like “Here’s a tune about a day I spent in London, it’s called “A Day In London”. How am I supposed to empathize with that? I mean, I’ve been to London, but I’ve never been *you* in London. I need more information to be able to really feel anything.
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But I am inspired a lot in that I try to steal other people’s artistic ideas, as best I can. Aside from guitarists like Michael Hedges and my contemporaries like Andy McKee
and Thomas Leeb, and countless other fingerstyle geniuses. I get a lot of ideas from stand-up comedians. People like Stewart Lee and Daniel Kitson. I’m also inspired by novelists, Douglas Coupland and Haruki Murakami. If you do not mind I’d like to ask about your family, mom, dad and siblings.
Sure. I have a fantastic mother who taught me to be keenly emotionally sensitive, in the same way that an unexploded bomb could be called keenly emotionally sensitive. I have a father who taught me going to gigs was awesome, and being a guitarist was pretty much the coolest thing that existed. I have a brother who teaches me humility, with limited success. And I have a wife without whom I would be playing “Wonderwall” in a ditch for pennies. Tell me about your beloved ‘Wilma’ and your new Jon Gomm model.
Wilma is a survivor. She has been the subject of so many musical and practical experiments, and journeys around the globe. She’s still great plugged in, but her acoustic properties are somewhat limited owing to the amount of glue holding her together. The new signature model is off the charts, everything about it. It’s a holy shit guitar. Like playing a chord and just thinking “holy shit, where is all the sound coming from?” Playing a chord on it is like opening the wardrobe door, and seeing Narnia.
I’m so proud that I got to design a guitar with George Lowden. It’s built to his usual jumbo design but with my choices of woods and frets, except with one pretty major modification, which is the Hybrid Top, which we invented for this model. It’s a soundboard made of a layer of Sitka spruce on the out-
side, then a layer of red cedar on the inside, with their grains offset at a slight angle. This should mean that it’s way more resilient which is so important for my style of playing. But we had no idea how it would sound, really. And oh my goodness it works! It’s rich, thick, and loud. The bass is so deep and the sustain is wonderful. Your use of the (banjo) tuners is quite unique, especially the way you use them in combination with your voice. How did the tuners come into your music?
I first saw them used by English fingerstyle genius Adrian Legg, but it wasn’t until years later that I tried them myself. As an electric guitarist, I was always really drawn to the ethereal whammy bar maneuverings of Jeff Beck and Steve Vai, so when my focus switched back to acoustic guitar, I really missed that. And when I recalled Adrian Legg, I wondered if those magic bendy pegs could give me those sounds. Now I can’t imagine my sonic palette without it. I’ve not been a fan of percussive techniques in general, however I am a fan of yours. Actually you made me realize that it’s not the use of percussive techniques I dislike, it’s the fact that many players lack quality melodic and harmonic content.
I’ve heard that perspective quite often. I personally disagree. To me, it’s fascinating and often beautiful when music has no melody: just rhythm and simple implied harmony. I can listen to field recordings of Senegalese traditional drumming for hours, or drum’n’bass albums. Guitarist Preston Reed has tracks, which are virtually just drum solos, and I love them. It’s incredibly bold to write that way. Whereas there are guitarists who play melodic fingerstyle, but then throw in the odd percussive hit here and there, seemingly
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for the sake of it. And to me, that’s terrible. It’s like listening to music while someone is knocking at the door. How did you move from small venues in the U.K. into being a more international artist?
By making friends with musicians and promoters. It’s the huge advantage of being independent. When musicians like Pino Forastiere in Italy, Tony Cox in South Africa or Don Ross in Canada want to work with me, all they have to do is give me a call. And we can work it out. They don’t have to go through an agent or management company I’ve signed up to, and I don’t need anybody’s permission. And then we get to play and also hang out. I get to meet their friends or family and we are just this global family of independent musicians. It’s awesome! You have a very devoted fan base. Considering your career has been built so hands on that must be very rewarding. Tell me about your experiences interacting with your fans and what they mean to you.
I really hate the word “fans,” We’re all just people who happen to be connected by the fact that I’m a musician and they like my music. We’re equal. I don’t talk down to them, and if they expect me to have all the answers, or to never make mistakes, they will be disappointed. But if they want a real human being who will honestly share the trials and tribulations of life of a musician, they’ll be happy. Please share any advice you may have for up and coming artists. Don’t sell yourself. It’s transparent. Just make music and share it with humility. http://jongomm.com 9
Sandro Albert’s love affair with music began on the streets of Porto Alegre, Brazil. At the age of 14, Sandro bought his first guitar from an ice cream vendor who played his instrument to the people walking by. Not long afterwards, a friend began to share his jazz collection with him. Some of his earliest influences were Wes Montgomery, Miles Davis, and Brazilian icons Milton Nascimento and Antonio Carlos Jobim. To this day, the sounds and imprints of the busy streets of Porto Alegre can be heard in Sandro’s music. Sandro is that rare phenomenon of someone that is as equally gifted as a guitarist as he is a composer. The Sandro Albert Quintet has performed at the North Sea Jazz Festival, Ronnie Scott’s, Catalina Jazz club, Yoshi’s, the Blue Note, Birdland, and the Iridium, among others.
Sandro has played and/or recorded with major Brazilian and American artists such as Milton Nascimento, Patti Austin, Dionne Warwick, Rita Coolidge, Victor Bailey, Abraham Laboriel, Jimmy Haslip, Alphonso Johnson, Daryl Jones, Herb Alpert, Toninho Horta, Raphael Saadiq, James Ingram, and Robben Ford. Sandro was also a senior teacher at GIT in Los Angeles California for four years where he taught composition and guitar.
In Brazil, Sandro found his magical sense of harmony and melody; in the United States, he defined his masterful improvisational style. Today Sandro Albert lives in New York City where he recently finished his new project Encounters.
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It’s been to long since we talked last. I know, how are you my friend?
#1, #2, etc… It has nothing to do with the encounters of people. It’s reference to the encounter of musical lines.
I’m doing well thanks. I’ve been watch- What I wrote was pretty much three lines going some of the videos this morning from ing in different directions. I used flute, bass, and guitar all playing counterpoint to each your new recording session. other and then the voice doubled the flute. How do you like it? This is one of the things that really inI like it a lot. I’m very intrigued by the har- trigued me about the music. When you mony and all line movement in the music. created this I assume you were not thinkIt certainly has moments of stretching ing in chord progressions, only in line movement. Is this correct? one’s ear but with pleasant surprise. Thank you. The recording is finished and I already have the cover but I’m a little bit lost with it. I have an agent in Europe who does not want to book it because it’s not classical and it’s not jazz. It’s the same with my agent in Brazil, it’s not Brazilian, it’s not jazz. I keep putting myself in trouble.
That’s right. I am not thinking in chord progressions. I thought of each part and then plugged it in. Then when I looked at the chart it all made sense. I could see the harmony and the chords.
Exactly!
Did you notice that I did a new version of “Choro to Catarina”?
The whole thing started with the guitar. Then I wrote all the bass parts. At that point I called the bass player and had him come play them with me. Then I wrote all the vocal parts. Once we stated to play it all together I could hear how I could improve on the vocal parts to make them stronger.
The other night Peter Bernstein came to hear me and said, “man I saw one of those videos, wow! I love what you did! I hear a lot of Jimmy Wyble in there.” Paul Bollenback and Howard Alden have also told me how much they like it. But I still haven’t tried to shop it to a label. I’m not sure what to do Once we were ready to record we did the guitar and bass parts first and did them in with it. two hours. Then we recorded the flute parts. I just think that’s artistic creation butting The final step was recording the voice douheads with marketing. People that mar- bling the flute. ket a product want to but it in a box with a label. That naturally goes against artistic I love the doubling of the flute and voice. It really reinforces the main line. freedom and creation.
Are you calling the project Encounters? Yes. Each piece has a number, Encounters
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I did, I believe it’s “Encounters #7.”
Yes. I came up with a lot of new parts for the Encounters #8 has a little of both. Of course vocals, which turned it into a whole new thing. Jobim was influenced by Debussy.
In this version you picked up the tempo in By the way, I did the same thing with your the last part of it. I liked that. Jobim book that I did with the Bach. I played several of your arrangements and used a Yeah, that was the idea. I think this is the little idea from your arrangement of “Agua third time I’ve recorded “Choro to Catarina.” De Beber.” You’ll hear it in “Encounters #1.” I guess I have the same type of relationship with this piece as Jim Hall had with the mid- I’m flattered! dle movement of the Concerto de Aranjuez. He said that he keep recording it because he I’ll let you try to find it. (laughter) keep improving. “Choro to Catarina” keeps challenging me. The piece we are featuring, “Encounters #4” is basically in 3/4 but in the I find it fascinating to approach writing beginning and towards the end you go a piece of music without preconceived between 4/4 and 6/4 and then back to chord changes. 3/4. Is mixing time signatures something you often do and where do this The one thing that helped me the most was influence come from in your playing? playing a lot of Bach’s two and three part inventions. Playing a lot of Villa-Lobos also Yes I do it often. My previous recordhelped but in a different way. Bach had the ings incorporate this as well. It just hapgreatest influence. pens naturally for me. I’ve never sat down to write a song planning for that. When you were playing the Bach did you just play them and absorb the music or Who are the musicians on the Encounters did you also analyze the music? recording sessions? I never was concerned with playing the Bach pieces perfectly or even learning the whole piece. I would just play a few measures, analyzing it, and try to create something inspired by it. I played all the notes and all the bars but, little by little, I would try to incorporate it in my music. I see a lot of things in Bach that I see in jazz. Things like, major and minor 2, 5 progressions and diminished.
Sachal Vassadani, vocals, Rodrigo Ursaia, flute, Michael O’Brien on acoustic bass, and myself on the nylon string guitar.
The music is obviously complex. Did the musicians have much time with the music before the recording session?
Yes. I sent them the music a month or so ahead of the recording date. I had traveled “Encounters #8” was written pretty fast and to Brazil to produce an artist and was there at the time I was listening to a lot of Debussy. for about two months. During that period I was feeling like I wanted to write something I was sending music to all the musicians. impressionistic but also with a little Jobim.
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It was right about that time that I got my It’s difficult, as you know. I want to hire a acoustic guitar built by Lineu Bravo. publicist to promote this project but I’m afraid I’ll hire the wrong person. It can’t Have you heard of this guitar builder from just be a jazz guy or just a classical guy. I’m Brazil? Everybody all over the world is brag- looking for ideas to get this off the ground. ging about him. Chico Buaque, Joao Bosco, Maybe there is somebody out there with a and Yamandu Costa play his guitars, among good label and good intentions. others. He’s a brilliant maker. I don’t know where this business is going I wanted to use his guitar on the recording so right now. Most of my income is from tourwhen I called him he said it’s normally a six- ing in Europe and Brazil. Here in New York I teen-month wait. I told him that I would be play from time to time but I’m not motivated in Brazil in six weeks and he agreed to get a to play for what they pay here. guitar ready for me. So I got the guitar when I got to Brazil and started to practice on it I don’t think the music from this project and work on the music to send to the other would be accepted in a jazz club, it’s too clasmusicians. sical. Though I did play one of the tunes in the middle of a festival in Brazil and we got a The singer Sachal Vasandani fell in love with standing ovation. The people were running the material and said, it’s a real challenge but wild! I want to do it. He learned the material and when I came back from Brazil I worked with Congratulations Sandro. What you have him on the syllables. There is a difference done with the Encounters project is fanbetween the syllables that would be sung in tastic and high art. In saying that I also Brazil and what would be sung in America. I know how hard it can be to market qualialso gave him a lot of Milton Nascimento re- ty music, best of luck with the project. cordings. Thank you Bill. I’m determined to find a laI was touring with Milton in the middle of Oc- bel and to find a publisher for the music and tober so I took Sachal with me to sing a song I’ll hire a publicist if that’s what it takes. with Milton, which was really cool! Sachal is a great singer! He has now signed with Sony. There are many reasons I admire you but one reason is that you’re always looking His voice in combination with the flute is to create something new and stretch your beautiful. boundaries. I have been thinking that if I have a book of Thank you. As you know it can be a very solthe music I can promote it to colleges for con- itary life at times. certs and masterclasses. We all think that the singers would love to get their hands on http://www.sandroalbert.com/web/ the music and the bass player on the project feels the same about bass students. 15
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Miché Fambro was born and raised in Philadelphia. As a young man his musical backdrop was the “Philadelphia Sound.” Music of artists such as Teddy Pendergrass, Billy Paul, The Delfonics, The Intruders, and The Stylistics were all an influence. Then one Friday night he discovered Friday with Frank, a radio program on FM96.5 devoted to the music of Frank Sinatra. Each Friday night Miché would go to his room soak and up the magic crooning of Sinatra. Miché describes this as alternative music in his world, and a pleasure that he went to great pains to hide from family and friends. Over the years he has garnered much experience with groups and as a soloist. Miché currently lives with his family in Geneseo, New York.
I love the way you move lines within chords as you sing. In a performance of “As Time Goes By” I heard you maintain the melody with your voice while simultaneously playing some very cool and harmonically tense lines, I love it! Tell me about this approach and if you can where it comes from.
I started out on electric guitar. I tuned it down a whole step and in ascending 4ths. To this day I still play the electric guitar this way. When I started playing the nylon string I tuned in standard tuning. The nylon string shifted my musical interest to jazz, Latin, ballads, and back to the songs I recalled Frank Sinatra singing. Eventually my goal on the guitar was to emulate the textures I heard Please tell me about the artists and styles in big band and orchestra recordings. I disof music that have played a role in your covered I was much more of a vocalist than music. a guitarist. So I try to play things that help a simple melody sound more interesting. I started playing music when I was thirteen years old. I wasn’t particularly interested While we’re talking about harmonic tenin the guitar or drums but I started out as a sion let’s talk about your chord voicings drummer. and the element of surprise. The backdrop of being a young kid in the 70’s was Motown, The Sound of Philadelphia, and R&B in general. In my late teens I found a radio station that played Frank Sinatra for two hours every Friday night, it was my secret. It took almost twenty years before I realized that I was a crooner at heart.
The guitar can be a very difficult instrument. The better you get, the more difficult it gets. How ironic is that? J I’ve learned to utilize the notes that are available in the position I’m in and to use the so-called ‘wrong notes’ as a segue to the following chord. If you are used to hearing contemporary classical music, Hindemith, Shostakovich, Berg, etc., it Before leaving Philadelphia in 1977 to go opens an appreciation to the beauty in dison the road with a hotel band, my favorite sonance. groups were Chicago, Mandrill, The Temptations, and I loved Phoebe Snow’s “Poetry In a video you expressed the difference Man” LP. I left the band in 1979 and worked between being a guitar player and being in a record store for eight years. That’s a musician. Please share your thoughts where my thirst and appreciation for music on this. blossomed. 24
It’s one thing to have amazing chops, playing faster than a tornado etc., it’s another thing to know how to make a singer sound good, how to support whoever is soloing, and how to help a song tell a story. A musician, a good musician is sensitive to these matters. They may not be the flashiest or fastest but they make everything sound good. The lesser musician is only thinking about what they’re doing.
the drums much better than I so I played the guitar.
I am left handed and the guitar just simply felt more comfortable playing it ‘upside down.’ It was tough in the beginning. Teachers wouldn’t teach me unless I turned it around. I dreaded the thought of starting all over again so I ignored them. Sometimes I regret that decision.
Would it be accurate for me to say I hear However, I’ve learned based solely on musian influence on your music from Nat King cal content. It doesn’t matter how you hold Cole? the guitar, a C is still a C. Much like picking up a violin, a bango, mandolin etc., The only Initially I was more of a Sinatra fan because of the big band sound. That led to loving all the great crooners, Tony Bennett, Mel Tormé, Nat King Cole, and the great female vocalists as well. Whenever I’m learning a vocal standard I will listen to Sinatra’s version if there is one. Because Sinatra is not a jazz singer he stayed close to the melody and I’ll listen to Ella Fitzgerald’s version because she’s both a crooner and a jazz singer, she plays with the melody much like a horn player. Between the two of them I get an idea of what I want to do. I should also mention Gino Vannelli. His voice, along side a fusion super group was an exciting sound for my musical interest at the time. You play left handed but also with the strings in reverse. Tell me about this and how you learned considering everything looks so different.
As I began to take interest in the guitar I wasn’t concerened about playing correctly because the drums were what I really cared about at the time. But my brother played 25
disadvantage is learning specific techniques. There are certain things you just can’t do with the strings upside down. For example, playing a trill like classical and flamenco players. You then by default are forced to come up
with an alternative approach. You have to I’ve always considered myself a gifited singer, rely on your ears. Music is all about the ears because I never had to work at it, it was just anyway. there waiting for me. The guitar on the other hand, is something I have to work at. It frusI have only heard a few of your original trates me that no matter how hard and long I songs however it seems them are often practice it’s still very stressful performing in autobiographical and at times a social front of a focused audience. I began to realcommentary. Please share your thoughts ize that I wasn’t gigging enough. Compared on this. to practicing, performing gets you used to mentally relaxing your body to move without In my earlier acoustic material I was more tension. You get used to playing all the wrong Neofolk, whatever that is. things and thinking on your feet. Eventually there’s nothing left but doing the things Since I had switched from the electric guitar, you’re trying to do. It amuses me when I which I turned in 4ths to the acoustic in stan- hear legends say, “I don’t practice.” All of dard tuning, it was exciting for me to play those players usually have one thing in comsimple open chords. It was something new mon, they gig a lot. If I were gigging a lot, I to me. wouldn’t need to practice as much. I’d be a much better player. As far as the material goes, I enjoy telling the tales of growing up in Philadelphia. I love You were a shy person in your youth yet telling stories. It’s much easier telling sto- today you are a great entertainer. It seems ries when there aren’t too many chords. The you’ve very comfortable in that role. Was listener can get overwhelmed. I think that that process of becoming a natural one for may be why I didn’t do too well in the folk you? circles. But it was great to get acquainted with simplicity. That is interesting, yet very typical of a lot of introverts. There’s not much I don’t see I then started to focus on the crooner in me humor in, but I was very reserved about and the challenge of playing jazz materi- my thoughts and ideas. Things started late al which was also new to me. I was always for me. I didn’t branch out until I was in my jazzy but not a jazz player. The difference thirties. As I was getting older, I dropped a is the jazz player knows the material. I only lot of inhibitations. I didn’t care that I wasn’t learned the songs I wanted to learn. I still cool, or as good-looking as one expects from write outside the jazz realm. Heaven knows ‘entertainers’ (so I’ve been told). There was what I’ll talk about. nothing to lose in being myself, which was great because I didn’t know how to be anyIn an earlier conversation we talked thing else. about the difference between performing in front of an audience and just playing in More importantly, I wasn’t afraid to suck. It’s your room at home. I would like you to easy to be that way when you’re mostly reclushare your thoughts on this. sive. The stage is my social life. I need to get out more. 26
Do you have any advice for guitarists who may also sing or maybe write songs? Thing have changed so much compared to when I was coming up through the ranks. I absolutely wouldn’t know the first thing to say. That aside, today more than any time in contemporary music history points to a very understated reality. You really have to love what you’re doing. The reward these days is just being able to do it. The lucky ones will stay at it. http://www.michefambro.com/
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Kevin Loh is one of the greatest young guitarists in the world today. This of course is a bold statement, but it is true. At only eighteen years of age, Kevin has won many international competitions in his age group, including two in the last month! The first being the 9th Annual Andres Segovia International Competition for Young Guitarists held in Germany. The second being the Guitar Foundation of America held this year in Denver. In 2010, he also won the HSBC Youth Excellence Award and in 2011 made his solo debut concert for HSBC at the Esplanade Concert Hall in Singapore.
was not paying much attention. I have to admit that I was very noisy as a young child. It was also the case that my father was quite a serious classical guitar enthusiast. He decided to research more into the Suzuki Method for teaching young children until he encountered the Suzuki Method for the guitar! He then made a decision, using the principles and the content of the Suzuki Method, to take me on as his own pupil. He had even exchanged notes with the late Mr Frank Longay, the founder of the Suzuki guitar program. At that point, making music through the classical guitar became a family bonding activity where my father and I would play Kevin has also performed with the Singapore duets together, whilst my mother would be Symphony and represented Singapore at the charged with recording videos of us. 2015 India International Guitar Festival. He is currently a student at The Yehudi Menuhin I enjoyed the music making very much. We School in the United Kingdom where he has went through the first three volumes of the been since the age of twelve. His admission Suzuki Guitar Method together within the to the school was by the way of a grant from first year when I was five years old. Shortly The Rolling Stones in 2010. Upcoming con- after, my father decided to look for further certs include the Bath Guitar Festival, IGF teaching. Over the course of the next few Guitar Summit, and the London Guitar Fes- years, I ended up studying with two welltival. known local guitar teachers in Singapore, namely Chua Teck Seng and Ernest Kwok. In You are now only eighteen years old but addition, I attended many guitar masterclasshave been attending The Yehudi Menuhin es in Singapore whenever famous guitarists School in the United Kingdom since gave concerts in Singapore. These artists 2010. You have been there since the age included many like Manuel Barrueco, Judiof twelve! All I can say is wow! How did cael Perroy, Yang Xue Fei and many more. I this come to be? even attended a summer guitar workshop in France at the invitation of Mr Perroy where I Thinking back, I first started my journey of met many winners of the Guitar Foundation music with the violin at the age of four. At the of America International Competition, past time, my parents, like many others, decided and future, including Thibault Garcia (2015) to send me for violin lessons with a teach- and Florian Larousse (2009). er, who just so happened to teach using the Suzuki Method for the violin. Just after a few I enjoyed playing music very much. I was months into the lessons, my violin teacher very interested in the various styles and decided that he did not want to teach me genres of different music. I decided to try anymore, as I was very restless in class and I out some steel-string guitar and ukulele 30
too. I played a little bit of jazz as well! As the repertoire grew, more opportunities came along, including many fund-raising and community concerts, in particular an annual performance called “ChildAid” which helps support many other young less fortunate children to have the opportunity to pursue their own choice of art. I used to only enjoy sharing music with others, but as I matured I really began to understand and appreciate the values of what it means to give back to society through music, which really helped me enjoy music a lot more.
past six years.
Despite only being twelve at that time, the decision was very clear to me that I wanted to study there. The decision was much more difficult for my parents not only because I was twelve, but I would be on my own, very far away from home. In addition, it would have taken a huge toll on my parents financially despite being partially funded. After very careful consideration and in support of my passion and aspirations, they decided to support my decision to embark on this amazing journey to study at The Yehudi Menuhin As I built up more repertoire, we recorded School. many videos as a result and my dad eventually decided to upload my very first video on Just last week you won the eighteen and YouTube under my channel “Optichero” in under competition at the Guitar FounJune 2007 to share with friends and family. dation of America and just a few weeks To our pleasant surprise, the response was earlier, you won first place at the Andres overwhelming and I received many positive Segovia International competition in and encouraging comments. We continued Germany. That’s quite impressive! Please with this endeavour and the number of vid- tell me about the experience of both. In eos grew as a result. addition, how you prepare for such high level competition and about other comAs time passed, we reached the year 2010, petitions, you have you won. which was a huge turning point for me. Through our YouTube channel, we received Attending competitions in general was never a message which turned out to be an invita- a priority for me. After attending the Yehudi tion for an audition at the prestigious Yehudi Menuhin School for 2 years, my father and I Menuhin. It came as a real shock because we felt that in order to gain more experience, I had only read about this happening to a rare should participate in a competition for more few, especially in Singapore. We couldn’t be- exposure. So in 2012, with the blessings lieve it when the school officially granted us of my teacher and the School, I entered my a place. In addition, as part of setting up the first competition at the Guitar Foundation classical guitar program at the school, The of America, in the Junior Division of the InRolling Stones created a bursary fund for gui- ternational Youth Competition. I was very tar students like me to be able to study at the fortunate to be awarded the 1st Prize. Other Yehudi Menuhin School. It has been a huge competitions include: honour to have received a grant from them! I have been continuing to study the classical 2014, 1st prize at the 8th International guitar under the guidance of my wonderful Competition for Young Guitarists “Andres professor Richard Wright, as I have for the Segovia”, Age group 2 (14-16 years old) 31
2016, 1st prize at the 9th International Com- too! petition for Young Guitarists “Andres Segovia”, Age group 3 (17-19 years old) On the day of the competition, I try to relax and remain excited for the competition. Usu2016, 1st prize at the Guitar Foundation of ally, one might give the advice to stay calm, America International Youth Competition, but rather I think that the adrenaline rush Senior Division (15-18 years old) before playing is a good thing and it should be taken as a positive energy for one’s perRegarding competition preparation, I try to formance. Most importantly, I think about work in very precise chunks of practice, par- the music and how it is all about people enticularly on the sections which require more joying and celebrating music together. This helps me appreciate the music I play. The Yehudi Menuhin School must be a second home to you after all this time. It has been such an important influence from such an early age. Please share your feelings towards the school, the students, faculty, and your experiences of being a student at the school.
The Yehudi Menuhin School is a boarding school specifically for string instruments, piano and guitar. We have about eighty students from all over the world. The age range is from eight to nineteen. Having spent six years at the school, the experience has been tremendous. Every student has their own
work technically. This is in an attempt to be more effective in practice, because it is very tempting to just practice the easy bits!
Other preparations include quite a bit of stretching and warm up exercises for the body and for the fingers. I do quite a bit of exercises on the guitar even before playing pieces in general. The occasional meditation
32
personalized timetable. The School has provided a fantastic, well-rounded education in terms of normal academic subjects like English, Math and Science, as well as academic music subjects like Harmony, Music History and Composition. The community has always been great, being able to immerse with other talented young musicians from all over the world! In terms of guitar specifically, it’s been great working with my teachers Richard Wright and Laura Snowden. They have really looked after me and my development as a musician. Also, the fact that this is a school for string musicians means that we have the opportunity to do chamber music, which is something that I truly appreciate and enjoy very much. Not many schools can provide all this, so I am very blessed to able to be around such a high level of music making made by students and faculty alike! After all your successes, is it now time for you to be leaving the Yehudi Menuhin School? If so, this must be a little sad for you. Tell me about your future educational goals and goals as a musician.
I have one more year at the YMS and I am really looking forward to my final year I have a lot more repertoire planned and I look forward to completing them! After YMS, I need to serve two years of mandatory National Military Service back in Singapore. I do hope I have sufficient opportunities to continue to learn and play the guitar during the service. That’s the foremost priority. In terms of further education, there are many options I am currently evaluating before I make a decision. America and Europe are certainly possibilities. There is always the huge discussion in making the decision based on the teacher, the institution of choice, as well as the financial situation. I guess all young 33
musicians need to walk through this process and make some very important decisions. Tell me about your home and family.
I have two younger siblings, a younger brother Jon (twelve) and younger sister Abby (eight). My brother sings with the Singapore Symphony Children’s Choir and both of them play the classical guitar and piano too. In the future, I hope that we will be able to play as a quartet! This will be a great opportunity for us to continue bonding as a family through music.
I first became aware of you when I watched a YouTube video of you playing my arrangement of “Georgia On My Mind,” I was blown away! You have also recorded many other popular songs. I admire that you are interested in popular music and unafraid to play it considering some mindsets in the classical world.
end of the day, the benefits we get out of it are as much as the work and effort we put in it. https://www.facebook.com/kevinlohguitar/
I personally appreciate many genres of music besides classical guitar repertoire. I really enjoy modern music in general, ranging from 20th century and impressionist music, to minimalism and jazz too! Whenever I find something which is a really good piece of music which isn’t necessarily classical, I very much enjoy learning something different from the norm, and I know that people will really enjoy these pieces too. I can say for sure that the “Georgia On My Mind” arrangement was certainly one of those pieces! Have you recorded a CD yet? If not do you have plans to do so?I have not recorded a CD yet but I certainly hope to do so in the near future and when the opportunity presents itself.
Do you have any advice or wisdom to share with other young or older musicians? Keep on the working hard, and I mean it! Even if one is talented at an instrument, talent is never enough. We all need to achieve a level of proficiency to express how we feel, and this can only be done with a certain amount of practice. At the same time, this is music, one of the most expressive art forms there is. Enjoy it! There may be some tedious work that you have to go through, but we need to learn to love what we do and do what we love. At the
34
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Roger Hudson Reworking a Classic:
“Scarborough Fair” Becomes “Scarborough Jazz Fair” A Little About Arranging When an arranger decides to do an arrangement of a familiar tune there is some risk involved. In fact, an arrangement may carry with it more uncertainty than an original composition. On the positive side, arrangements can help you to immediately connect with your audience. Perhaps they are not familiar with your original compositions or the more esoteric pieces that may comprise your repertoire. We should remember that even the pieces of music that are well known (or even well-hated because of overuse) among guitarists may not be known at all to general audiences. A good, entertaining arrangement of a familiar piece can almost magically turn aloof audiences into enthusiastic fans. On the downside, instant disappointment can ensue if an arrangement is done badly, performed badly or in poor taste. A bad original composition may be met with simple bewilderment. However, arrangements can often elicit strong opinions from listeners because people associate familiar music with personal experiences. So, let’s explore the possibilities and consider the problems of doing a solo guitar arrangement. Choosing the Right Tune
When I do an arrangement, I tend to choose material that has a strong melody on its own. That is, just because you like a song’s lyrics, beat, feel, or some other “hook,” it does not necessarily make it a good candidate for an 39
instrumental arrangement. I usually give the tune a “whistle test” first to see if the melody is catchy enough to stand on its own. The other test is to check the “setting” of the melody; that is, checking the range of the melody. What is the lowest note? What is the highest note? In addition, if the melody goes too high or low, the choice of key can determine the plausibility of the arrangement on the guitar. There are many ways around some of these problems. Sometimes the melody can simply be slightly changed to accommodate playability – I just don’t like to change it too much! If you do substantially change the melody, realize that this can be controversial. Some people like controversy! Tune Chosen - Now What?
Now that you have chosen the thematic material for the arrangement, what do you want to do with it? There are so many approaches and possibilities. Changing the genre from the original can give the arrangement an instant uniqueness. For example, take a reggae song and arrange it in a bluegrass style. Experimentation is important with this process but knowing when you’ve come up with something clever is crucial – I can’t really teach you how to do that. Hopefully, you will know if this genre transferring option works in your arrangement. Don’t try to force the new genre on the tune. Sometimes it just
won’t work. Usually it is fairly obvious when piece is merely four distinct musical phrases. the transformation fits. The melody is a classic. It is probably more than 300 years old and has been performed Many other possibilities exist, but I would and recorded extensively. So, why does the not recommend doing all of them in one ar- world need another version? For that matter, rangement. For example, if you’ve decided why do an instrumental version? The lyrics to do your arrangement in classical style, are really interesting after all. Well, because you would not use a jazz chord vocabulary. I like the melody and actually, it is not as popCould this work? Sure! But if you are setting ular as it once was. Arguably, “Scarborough out for a certain effect, realize that, like cook- Fair” reached its height of 20th century poping, just because you have chocolate syrup ularity after Simon and Garfunkel recorded a in your kitchen does not mean it should be version in the 1960’s. There were also many in your chicken soup! Chocolate syrup in other recordings of the tune by famous and chicken soup could work (I’ve never tried it), not-so-famous artists. However, I could care it just does not seem like it would. In fact, less if it is popular now. “Scarborough Fair” the thought of combining the two is pretty has stood the test of time. nauseating! Thankfully, in musical composition (and arranging), unlike cooking, one Inspiration for My Arrangement can often undo bad results caused by incompatible pairings. So, feel free to experiment Back in May, I spent a weekend with my very wildly, but be keen to detect what should be talented (I must say!) daughter in Jacksonaccepted and developed and what should be ville attending various performances at the rejected. Sometimes this editing process is Jacksonville Jazz Festival. Of particular indownright excruciating because a musical spiration for me was watching The Yellowidea that seems unusual or risky could be jackets. This is a veteran jazz combo that the very element that makes your arrange- does not even have a guitar player! So, why ment stand out! is this guitar-less jazz quartet so inspiring to a guitar player such as myself? Well, of Today’s Choice: “Scarborough Fair” course, they are simply fantastic and the very fact that there was no guitar player allowed Many readers who are familiar with my col- my brain to focus purely on the music. I will umns and music are accustomed to hearing elaborate. me play and write about my original compositions. For this issue of Fingerstyle Journal “Scarborough Jazz Fair” I have chosen to feature my arrangement of the classic English folksong, “Scarborough This arrangement has an interesting compoFair.” I chose this piece for several reasons. sitional evolution. I do not have a particuFirst, it is old enough to be considered “pub- lar formula for composing and arranging. I lic domain.” I do not have to ask permission do however tend to a bit of “noodling” in the to use it or pay anyone when I play or record early stages; which usually sets a particular it. Simplicity is another reason for selecting mood or “vibe” for my works. This is what “Scarborough Fair.” A simple tune can give an happened in my composition/arrangement arranger great deal of creative freedom. This “Scarborough Jazz Fair.” The main feel of the 40
arrangement was established with the section that starts at measure 22. The impression here is that of a jazz bassist playing a rhythmic pattern with chordal piano accompaniment in a jazz waltz feel. I was imagining The Yellowjackets’ Russell Ferrante on piano and Dane Alderson on bass - sort of a solo guitarist’s thumbnail version of them! In fact, at this point in the arrangement I had not even chosen “Scarborough Fair” as the source material. Alas, I had only an introduction to something. I frankly do not remember why Scarborough Fair came to be used other than the fact that I knew Fingerstyle Journal’s fearless leader Bill Piburn preferred original or public domain material and Scarborough Fair was in ¾ time. So the jazz waltz groove I already had composed would fit the ancient 3/4 time melody. Stylistic, Harmonic and Rhythmic Variation
section that begins at m. 97. I will call this the D section but harmonically it is the same progression as the C-section. The D section essentially extends all the way to the return of A (A2) at m. 138. A2 closes out the arrangement.
The stylistic variation in this arrangement has to do with taking a simple English folk melody and playing it in a jazz style. The rhythmic variation includes moving from a straight eighth note feel to a swinging feel where the first eighth note of a pair is longer than the second one. I also freely varied the accented groupings of notes between 6/8 and ¾ time (e.g., mm. 8-10). Harmonically, I had some fun using different chords to harmonize the melody nearly each time it was repeated. The starkest harmonic contrast being the section mm. 48-55 compared to mm. 81-88. For example, I harmonize the soprano (highest) notes at m. 48 with a Cmaj13 chord and at m. 81 with an Aadd9. I give “Scarborough Fair” a similar harmonic treatment in several other places but I will let you explore that on your own. I changed the harmonic vocabulary and rhythmic feel enough in this arrangement warrant the “Scarborough Jazz Fair” title. Make sure it has a very cool, laid back feel when you play it.
Scarborough Jazz Fair has essentially four main sections (A, B, C, D), each of which are varied stylistically, harmonically or rhythmically. The A section (measures 1-19), was composed after the jazz waltz groove that begins at m. 20. With the A section I thought that there needed to be a good contrasting set up for the jazz waltz “intro”. The A section is presented with the melody as a more straightforward classical ballad with some hints of the jazz harmony that follows. The Roger Hudson, B section (mm. 20-38) is the jazz waltz “in- June 2016 tro” groove. The C section (mm. 39-55) is the main Scarborough Fair theme done in the www.rogerhudson.com jazz waltz style. Next comes what I’ll call B2 (mm. 56-71). This is a variation of the jazz waltz intro and sets up the theme again as C2 (mm. 72-88). Each time the jazz waltz intro (B) comes back it gets a little shorter. B3 (mm. 89-96) sets up the “improvisation”
41
Scarborough Jazz Fair
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5
Composer’s Corner
Harmonizing Melodies by Troy Gifford
Imagine you’re at a birthday party and pick up a guitar that’s sitting lonely in the corner. You quickly impress everyone with your catalog of fancy guitar tricks and are now the center of attention. Suddenly someone says, “Hey, it’s time to sing ‘Happy Birthday!’ Play it so we can all sing along!” You feel a moment of panic when you realize that you don’t remember the chords. You quickly start trying some different ones, hoping to stumble on the right progression. How about C? What’s the next chord? Maybe D? A? Meanwhile, everyone sits waiting for you to start, wondering if you actually know how to play the guitar after all... Substitute any song in the above scenario and you have a situation that most of us who have ever played the guitar in public have probably experienced. It could be “Silent Night” at Christmas, a Beatles tune or a recent hit song. How do you know what chords go with the melody? Obviously many people do this by ear to varying degrees, but what is the theory behind it?
Figuring out chords that work with a melody is called harmonization. There are some simple concepts that apply that let us know the options available for any melody. Let’s look at one of the most famous melodies of all, “Amazing Grace,” to see how we would go about deciding what chords we can use underneath it.
Ex. 1 shows us the melody to “Amazing Grace” in C major. The first thing we must do is figure out which notes in each measure are the most important; that is, which notes seem to want a chord to fit them. The notes that seem to need a chord are called chord tones, and those that don’t are called non-chord tones. Simply put, chord tones are notes that can be found in the chord accompanying them, and non-chord tones are not part of the chord accompanying them. Usually it is not too difficult to figure out which notes are chord tones and which are not simply by listening carefully and using our ear. I have placed an asterisk above each of the important notes that need a chord. You will notice that most of the notes on the first beat of each measure are chord tones. Some of the notes without an asterisk in the various measures are also chord tones, in that they are part of the chord being used underneath them, but they are of less importance than the initial chord tone. For example, in measure 1 all the notes in the measure are part of a C chord. But the primary note we are focusing on, the place where the chord change takes place, is the initial C note. Once we have all our chords in place, we can easily determine which notes are chord tones and which are not simply by looking to see if the note in question is part of the chord being played underneath it. 47
Ex. 1 “Amazing Grace”
3 V4 œ
˙
T A B
1
0
˙
8
V
œ œ ˙*
*
0
1
œ
0
3
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0
3
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*
1
1
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*
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2
0
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0
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*
1
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1
0
œ
0
3
œ *
˙.
3
1
˙.
*
3
˙.
Now, how do we know what chords we can use in each measure? The process can be quite simple. There are 3 notes in a triad (basic chord). Therefore, a chord tone can be in one of 3 different triads found in the key we are in (there are more possibilities, but that involves using notes outside of the key and is a more advanced concept). The chords that naturally occur in C major are shown in Ex. 2.
Ex. 2
C
Dm
Em
V œœ œ
œœœ
T A B
2 3 5
0 2 3
F
œœ œ
œœœ
G
0 0 2
1 2 3
3 4 5
œœœ
Am
B dim
0 1 2
1 3 4
œœœ
œœœ
For our initial chord tone in measure 1, C, we have 3 possible triads that contain a C that we can use to harmonize it. See Ex. 3. The first chord in the vast majority of melodies is the tonic chord (I) of the key we are in. In this case that is a C chord.
48
Ex. 3
œ
V T A B
1
C
œœœ
Am
3 5 5
0 1 2
F
œœœ
œœœ
1 2 3
If you take a look at the important melody notes in Ex. 1, you will see that almost all of them are notes that occur in a C major chord (C E G), so much so that we could probably get away with simply playing a C major chord drone under the entire melody. However, this wouldn’t be very interesting and wouldn’t give us the changes we typically expect to hear. What we need to do is look at the possibilities in each measure and choose chords that sound good to us. The chord tone on the downbeat of measure 2 is an E. The chords in this key that contain the note E are Em, C, and Am, so we should choose one of these three. The chord tone on the downbeat of measure 3 is a C. The chords that contain the note C are C, Am, and F. We will do this for each important melody note, choosing chords we like. Ex. 4 gives us a traditional harmonization using this process. I’ve thrown in one 7th chord, G7, which is the V7 in the key of C. Ex. 4
C
V 34 œ
T A B
8
˙ V ˙˙˙ ... ˙. 0 0 3 3
œ œ ˙˙ ˙˙ ˙
˙˙ ˙˙ ...
0
1 0 2 3
0
G7
C
œ 0
1
œ Œ
0 1 0 2 3
3
C j œ˙ . œ œ œ ˙ ˙˙ ... ˙˙˙ ˙.
C
3 1 0 2 3
0 3 0
1 0 2 3
F
˙˙˙ ˙˙ 1 2 3 3 1
œ Œ
˙˙˙ . .
œ
˙˙ ˙˙ ...
2
0 2 3
0
1 0 2 3
j œ œœ ˙ œ˙ .. ˙˙ .. ˙˙ . .
F
Œœ 0
2 3 3 1
C
C
C
1 1
2
0 2 3
C
œ
˙˙ ˙˙ ...
0
1 0 2 3
C
œ œ ˙˙ ˙˙ ˙ 0
1
C/G
œ œ ˙˙ ˙ ˙ 0
1
0 1 0 3
œ Œ
0 1 0 2 3
3
G
C
3 0 0 3
1 0 2 3
œœ œœ
˙˙ . ˙˙ ...
G
˙. ˙˙ .. ˙˙ . . 3 0 0 0 3
˙˙ . ˙˙ ...
If we wish to make our harmonization a little more adventurous, we can make different choices. In Ex. 5, I’ve changed a number of chords but it still sounds good because the im-
49
portant notes in each measure are still part of the chosen chords (the Em/G chord in the next to last measure could also be considered a G6). When we take the original chords of a progression and change them to something else, we are using the technique called “chord substitution” or “reharmonization.” Ex. 5
V 34 œ T A B
8
˙ V ˙˙˙ ... ˙. 0 0 3 3
œ œ ˙˙ ˙˙ ˙˙
˙˙ ˙˙ ...
0
1 0 2 3
0
G7
Em
C
œ 0
1
œ Œ
0 0 0 2 2 0
3
Am œ˙ . œj œ œ ˙ ˙˙ ˙˙ ... ˙. ˙ 0 3 0
1 2 2 0
˙˙ ˙˙ ˙ 1 2 3 3 1
˙˙ . ˙.
œ
˙˙ ˙˙ ...
2
0 0 3
0
1 0 2 3
j œ. œ œ œ ˙ ˙. ˙˙ . . ˙.
œ Œ 0
2 0 1
G
1 1
2
0 0 3
Am
C
œ Œ
D m/F
C
3 1 0 2 3
G
F
Am
œ 0
˙˙ . ˙. ˙. 1 2 2 0
œ œ ˙˙ ˙˙ ˙ 0
1
E/G
œ œ ˙˙ ˙ ˙ 0
1
0 0 0 3
œ Œ
0 1 2 2 0
3
G7
C
3 0 3 3
1 0 2 3
œ œœ œ
˙˙ . ˙˙ ...
Em
˙. ˙˙˙ .. ˙˙ .. . 3 0 0 2 2 0
˙˙ . ˙˙ ...
This process can get more complicated if we move beyond triads and allow the melody note to be the 7th (or 9th etc.) of the chord we choose. We can also use chromatic chords, those that don’t typically occur in the key, to give some interesting and “outside” sounds to our harmonization. This will give us many more possible choices, but also may take us further and further away from what is considered normal or acceptable to the average listener. As you can see, there are many chord possibilities to choose from when harmonizing a melody, but understanding these theoretical principles can give you a good start to quickly figuring out the options you can use in the process. With time and practice (and a good understanding of keys) this can become something that any guitarist can do fairly quickly, and you won’t have to stress about picking up a guitar at a party. That said, I’d still memorize the changes to “Happy Birthday!”
50
Mapping the Fingerboard Part 1
by Bill Piburn Welcome to Mapping the Fingerboard, a new series of articles that I hope will increase There are seven starting notes reflecting the your knowledge of the fingerboard. seven notes in each scale. It has been my experience that a high percentage of solo guitarists have limited I suggest learning the scales both in letters knowledge of the fingerboard and harmony. and numbers. Numbers make transposition For the most part, they are playing compo- very easy. The starting interval numbers for sitions and arrangements by others. They each position are indicated at the top of each like a piece of music so they find the music chart. As you play them, be aware of each inor tablature and off they go! This approach terval. Ask yourself is this the 3rd? Is it the is fine but, in my opinion to be a more com- 5th? Clarity is the goal, not speed. plete musician, you also need to understand I suggest that you start with the key of C and harmony and the fingerboard. move around the key circle clockwise, in I did not study traditional harmony in col- 5ths (C – G – D – A – E – B). The so called lege. I did have the good fortune of studying “guitar keys” most likely will be easier for with jazz pianist John Elliott while still liv- you. Note: The key of B and Gb are the red ing in Kansas City, Missouri. Studying with headed stepchildren that we rarely spend John was often a challenge and occasionally time with! Now move around the key circle a bit frustrating. In each lesson, John would counterclockwise through the flat key signarequire you to play all lesson material in all tures (F – Bb – Eb – Ab – Db – Gb) twelve keys and in all possible positions! John’s boot camp of harmony was priceless. Once you have made your way around the key Though the journey continues and I have a circle in both directions try playing the scales in 3rds, in 4ths, in 5ths, etc. Try going up in long way to go, at least I see the path. one key and back down in another. Shifting In this first article, we will take a look at the at any point and linking two positions is an major, melodic minor and harmonic minor option, once you know them well in position. scales played in position without shifting. Of course, scales are often played with shifting. Knowing harmony and the fingerboard will This is just one way to “map the fingerboard.” improve your sight-reading, improvising, arranging, composing and analysis of music. The scales are played without open strings Need I say more? allowing position and key change. Fingerboard diagrams are used in place of standard Next time we will look at other scale types notation also allowing for easy transposition. and eventually move into the harmony built The white dots indicate the root of the scale. from them and much more! 51
Major Scale 1-2-3-4-5-6-7
Root
2nd
3rd
5th
6th
7th
4th
Melodic Minor 1 - 2 - b3 - 4 - 5 - 6 - 7
Root
2nd
b3rd
5th
6th
7th
4th
Harmonic Minor 1 - 2 - b3 - 4 - 5 - b6 - 7
Root
2nd
b3rd
5th
b6th
7th
4th
Fingerstyle Jazz Concepts
Moveable Dominant Seventh Voicings with Divided Tritone
by Steve Herberman Continuing with seventh chord voicings from my last installment this column will deal primarily with altered dominant seventh’s often expanding the chords using upper extensions such as 9, 11 and 13. It is a very specific method of chord building which allows for real-time arranging of chords on the guitar fingerboard. If you’re getting bored with playing many of the same dominant seventh chord “grips” I think the following will point you in some exciting new directions. Thinking of the dominant seventh chord as primarily two notes, 3 and b7 as your reference points, and then adding a few choice notes will flesh out the voicing and take you into some new territory.
The late, great guitarist Lenny Breau often played a 3rd and b7th as the lowest two voices in his dominant seventh chords. If you are not familiar with this approach check out the book Fingerstyle Jazz by Lenny Breau and John Knowles in addition to Lenny’s many fantastic recordings and quite a few videos. Lenny’s chordal approach was derived from the way pianists often play “shell” voicings (3rds and 7ths) in the left hand while the right hand plays a melody or chords. The beauty of this approach is that it allows the improviser to build satisfying chords “on the fly” because the essential tones are used as a point of reference and the higher notes are then added above as needed. 55
Taking Lenny’s adjacent string 3rd and b7 idea as prerequisite of sorts, this column will point to what I feel in many instances is the next logical step in chord building: Using non-adjacent string tritone or divided tritone voicings. Some of these are very familiar shapes to most intermediate to advanced players but the majority are either new shapes or shapes that are used in a different context than normal. Often by simply placing the tritone interval, an augmented fourth or diminished fifth interval, on non-adjacent string sets a cluster voicing can be obtained. A cluster involves having an interval of a minor 2nd or major 2nd somewhere in the chord voicing. Example: play a B on the 4th string 9th fret and an F on the 2nd string 6th fret. That’s a 3rd and a b7th of a G7 respectively. It’s also a b7 and 3 of a Db7 respectively. This is because of “tritone substitution” covered in so many texts and articles. Because the tritone interval or B and F notes are on non-adjacent strings we now have the possibility of adding a note in between these two notes on the 3rd string. If we add an E on the 9th fret of the 3rd string we get a nice tight cluster (½ step between the top two notes) and a G13 voicing with
no 9th. Alternatively we can use an Eb instead, still a cluster, now outlining a G+7 chord. Then if we choose, a note can be added to the high E string such as a Bb or Db adding further color to the voicing. Alternatively a lower note can be added on either the 5th or 6th string. Some voicings in this column will be rootless with one important clarification; since one chord shape will have two names (thus two roots), roots will still be present with the tritone substitute. For example if we look at the notes B,F, Db, Bb, the first two notes are the 3 and b7. If we think of the chord as a G7#9#11 there is no root (G natural.) Thinking of the same chord as Db13 (G7’s tritone substitute) the chord does contain a root (Db note.)
Looking at the examples I provided (the chord boxes or grids) you’ll notice that two notes in each chord box are diamond shaped. Those diamond shape notes are 3rds or b7’s or in this case G and B notes. After playing each chord in the position (or fret) where they are shown transpose them in the following manner: Looking at the first chord in the upper left corner G+7b9#11 (or Db9) reverse the 3rd and 7th for the G7. In other words make the 6th string note an F and the 2nd string note a B. In order to do this you’ll need to slide the chord to the 12th position. Now you have a G9 or a Db+7b9#11. The “altered” chord now becomes the unaltered chord and vice versa. G+7b9#11 is not G9 when put into 12th position. Of course every other transposition can be done as well making sure you use all 12 available roots: A, A#,B,C etc. “Altered” simply means raised or lowered 5’s and 9’s (b5, #5, b9, #9.)
Plug these dominant 7th voicings into two-five-one progressions. Once you are more familiar with them plug them into tunes using the best possible (close) voice leading you can. Other ideas include staggering voices in the chords. Perhaps play the 3 and b7 together and then add the surrounding notes one at a time or sound them together against the ringing 3 and b7. Try think of all the arpeggiation and simultaneous plucking possibilities that you can. Move individual voices within the chord forms up or down a half or whole step, one at a time, starting with the easiest moves you can. I did not exhaust all of the chord possibilities with the divided tritone voicing chord boxes. See if you can find others, they certainly exist! In fact a few very easy voicings were left out intentionally. Some guitarists find it beneficial to work with flashcards in order to pinpoint 3rds and b7ths more quickly. On one side of the flashcard could be written Eb7 on the reverse side 3=G, b7= Db. Once these notes pop into your head instantly the 3rd and 7th can be fingered and the surrounding notes can be found either at the same time or a split second later. I hope you have a lot of fun with this and remember to take it slow, one or two voicings at a time as it is too difficult to memorize many in one practice session. It’s important to work on the adjacent string tritone shapes as well like Lenny Breau played so beautifully. Though Lenny leaned more heavily on string sets 5 and 4 with his tritones don’t ignore string sets 6 and 5 (especially in the high register,) 4 and 3, 3 and 2 and even 2 and 1! http://www.reachmusicjazz.com
56
Movable "Divided" Tritone Voicings
4
6
6
G+7 b9 Db9 4
G+7 b9 Db9
G7 b9 #11 Db7
G+7 b9 #11 Db9
G7 #9 (b9) Db 13 (no 9)
G+7 #11 Db9 6
G+7 b9 (#11) Db9
G+7 #9 Db 13
4 6
G+7 #9 Db 13
G7 b9 #11 Db7 7
Diamond shape = 3 or b7 X = String not played = Barre
6
G+7 b9 Db9
7
7
11
11
G7 #9 #11 Db 13 (no 9) 7
G7 b9 (#9) Db 13 (no 9)
G+7 b9 (#9) Db 13 7
7
G7 b9 #11 Db7 6
G13 b9 Db7 #9 6
9
G+9 (b9) Db+9 #11 7
7
7
G7 b9 #11 Db7 6
G9 Db+7 (b9, #11)
G+ b9 Db9
G13 b9 Db7 #9 7
G7 b9 Db7 b9 7
G7 b9 #11 Db7 #11
G+7 b9 Db9 7
6
G+7 b9 Db9 6
G+7 b9 Db 13
G+7 #11 Db9 8
8
G7 b9 Db7 #11 4
12
8 (doubled Ab)
G+7 #9 Db 13 4
G13 #9 Db13 #9 4
G+9 Db+9
G+ b9 Db+9 4
4
8
G+7 #11 Db9 6
9
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Study NOW with fingerstyle jazz guitarist Steve Herberman at MikesMasterClasses.com “Over the last couple of years these classes have had a profound impact on my playing, writing and arranging and for this reason I’ll be forever grateful to Steve!” — Nico S. (London, EN, GBR) “I am totally pleased by this class (Blues Call and Response, 1/20/14)... Steve gives so many ideas to make it fresh that it’s well worth your time and money investment.” — James S. (Riverside, RI, USA) “This class (Contrapuntal Triad Pairs, 9/14/12) is amazing. Steve Herberman has deep thoughts about counterpoint and a beautiful guitar sound.” — Julio H. (Porto Alegre, Rio Grande do Sol, BRA) Steve has more than 30 topics to make you a better player such as: • Contrapuntal Improvisation • Electric Fingerstyle Guitar • Lenny Breau Style: How to Comp • Chordal Solo Choruses • Going for Baroque While Soloing • Open String Voicings for Guitar • Chord Melody Arranging & Soloing Inspired by George Van Eps • Jazz Line Construction Visit mikesmasterclasses.com to learn from more than 50 other jazz masters including these acclaimed musicians and teachers: Sheryl Bailey, Paul Bollenback, Sid Jacobs, Vic Juris, Tom Lippincott, Lorne Lofsky and John Stowell
My Friend Paul by Craig Dobbins
Let’s take a look at a tune from my new album and book The View From Here. I wrote “My Friend Paul” the morning I got the call that my dear friend and mentor Paul Yandell had passed away. I didn’t really “write” it, I just picked up my guitar and started to play. I hope you enjoy my tribute to my friend Paul.
The arrangement has a feel much like “Forever Chet,” Paul’s own tribute to Chet Atkins. I incorporated various licks and ideas that I learned from Paul through the years.
The intro is based on a roll that he showed me a long time ago. It’s a little like what a banjo player would call a forward/reverse roll. Be sure to check the right hand fingering.
In the main section of the tune (beginning at the pickups to measure 10), I dig in with my thumb like he advised, brushing both the 3rd and 4th strings with my thumb (unless there’s a melody note on the 3rd string). I also fret with my thumb a lot in this tune. When I’m playing a wide- necked guitar like my Kirk Sand CDM, I use regular barre chords. When I’m playing a guitar with a narrower neck, I use my thumb on the 6th string and half-barre the 1st-3rd strings.
As I’ve said many times, thumb style is a chord style. “My Friend Paul” contains quite a few chords and inversions, so be sure to check the chord diagrams. I use what Chet called French horn harmony in the last two measures, playing freely.
On the recording, I used my Gretsch 6122-1959 Country Gentleman, which has a prototype front (neck) pickup that Paul gave me. The pickup is now available from TV Jones as the Paul Yandell Duo-Tron.
“My Friend Paul” is from my album and book The View From Here. For more information and to order, visit www.craigdobbins.com 63
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Electric Guitar Transistion by Stephen Davis Years of working in a guitar shop will teach you one thing that most guitarists struggle with the same issues when it comes to their gear. We are all searching for the next piece of gear to help us get closer to what we hear in our head. One of the questions that I often heard was: “I am an acoustic player and I want to switch to electric. Where do I start?”
Many guitarists change over to electric early on, or want to add the electric guitar to their arsenal. Looking at the never-ending choices of guitars, amps, and effects can be daunting to say the least. This mystery can very versatile and used in all genres of mube easier to understand by taking a look at sic, except metal. Finally there is the fully the three major categories logically. hollow electric. These guitar bodies are completely open and do not have a block. The guitar: Electric guitars primarily fall They are very acoustic by nature and are into four basic categories. First is the sol- prone to feedback issues. Hollow bodid-body. These instruments have a body ies are normally seen in jazz and western of solid wood. This is definitely the most swing music. common electric guitar in popular music. It is also the least akin to the acoustic gui- The amp: Electric guitar amplifiers, like tar. Next is the chambered body. These guitars, have four basic categories. First is appear to be solid, but have areas that are the solid-state amplifier. This is the most hollow. This makes the guitar sound less common in acoustic amplifiers, but the aggressive and is a good way to weight re- least common in professional level electric lief an instrument. Third is the semi-hol- guitar amps. These amps use solid-state low instrument. The Gibson ES335 is a components instead of tubes, making prime example of a semi-hollow guitar. It them much easier to mass-produce. The has open areas in the body that you can see solid-state sound is less desirable by most due to the f holes, but there is still a solid players. Next is the hybrid amplifier. These block in the middle. This makes the guitar amps either have a solid-state preamp seccloser to an acoustic, but they still have a tion paired with a tube power amp section, definite electric sound. They are usually or a tube preamp paired with a solid-state 73
power amp section. These amps definitely benefit from some warmth due to the tubes, but not as much as a tube amp. Third is the tube amplifier. These have tubes in both the preamp and power amp section. They are the most common professional level amplifier for electric guitar. They are responsible for most of the iconic guitar tones that we associate with the electric guitar. Finally we have the modeling amplifiers. These are solid-state units that are software based. They are designed to emulate just about every type of amp on the market. Modelers are definitely the most versatile, but they tend to lack a certain element of most of the amps they are copying.
The effects: Electric guitarists are well known for using all kinds of effects to alter their tone. Effects are primarily available in pedal and rack form. Most guitarists use pedals due to the simplicity and cost effectiveness of them. They can be broken down into three main categories. First are the drive and eq pedals. These include, overdrives, distortions, fuzzes, boosts, wah, volume, ring mods, octaves, and harmonizers. These pedals deal mostly with the gain structure, pitch, and drive level of the signal. They are normally placed at the beginning of the signal chain. Next are the modulation pedals. These include chorus, tremolo, vibrato, phase, flange, and rotary. These are normally a secondary type of effect to alter the overall tone of the guitar, and usually go after the drive section. Last are the time-based effects. These include delay, reverb, and loopers. They are used to repeat what is being played, add depth to the overall sound, emulate other rooms, halls, etc., and to play back what you are currently playing. They normally go last
in the signal chain. This is a very general overview, but I hope this gives you a place to start. Please stay tuned over the next few issues as we take a closer look at these categories.
74
Fingerstyle Jazz Café: Playing Solo on a Bebop Standard (Part 1) by Sean McGowan Bebop is one of the most popular and difficult genres within the jazz idiom – similar to the great Baroque period in the lexicon of classical music. Bebop is particularly difficult to play on guitar because horn players largely developed the language, and much of the common melodic passages require unorthodox fingerings and thinking to apply to the fingerboard. However, guitar pioneer Charlie Christian was one of the first musicians to develop the transitional vocabulary between swing and bepop through regular late night sessions at Minton’s in Harlem. Later, guitarists Jimmy Raney, Tal Farlow, Bill DeArango, and others were busy adapting the language and lines of Charlie Parker and Dizzy Gillespie on the electric guitar. Playing bebop melodies and solos adapted for solo guitar is an even greater task. Pivotal players such as Joe Pass and Lenny Breau transcended the inherent challenges of the instrument to make beautiful music sound easy and flow effortlessly. Flow is a good word to think about when you are soloing over a bepop standard with a lot of chord changes and substitutions. Start out by listening to the greats to assimilate the language and get the sound in your ears. In addition to those mentioned above, a very short list would include trumpeters Fats Navarro and Clifford Brown, saxophonists Dexter Gordon and Sonny Stitt, pianist Bud Powell, and many more. Pay attention to the phrasing and flow of the rhythms first, then start analyzing the harmonic and melodic content. 75
In this article, we’ll take a look at a solo over the chords changes of the Charlie Parker standard, “Confirmation.” This particular version was recorded on my solo guitar album of standards, Indigo (available on itunes). I’ve transcribed the first chorus to look at a few different ways of approaching a tune like this.
The song features a typical 32 bar, AABA form, with lots of ii-V-I major and ii-V-I minor progressions. The chords change once or twice in every measure, I like to drop in a reference point for the ears to hear the harmony. I do this usually through a bass note or small chord punch. Similar to a pianist punching a chord with the left hand while the right hand plays the line. This happens throughout the first twelve measures; note the open E and A strings in the second measure and the root Bb in measure 5. You can also play just the root and 7th of the chord as in measure 4. This “open shell” of a voicing leaves plenty of room for freedom in the melodic line above. Thelonious Monk would often comp for himself and others using only a root and 7th voicing. Finally, you can use
small, three to four note voicings to clarify the chord changes as in measures 7 – 10. With regard to my plucking hand, I generally keep the thumb ready to go on the bottom two strings, while the remaining four fingers cover the top four strings. This way, I can easily shift to using just the index and middle (and sometimes the thumb) to play single note lines.
Measures 11 – 12 feature some double-stop lines using intervals on tenths. These are common in all styles of music, and are a lot of fun to play. They are essentially intervals of thirds, but separated by an octave to add some breadth to the interval. Measures 13 – 16 feature a chromatically descending turnaround to get from Bb6 to the tonic F chord, before heading up to the first chord of the bridge, Cm7. The bridge continues the idea of using double-stops, but now in thirds throughout measures 17 – 19. In bar 20, I added an octave to the higher note, creating a nice little shell voicing. Jim Hall loved these kinds of voicings – check out his amazing solo on “St. Thomas” from the Alone Together recording with bassist Ron Carter.
The bridge concludes with some standard bebop single-note lines, before moving into the final A section. The last A is a little trickier as there are bass notes, chords shells, and melodic lines happening simultaneously. One of the keys to establishing independence with these parts is to work on the fretting hand, which will determine how long each note is held, i.e. long or short articulations. Remember, the picking hand sets the string in motion, but then the fretting hand is responsible for the articulation, duration of each note, etc.
Notice how the top line is sustaining, and fairly simple, rhythmically speaking. To offset this and keep the driving swing feel moving forward, I’ll drop in bass and chord voicings on the off-beats (the “ands” of each beat) and keep them short and crisp. I hope you enjoy working through this solo, and we’ll take a look at the second chorus in the next issue!
Sean McGowan is a jazz and acoustic guitarist based in Denver, Colorado, where he directs the Guitar Program at the University of Colorado in Denver. Visit him on the web at www.seanmcgowanguitar.com
76
Solo On Confirmation Changes The 1st solo starts at 0:58 and goes through 1:19
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8 Copyright © 2016 Sean McGowan
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David Oakes A Synopsis of Etude #1 by Jimmy Wyble
This is a short overview of Etude #1 by Jimmy Wyble. This etude appeared in the “Classic Country” book back in the early 1970’s and is one of Jimmy’s more obscure etudes. These will be thirteen of the most challenging measures of music that you will have ever attempted. Jimmy always wanted his students to learn this etude but that wasn’t the most important part for him. He was more interested in what you could draw from this composition and use in your own playing.
strings. From there he wanted to come up with a line inside of that interval. All of the lines should end up in standard “vanilla” jazz guitar chord shape.
Overall, there are some interesting techniques and challenges in Etude #1. The first challenge will be in the right hand fingering. Notice that you will be alternating your thumb and index finger throughout this composition. The second challenge will be in the left hand fingering. No bar chords should be played at all. Every note needs to be held until the finger needs to move to another note. Think of it as playing a piano with the sustain pedal down for each chord shape. This helps to bring out the bar harmony as you are playing. The final challenge will be working this composition up to the quarter note = 144 tempo.
When the book, “Classic Country” was first published, a copy was sent to Chet Atkins. Chet sent the book back with a short note saying that it was too hard, nobody will learn it. That was almost forty years ago. It is interesting to note that in the past forty years guitar players have evolved to where this music is still challenging but not way to hard to learn. The sounds are no longer just dissonant but now interesting as guitarists have continually been searching for new sounds and ways to play and improvise on the instrument. I would go as far as making I have used this piece quite often in my this statement: “Classic Country” was forty teaching and I have seen this work humble years ahead of its time! the best classical guitarist and jazz players in Los Angeles. Please practice this work I asked Jimmy what he thought about this slowly and try and be as consistent as posetude and his answer was very simple. He sible with your fingerings. Good Luck! said that he wanted this etude to be a study of 10th intervals. Every chord has a 10th in- First, listen to the first sound file. I have terval in it between the root and the 3rd of recorded etude #1 in its entirety. the chord with an octave in-between. These notes are usually located on the 6th and 3rd http://www.davidoakesguitar.com/ 81
Etude One
A Synopsis of Etude #1
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A Synopsis of Etude #1 by Jimmy Wyble - written by David Oakes Copyright © David Oakes - All Rights Reserved
Raquelita by Tanausú Luis I would like to say thanks to Fingerstyle Guitar Journal for the opportunity to be able to show my work. I live in Spain, but was born in a little town on the island of Tenerife. It is a small island off the west coast of Africa. The barriers you need to cross are even more difficult when you come from a small town but I have been the groove through fingerstyle techniques taught since I was very young that you such as, slaps, percussions, muted arpegneed to go where life takes you. gios, and popped notes up until the rubato section, where the tempo is completely I left Tenerife to study classical guitar at free and atmospheric. the Superior Conservatory of Salamanca on Spain’s mainland. Later I studied at Intro: Here we are using slap harmonics the University of Mozarteum in Salzburg, and percussions with both the left and Austria where I received a Master’s De- right hands. We have triplets using slaps gree in Chamber Music. on open strings with some percussive sounds with the left hand. We are trying After this I turned my attention to the to produce sound against the frets. Every acoustic steel string guitar. I am now a two beats we have an accent on the right teacher in Palma de Mallorca, another hand and it would be nice if you make a Spanish island on the Mediterranean Sea. crescendo. I also perform concerts and give workshops. How to combine bass lines with the melodies. “Raquelita” is dedicated to my partner Raquel because she came from another In order to study the A section I have diplanet to stay in mine to create a new life vided the bass and the melody line. later, together. “Raquelita” is a trip around the we will combine the two parts. Once you world; it is energy, movement, passion, can play each part, I recommend that you and tenderness. It is from my first Fin- simplify the learning process by workgerstyle work titled “En tránsito.” It is a ing on the parts individually. If you study theme with variations written in DADGAD them independently you will have an eastuning. The piece becomes more rhythmi- ier time once you play them together. cal as the song progresses and develops
83
The B section: Arpeggios played with percussions, slides, and pull-offs. First part of B section: Here we are using the thumb on the sixth and third string and sliding some notes on the third string as well. It has a bit of a Celtic air about it. Possibly because I have been influenced through my travels to the north of Spain with Raquel. On the second half, the first measure, we add the percussive sound. Be careful to make the pull-off clear in measure thirteen and on the ending with no percussive on measure fifteen. Here we let the bass ring.
Second part of B section: Here we are doing the same position as before with the 1st finger on the second string and the 3rd finger on the 3rd string, just one tone lower and adding some pull-offs with the 4th finger on the first string. This is a tricky part that combines slurs, slides, and arpeggios. It actually sounds more difficult than it is. Practice slowly and add speed gradually until you have full command at the performance tempo.
Bridge 1: This lick is based on A minor pentatonic. Here we are popping notes with the index finger, slapping with the thumb and the right hand is making a kick drum sound at the end. If you would like more information, please visit: www.tanausuluis.com
84
Raquelita Music by Tanausu Luis
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ClassicalGuitarStudy.com Stanley Yates A growing resource of print editions, free scores, study-guides and articles by well-known per“one of the leading former, teacher and scholar Stanley Yates pedagogues of our era” Soundboard Magazine
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Stone’s Rag by Bill Piburn
“Stone’s Rag” is from my now out of print book, Mel Bay’s Complete Book of Fiddle Tunes for Acoustic Guitar. While certainly not “complete” the book did include over one hundred tunes. It was my first published work of which I am very proud.
I know very little about “Stone’s Rag” other than it is a traditional fiddle tune that was recorded by Doc Watson on an album titled Riding The Midnight Train.
Doc, of course, played it at a high tempo with a more bluegrass feel. I slowed it down and played it more like a ragtime piece. I also chose to play an A minor 7 when it goes to the B section and Doc plays A7. I personally like A minor but A7 is the traditional change. This happens at measures 17 and 25. I suggest you try it both ways and make your own decision. While this is a simple piece of music, the left hand certainly has a few tricky moments. Other than the left hand challenges it is not too hard to play for an intermediate player.
“Stone’s Rag” is a happy little tune that will work well for most gigs. I hope you enjoy it. Maybe you can try writing a variation on it. I just may do that myself!
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BILL PIBURN Bill Piburn Plays Antonio Carlos Jobim
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Solo guitar arrangements in standard notes and tab for 12 Antonio Carlos Jobim classics. The accompanying CD features Bill Piburn peforming each song. Songs include: Água De Beber (Water to Drink) • Desafinado • How Insensitive (Insensatez) • and many more. 00703006 Book/CD Pack .................... $17.99
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Stone's Rag
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When I put together this study, I had recently watched a video of Lonnie Johnson from the early 1950s where he plays “Another Night to Cry.” He was singing and playing electric guitar in the key of G, mostly in the second position, with a plectrum. Lonnie’s postwar blues riffing in this video shows him playing in an up to date fashion of the time. A long way from the famous duets he recorded with Eddie Lang, who had to use the pseudonym of Blind Willie Dunn when they worked together in the late 1920s.
Delta blues turnaround cadence in the style of William Brown’s “Mississippi Blues.” Here it is transposed from the original key of A to G. It is not an exact transposition but meant to have a similar sense of complexity.
This link is to Lonnie Jonson’s performance I was also thinking of Muddy Waters’ hit of “Another Night to Cry” if you are not famil“Hoochie Coochie Man,” which was written iar with Lonnie. by his bass player Willie Dixon. “Hoochie Coochie Man” is a sixteen bar blues that fea- https://youtu.be/Uu2Smmcuu2Q tures a repeating stop-time chord riff in the first eight bars and then reverts to the last I recommend comparing his playing on this eight bars of the standard blues progression. rendition to his work with Eddie Lang on a This stop-time chord riff and blues lick com- duet like, “ “A Handfull of Riffs.” bination is a combination of tunes like Muddy’s “Water’s Mannish Boy,” Bo Diddley’s https://youtu.be/eXXI3m62MEQ “I’m a Man,” and John D Loudermilk’s “Tobacco Road.” There is a great recording of Muddy Waters and his classic band doing “Hoochie Coochie Muddy’s right hand picking style used most- Man” at the 1960 Newport Jazz Festival, here ly his thumb-pick and first finger. He plays is the link. in the key of G by capoing at the 3rd fret and using riff and chord shapes from the key of E. https://youtu.be/NV_ZhBcNiQQ?list=RDThis study is in G and the hope is that playing NV_ZhBcNiQQ it will help you become familiar with the fretboard terrain on both sides of the 3rd fret. It Visit me at http://www.timsparks.com/ is a good structure to practice shifting from a chord riff to blues licks in first and second positions in a call and response pattern. A third element in this etude is a voicing of a classic 92
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Copyright © 2016 TrueFire Inc. & Tim Sparks All Rights Reserved - International Copyright Secured
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Eric Lugosch
Acoustic Third Coast Livin’ in the Country
The late Pete Seeger was a brilliant yet overlooked fingerstyle guitarist. Most people associate Seeger with iconic songs from the 60s, like “If I Had a Hammer,” “Where Have All the Flowers Gone?” and “Turn! Turn! Turn! It is a testament to Pete Seeger as a composer and musician that the one instrumental he wrote on guitar became a main- I’ve recorded “Livin’ in the Country” two stay in the repertoire of fingerstyle guitar. times. The first time was on my debut CD, Making Models, with a steel drum player Most guitarists first think of Leo Kottke’s named Lana Wordell. Most people don’t version of “Living In the Country,” which know that Seeger went to Trinidad in 1956 appeared on his 1970 release Circle ‘Round in an attempt to introduce the steel drums The Sun and then in 1973 on My Feet Are into American folk music. My version from Smiling. Kottke still performes his memo- Making Models is a tribute to that. rable arrangement in concert, once again attesting to Pete Seeger’s version and it The link here is from my second recording coincides well with Kottke’s style of gui- of the song as heard on my CD Kind Heroes tar playing. I’ve included links so you can is my solo arrangement. My take is quite juxtapose Seeger’s, Kottke’s and my own different from Leo Kottke’s version, but version of “Livin’ In the Country.” It makes you can hear Pete Seeger’s influence on me smile to hear Pete Seeger’s version be- both versions. My version doesn’t have cause he whistles a harmony over the main that driving pulse that Kottke has. I try theme the second time through the tune. I to capture the calypso feel that I hear in could never imagine Leo whistling over his Seeger’s version. I also try to extend the version… maybe a trombone solo, but not boundaries with some counterpoint and whistling! moving bass lines. Pete Seeger’s version -
https://www.youtube.com/watch?v=iST9wBDVv6Y
Leo Kottke’s version -
www.youtube.com/watch?v=bG63mGFc-zE
Eric Lugosch version -
www.youtube.com/watch?v=VsbV_li9vgM
95
Let’s take a look at the transcription. Line one is simply the head of the song, and is repeated. Line two is the bridge and it is also repeated. This is a good set up for the listener and guitarist because it states the theme and prepares the ear for the variations.
Line three and four is a variation of the theme, or head of the tune. I look at measures 15 & 16 as a second ending, which brings you into a variation of the bridge. This leads into the “B” theme.
I play the “B” theme three times. I suggest treating these as variations. This part of the tune is a lot of fun to play. I suggest listening to my recording. These variations start on measures 21 through 28, then in measures 29 through 37, and measures 38 through 45. Measures 48 through the ending is a variation of the head of the song, notice that I break the melody into two octaves in measures 46 and 47.
Pete Seeger’s nod to calypso music was a reflection of his yearning to explore the music of different folks. “Living in the Country,” shows the possibilities that one can find when breaking free of the boundaries.
Here is a link to Pete Seeger playing the steel drum in Trinidad. www.youtube.com/watch?v=RUWMw9NN7Bs
Visit Eric at
http://www.ericlugosch.com/index.html
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Livin' In The Country
Arranged by Eric Lugosch 6 =D
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œ œ# œ ˙˙˙ œ œ J 3 ˙ 0 0
3
2
j œ œ
0
0
0
9
0 4
0
o 4 o 1 œ œ 1 3 1 3 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó œ Œ œÓ œ
5
8
0 4
4
7
7
œ œ œ œ œ œ œ
4
5
0
2
4
0
1
0 2
0
4
7
6
‰ 1 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ ˙ œ. ˙ œ œ œ ˙ 3
10
1
3
V 4/6
711
0
0
œ J
7
7
1
3
2
2
0
8 7 3
1/4
2
5
0 2 3
0
œ œ œ œ œ œ œ œ œ œ œ ‰ # œJ œ œ œ ‰ J ‰ J ˙
3
Slide, slide, and pull-off
2
1
2
3
œ œ œ #œ œ nœ œ w
3
4
2
2
3 2 34
Walter Rodrigues Jr. “Frère Jacques” (for grown-ups) This arrangement was conceived after listening to the song a countless number of times with my daughter on the music box attached to the mobile hanging above her crib. Actually, the first part of the video begins with me playing the melody along with the actual mobile.
I have always enjoyed arranging songs as I constantly learn and discover new things along the way. To me, arranging is like “digging for gold,” every time you find some; you become a richer musician, little by little.
the analysis can get much deeper and create different points of view, but for the purpose here, I think it can get us started.
Measure 9: Starts with a diatonic descending bass line, which creates a contrary moAlthough I was not thinking about theo- tion against the first three melody notes. ry when I harmonized this melody, the arrangement contains many elements that can Measure 10: The bass line continues to be analyzed and used as an example of har- move down (now chromatically), creating again a contrary motion against the first monization. three melody notes. When playing a chord melody arrangement, I always try to make the melody note ring Measure 11: When playing the first chord not only very clearly, but also sustain it for of m.11, I usually bar the lower three notes as long as possible. I also try to establish (F#, E, A) with my finger 1 while letting the the smoothest connection between chords B string ring freely, and I use my finger 4 for by maintaining common notes and letting the melody note G#. Another (more comthem ring and breathe within the context of fortable) alternative, would be using fingers 1,2,3 for F#, E, A and finger 4 for the the arrangement. melody note G#, whichever works best for On this piece, I use my fingernails and the tip you. The first two chords in this measure are of my thumb (no nail), which I think produc- functioning as a ii – V in the key of E, but es a smother tone for the bass notes. A flat instead of resolving on the I chord, it goes pick will also work; just make sure to mute to the iii chord (G#m7) which prolongs the V - I chord resolution to the next measure, the strings accordingly. creating a little of “expectation” mood. The The following is an overall basic analysis last chord in this measure substitutes the of the arrangement. As you dig in further, expected vi chord (C#m) with a bIII chord 101
(G713), allowing a chromatic bass movement to take place while sustaining the melody note from the previous chord.
Measure 12: In this measure the “so long” waited ii-V-I progression takes place in the first three chords (note that B/E is functioning as a I chord = EMaj9). A pedal tone starts in the next measure. Measure 13: An open E pedal tone allows the bass to breathe.
Measure 14: Pedal tone ends and a long eighth note chromatic descending bass line begins on beat 3 of this measure, leading us to the end of the song. Measure 15: Last beat of this measure consists of two eighth note chords functioning as a “turn around” towards the next and final measure. These chords start the final descending movement.
Measure 16: The final measure consists of the last descending movements. As an ending statement, you can start a rallentando on the first beat. I hope you enjoy exploring this arrangement. Please feel free to contact me by email [email protected] with any questions or comments you may have. I would love to hear from you. All the best, Walter Rodrigues, Jr. www.youtube.com/sevensharpeleven
102
Frère Jacques for grown-ups
Arranged by Walter Rodrigues Jr.
4 1 # # # # 4 œ3 œ1 œ3 œ œ œ œ œ œ3 œ ˙ 4 V
T A B
9
9
# # # # œœ œœ V
E
7 9
9
9
C # m7
B/D #
F # m7
A/B
B/E
4 2 2 2 2
5 5 6 7 7
7 7 8 9 0
# # # # œœ œœ V œ
12
œœ œœ œ
G # m7(# 5)
#### œ œœœ V œ
15
4 5 4 4
7 4 6
0 0 4 4 4
9
9 10
7
7
œœ œ œœ œ œ œœ œœ œœ œ ˙ œ œ
7 7 8 9 0
5 6 7
F # m7 (add11)
nœ 3
0 2 2 2
5 3 2 3
5 6 4 6
œœœ
9
7 5 6 7
5
E
nœ
œœ œœ œ
1
0 0 1 4 0
b œœœ nœ
9 9
œ œœœ œ
œœ œœ œ
4 0 2 2 2
5 5 6 7 7
D # m7 ( b 5)
G # 13 ( b 9)
n œœœ œ œ œ 0 3 2 4
7 7 8 9 7
0
9
7 7 6 7 6
C # 7(# 9) G 13 ( #11) F # m7 (add11) F maj7 ( # 11)
9
9
9
G # m7
5 6 5 4 4
œ n œœ nœ
7 4 4 4 4
5 4 3 3
4 5 4 6 4
E add9
œœœ œ œ
œœœ œ œ
œœœ nœ
˙˙ ˙˙ ˙˙
0 2 4 3 4
0 2 4 3 3
0 0 2 2 2
0 2 2 1
0 0 1 4 2 0
9
˙ œœ œ œ
C # m7
œ n œœœœ
Public Domain
œœ˙
œœ œ œœ n œœ œ œœ œœ n œœ œœœ œ œ œ œ œ
D add9/E
4 5 4 6
10 9
F # m7 (add11) A/B
B/E
0
E add9
9
4 4 4 4
5 4 6 7
A add9/E
7 9 7
G m6
œœ œ #œ
5 4 5
10 9
G # m7
œœ œ œ
A/E
œœœ œ
A m6
œ nœ œ œ œ œ nœ œ
B/E
œœ œœ ˙
7 9 7
7
9 10
F # 7/A #
E/B
œœ œ œ
œœ œ
Measure 1 of workshop begins here
5 4 6 7
7 9
œ1 . œ3 œ œ4 œ3 2 œ . œ œ œ œ œ œ œœ˙
œœ˙
7
9
G 13
F # 7/A #
# œœœ #œ nœ 5 6 4 6
5
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Alternate Tunings by Dylan Ryche Regular readers of Fingerstyle Journal are probably used to seeing all kinds of weird and wonderful tunings. These altered tunings can be a great way to spice up your music and get some different sounds. Alternate tunings are popular with many well-known artists such as Michael Hedges, Andy McKee, Leo Kottke, Joni Mitchell and far too many more to list. Joni Mitchell in fact had her own, unique system for remembering and notating the many tunings she used. It’s not only fingerstyle players and singer/ songwriters who use altered tunings but also electric players with bands such as the Beatles, The Rolling Stones, Led Zepplin, Sonic Youth, Nirvana, and many more.
Most of use learn in standard tuning (EADGBE) and begin to think of this as well… standard. As though standard is ‘normal’ and everything else is weird. Using a different tuning often means that a lot of the fretboard knowledge that we’ve spent countless hours developing no longer applies. In addition, string manufactures assume you will be tuning in standard tuning. So, depending on how crazy the tuning is you may need to mix and match string gauges. Then throw in the extra work of going back and forth between tunings for each song and you have what can seem like a daunting proposition.
The first benefit is that you can get pitches that are normally not available. Chord voicings that were previously impossible or perhaps very difficult suddenly become possible. Simply strumming all open strings in an open D tuning (DADF#AD) gives us a chord we are unable to achieve in standard tuning. In addition, it just may be easier! An open D tuning means that in the key of D you will have many open strings that are likely to sound good and in some cases fairly sophisticated. You may come up with some nice harmony by simply sliding your first finger up and down the neck. Chord voicings and melodic passages that required great stretches and leaps may possibly be easier with an altered tuning.
Earlier I said that altered tunings can be scary because our fret-board knowledge no longer applies when moving from standard tuning to an altered tuning. All the positions you knew are no longer available.
So, why bother? I am glad you asked! Here Wait! This can also be a huge benefit. are a few reasons.
105
Using a different tuning just might break you out of that rut. Now those old patterns and shapes do not mean anything and you will be forced or should I say free to explore. It will challenge you to think differently, to try something new. It also forces you to use your ear.
Therefore, if you are someone that has resisted diving into altered tunings this month’s column is for you. Think of this column as a ‘sampler’ of a few of the more common altered tunings. I played each example one after the other and on the same set of strings – so these do not require anything too crazy. (For something crazy, check out the Goo Goo Dolls 1998 hit, “Iris,” in BDDDDD tuning! Remember you do not have to learn an entire song to experiment with these tunings. Play around with them and discover what you like and dislike. Experiment, maybe write a song, or possibly create your own tuning! Be imaginative and have fun! You never know where it may take you. http://www.dylanryche.com/
106
Ex. 1 - Drop D Tuning = DADGBE C/D
D
## 4 œ œ œ œ œ œ œ œ V 4 ˙ ˙ 2
T A B
0
3
2
2
0 0
0
C/D
D
3
0
œ nœ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ ˙ ˙ ˙ ˙
D
2
5 7 7
0
3
2
0
2
0 0
3
1
0
0
3
3
5
6 0
3
ww w w
6
0
0
Ex. 2 - Tuning = DADGAD
## 4 ‰ œ œ œ œ œ œ œ V 4 w T A B
5
10
0 11
0
‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ w
0
9 11
0
4
0
7
4
0
7
0
7
0
0
0
4
0
œ w 0
4
œ ˙. 2
0
5
‚ œ ## ‰ œ œ ‚ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ V w ˙ œ œ œ w w
0
0
11 9
9 11
4
0 7
0
4
0
0
7
7
4
0
0
0
2
0
4
w
420
0
5
0
Ex. 3 - Open D Tuning = DADF#AD
## 4 . ‰ V 4 . w D
. .
T A B
3
œ œ 0
œ œ
0
0 0
0
œ œ
œ œ œ œ œ
0
0 0
2
0
2
œ œ 0
œ
œ œ
w
0
0
œ œ
0
0
0 0
0
œ œ
œ œ œ œ œ œ
œ
0
0
1
0
2
‰
Em
0
G
D
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. V # œ œ œ œ œ œ w w w 0 2
0
0 0 2
0
0 0 2
0
0
0
0
0 5
0
0 0 2
0
0 0
0
0 2 0
0
. .
0
0
0
0
Ex. 4 - Open G Tuning = DGDGBD
≈⋲ œ .. ˙˙ .. œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
G
Am
# 4 œ V 4 .. œ . œ œ œ œ œ ˙ œ œ œ œ œ œ . .
T A B
0
0
1 0
0
0 0
C ( omit 3)
# œ V ˙
œ œ œ
0
0
G
˙˙ ˙
w œ œ
2 0 0
0 0
5
0
1 0
0
0
D
0
5
0
0
0
add 9
4
0
0 0
œ
0
0
1 0 2
˙ œ
œ
œ
0
0
. .
0 0
œ
œ
0
0
0
0
œ
0
0
2 2
œ
1 3 0
2
2
2
˙ ˙˙ ˙
œ
œ
0
0
0
2
5 0 0 0
0 0
Ex. 5 - Open F Tuning = FACFCF F
V b 68 T A B
œ. œ
œ œ œ œ
4
2
0
0 0
0
0
0
bœ . Vb œ
œ
œ
3 0
0
0
˙. œ œ
0
2
œ œ.
œ
œ
4 0
5
7
œ
œ
0
B b maj9
œ. œœ . œ ..
F/A
9 0 0
7 0 0
5
4
œ
0
0
0
0
F7
4
œ
œ œ œ.
œ
0
0
œ
œ œ œ œ
4
2
0
G b maj7( # 11)
œ. œœ . . œ.
œ
œ œ œ. 0 0
0
0
0
G m11
œ. œœ . . œ.
œ.
0
2
F
œ. œœ . . bœ .
˙˙ .. ˙˙ .. ˙˙ ..
5 0 0
5 0 0
2
1
4 5 0 0 0 0
Ex. 6 - Open C Tuning = CGCGCE
V 44 .. ≈⋲ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w . .
T A B
0
12
0
0
0
11
0
0
0
0
9
0
0
7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
0
0
0
12
0
0
0
0
0
11
0
9
0
0
V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œr œ œ œ œ œ œ .. w w w
3
0 0
12
0
0
0
11
0
0
0
9
0
0
0
7
0
0 0
0
5
0
0
0
4
0
0
0
42
0
0
0
0
0
. .
0
0
0
7
0
Stan Bozek Artist/CD Profile Your bio says you were born in upstate New York. In what town were you born and where did you grow up? I was born in Utica, New York. It’s right in the middle of the state, about fifty miles east of Syracuse. I grew up in Deerfield which in the next town north of Utica. It’s a nice suburban to rural area. I still remember practicing a lot outside under a shade tree for hours at a time, and did for many years. Where do you currently live?
I am currently living in New Port Richey, Florida, about twenty miles north of Tampa.
You started playing on a toy guitar and started lessons at the age of nine. Tell me about your teacher George O’Dell and his influence on you. I remember lessons with George as if it was yesterday. He was a great teacher, a great guy, and an excellent jazz/swing guitarist. George studied at Julliard and was as studio guitarist for CBS in the 1940s. He also had a group, the Dell Trio that recorded for Columbia records in the mid to late 40s through the mid 50s.
I studied with George for four and a half years and at the time only played with a pick. He took me through all seven levels of the Mel Bay method books. We also played classics such as, “It’s Only a Paper Moon,” “Tea For Two,” “The Very Thought Of You, “ etc. I remember him saying, “Always put some of you 109
into the music, even when playing someone else’s arrangement. The sound was always his most important consideration. I understand that you occasionally play in a duo with your son Andrew. I would like to hear this. Please share your thoughts and experience playing with your son.
We played as a duo when he was in his teens. People really loved the father/son aspect of it. We still play together but only occasionally and mostly in band situations. Andrew has always had tremendous ears and plays several instruments. He continues to progress and has moved way beyond me! Your current CD In God’s Country is a collection of standard hymns and a few contemporary pieces. Without a doubt, I hear a Chet Atkins influence on your arranging. Tell me about the inspiration behind the recording and the arrangements. A family friend encouraged me for years to record a gospel CD and unfortunately, he passed before I could finish it. I tried to include songs that fans in my age group would recognize and hopefully enjoy. “Troublesome Waters” is from the first Johnny Cash record I ever owned, “El Shaddai” is a particularly beautiful melody that I have wanted to record for years.
The Chet Atkins influence is just ingrained in me. I felt it would work perfect for, “I’ll Fly Away,” “I Saw The Light,” and “Amazing Grace” is also influenced by Chet. I particularly liked your original “1500 Souls.” What is the story behind this title?
Thank You. I am glad you liked it. I was inspired to write it while watching the movie Titanic. I usually have the guitar in my hands while watching TV and during the scene when the ship was sinking; I just started play a somber minor riff and one thing lead to another. Approximately 1500 people died that night so I titled the song “1500 Souls.” I also made it a prelude to “Nearer My God To Thee” since, according to many reports it was the hymn that the band played as the ship sank. What are you future hopes and plans for your music?
I hope to improve as a musician and expand my opportunities to perform. I have plans to record more acoustic music and work to find a market for my compositions. A friend of mine who is a caregiver has told me that my new CD has been a blessing to both patients and other caregivers. This inspires me to make my music more available to those who may be enriched by it. http://stanbozek.bandcamp.com/
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Dream Guitar Gallery
Size Doesn’t Matter, After All! By Logan Wells
A Comparison of James Olson’s Parlor and Jumbo model guitars
If you’ve ever spent more than a few minutes on our website, you may have noticed our plethora of past Olson sales. One glance further, and you may have observed that the majority of those guitars were SJs, and this makes sense considering how central they are to the Olson sound and aesthetic. We welcome you to watch some of the videos of Al Petteway demonstrating that Olson sound, a crystalline richness with ferocious projection, in order to get a grasp on the particular nuances of James’ signature sound, got it? Great. Now, imagine what would happen if that Olson sound, all strings singing with a pianistic separation, were carried out to opposite ends of the tonal perspective. Imagine if the powerful timbre of an Olson SJ were compressed into the unassuming confines of a Parlor-size body. Imagine if the alacrity and presence of the treble strings were elongated and made to fill the lengths of a Jumbo guitar. At the time of this writing, we here at Dream Guitars have the opportunity to find out with one of each.w What brings these two guitars together is a shared quality of articulation, and warmth without any fuzzy fringes. Let’s define the 111
Olson sound as one which is surgically precise, with the kind of balance perfect for fingerstyle: each string and each note rings clearly and responds to the nuance of the player’s attack. To use an analogy, the difference between a good player, who can hit every note but doesn’t always apply the appropriate amount of feeling and control to those notes, and the maestro guitarist, who gives each note its proper weight and power. This is the same for the vast majority of good fingerstyle guitars being built today, and the master’s instruments that are Jim Olson’s. As a case study, this Jumbo and this Parlor help to demonstrate the range with which this builder is able to practice his skills. Both guitars provide the player with an ease of expression and possess similar qualities of richness and vibrant timbre, despite their obvious differences. It’s as though Jim Olson has managed to bring out the Jumbo in the Parlor, and the Parlor in the Jumbo, until this Jumbo guitar acquires a smooth and warm way of talking, and the Parlor exudes a robust bass response that rings in the depths. Where the Jumbo’s voice sounds as though it were a great wind blowing from some far distant shore, picking up richness and fervor, the Parlor sings a song, which bursts out from the strings with spontaneous force, cre-
ating a bond of intimacy with the player that could be contrasted with the more epic flavor of the Jumbo’s carriage. Neither of these body sizes is commonly found with Olson’s name stamped inside their bodies, and yet both Parlor and Jumbo contain that trademark responsiveness and vibrant tonality. Both possess a refined sense of dynamism, equally at home for quiet compositions as for vigorous displays of fingerstyle virtuosity a la David Wilcox.
Olson Parlor guitar
Measurements • Body Size: Parlor • Scale: 25.25 in. (641 mm) • Nut Width: 1 3/4 in. (44.45 mm) • String Spacing: 2 1/4 in. (57.15 mm) • Body Length: 19 in. • Upper Bout: 9 3/4 in. • Lower Bout: 14 in. • Serial #: 1182 • Body Depth @Neck Heel: 3 3/8 in. • Body Depth @Tail Block: 4 1/8 in. For a builder known primarily for his SJ • Frets to body: 12 guitars, this Parlor, in Brazilian Rosewood and Red Cedar, and this Jumbo, in Brazilian and Engelmann Spruce, demonstrate that Olson has a firm grasp on how to create the ultimate fingerstyle guitar, regardless of body. With these guitars, Olson proves that it’s not just the shape of the guitar which matters, but the maker Olson Jumbo of that shape that matters when it comes to creating instruments which have some- Measurements • Body Size: Jumbo thing worthwhile to say. http://www.dreamguitars.com/
• Scale: 25 3/8 in. (644.7 mm) • Nut Width: 1 3/4 in. (44.5 mm) • String Spacing: 2 1/4 in. (57.2 mm) • Body Length: 20 1/2 in. • Upper Bout: 12 1/4 in. • Lower Bout: 17 in. • Serial #: 1018 • Body Depth @Neck Heel: 3 7/8 in. • Body Depth @Tail Block: 4 7/8 in. • Frets to body: 14
Sight and Sound TrueFire Interactive Software Tim Sparks Fingerstyle Blues Toolkit Tim has put together a collection of eight original fingerstyle blues themes that incorporate licks, phrases, and concepts that will give guitarists a solid path to building there own blues tunes and licks.
The unique and very helpful approach Tim CD takes is what he refers to as the “toolkit.” Each tune has it’s own toolkit which are the components needed to play each theme. Ricardo Silveira & Roberto Taufic Tim does a great job of explaining each. The Atlanticos three frame shots that are used add to the clarity of each explanation. Ricardo Silveira is a Brazilian guitarist who is as a studio guitarist in his native Brazil. Some of the concepts and explanations in- Roberto Taufic was born in Honduras but at clude the blues scale, string bends, call and the age of five moved to Brazil. By the ago response, swing blues, country blues, boogie of seventeen Roberto was making his name feel, turnarounds, V chord riffs, slides and known in the Brazilian studio scene as well. Today Roberto lives in Italy but returns often pull-offs, and more. to perform and record. In January of 2012 The software includes 53 videos with the Ricardo and Roberto came together in Rio running time of 92 minutes. Accurate and De Janerio to recorded Atlanticos. clear PDF transcriptions are included. The recording is contains six originals and Tim Sparks does quality work and he has two written by Brazilian composer/vocalproven that again with Fingerstyle Blues ist Dori Caymmi. A highlight of the CD is a stunning version of Henry Mancini’s “Moon Toolkit. River.” The harmonic and melodic surprise of this track alone is worth the price of the www.truefire.com recording.
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Ricardo and Roberto are not simply backing each other up as the other solos. This is a
true musical conversation and that is rare indeed. A mark of true musicianship on the highest level - Atlanticos is a wonderful recording filled with beautiful playing and compositions. www.cdbaby.com
A few of the topic covered are, hexatonic major and minor scales, hexatonic altered 7ths, applying hexatonic to II-V-I progression, adding chromatic notes to hexatonic, hexatonic used with tritone motion, and much more! Yes, this is a daunting book but anything worthwhile takes work. This is not easy or every musician would be doing it. We highly recommend this book however be patient and understand that you will need a solid understanding of the notes on the fingerboard and reading skills, no tab with this one. http://www.randyvincent.com/books.html
Book Randy Vincent Lines Games For those in the know Randy Vincent is one of the most respected jazz guitar educators and players in the country. Randy’s most recent book Line Games deals with the subject of hexatonic scales derived from triad pairs. While you may already have a headache just thinking about this it is a topic that can vastly improve your improvising. Randy clearly explains this subject and to reaffirm the legitimacy of the techniques he includes many transcribed solos from legendary musicians such as Joe Pass, Pat Martino, and Wes Montgomery.