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235
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Presto
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golpe (mute strings) 2
14 12 0 0 0 0
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0 12 0 0 0 0
14 12 0 0 0 0
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0 12 0 0 0 0
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harm.
2
0 12 0 0 0 0
14 12 0 0 0 0
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0 0 0 0 0 0
12 12 12 12 12 12
0
0
*shake guitar to create tremolo effect
5 7
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Musical Detours – Thanks to Hurricane Irma By Roger Hudson The last month or so has been a wild ride for Floridians. In case you haven’t heard, a huge, obnoxious, unwelcome blow-hard named Irma showed up on Florida’s doorstep September 10, 2017. The Keys and southwest ern Florida got hit pretty hard. I am in an area just south of Tampa Bay. In our case, getting ready for Irma and bidding “good riddance” to her were the most stressful aspects of the whole ordeal. Any of you who live in hurricane-prone areas know what this is like. You spend the better part of a week or so following the track of the hurricane. You listen to the meteorologists reporting about the various “spaghetti models.” Of particular interest are the “European spaghetti models”. Far from glamorous, all these models show the projected paths of a hurricane. They are usually pretty accurate. However, even a 50 or 60-mile variance in the projected path can make a big difference in your plans. Irma was projected to make landfall on southeastern tip of Florida (Marco Island) in the afternoon on Sunday Sept. 10. I was not able to get my windows boarded up until Saturday night. All the retired people had bought up all the bottled water and plywood by the previous Wednesday. I mention “all the retired people” because it seemed like they were the only ones with the time to get ready – and they all seemed ready. I trust I will be one of them someday. So, my wife, 20-year-old son and I began our deliberation regarding evacuation. I did not want to leave home for various reasons. People were already leaving Florida in droves and sitting in 119
trafic for hours. Gas was becoming scarce. Price gouging was being reported. Hotels were becoming full. I live in a zone, which is not prone to looding, so I was not required to leave. The Tampa Bay area has not seen a direct hit from a hurricane in close to 100 years. I have many relatives in the interior of Florida (natives) and I noticed that they were not leaving. I noticed that many of my neighbors – the ones who were ready and had lived in Florida for several years – were not leaving. My cousin who lives in Minneola (toward Orlando) invited us to come over if we wanted to leave. By Saturday, the eye of the storm was slated to pass pretty much directly over my house by late evening Sunday. Meanwhile on Saturday, we were joined by my friend Erol Ozsever. If you remember, Erol beautifully performed my “January” piece in Fingerstyle Guitar Journal two issues back. Erol had half-jokingly declared himself a “refugee” because he lived in a mandatory evacuation zone. We invited him to stay with us. By Saturday night the meteorologists were predicting 100+ mph winds for our area. That was the deciding factor for my wife. She did not want to stick around just to experience hurricane force winds. My son and I still wanted to stay. Well, what do you think happened? We left at midnight Sunday bound for my cousin’s house - probably a good idea
if a spaghetti model tells you a hurricane is headed straight for your house. My cousin’s house in Minneola would be better. The predictions were that the Orlando area would be on the eastern edge of the mysterious “Cone of Uncertainty.” We would be much safer going in that direction - we thought. As it all turned out, the hurricane shifted east and the depleted “eye” passed right over Minneola! So much for “spaghetti models” and “cones of uncertainty.” My cousin had two downed trees, but thankfully her house was untouched. We were glad we had evacuated. We had a great time at her house! The trip back to our house was smooth except for the occasional downed tree blocking the road. When we got home we had piles of limbs on our roof. These limbs all came from our 100foot pine tree whose north-faced limbs were shaved off by Irma. The house was ine otherwise. We had been spared. I told this story to give you the source of inspiration for my new solo entitled “Midnight Flight.” There are many characteristics in this piece, which are musical metaphors for what the Irma experience was like. The piece, like Irma, is a contrast between predictability and unpredictability. The predictable is the G minor ostinato, which represents the hurricane – ominous, churning. The unpredictable is represented by the numerous time signature changes, which interrupt what would be a more predictable musical direction. Two things inspired this unpredictability: 1. The change in Irma’s path and, 2. By the unusual back road route which our navigation sent us on! There were many unexpected turns on our way to Minneola that night! The more lyrical sections such as measures 45-63 and 112-136 represent the comforting hospitality given to us by my cousin and her family.
“Midnight Flight” has quite bit rhythmic variation due to the time signature changes as well the sometimes-subtle shifting from 6/8 to 3/4 time. In fact, I often confused myself as to whether I wanted to write eighths with 6/8 beaming or 3/4 beaming. For example, contrast measures 43 and 44. The truth is, you could probably play it either way. With two eighth notes beamed, you hear 3 accented beats (quarter notes) in a measure. With three eighths beamed there are 2 accented beats (dotted quarter notes). In the 5/8 measures, the effect is to have two unequal accents in the measure – dotted quarter and quarter. These are usually subdivided as 3 eighths and 2 eighths. I personally think we could all use more of these complex or “odd” time signatures in our musical lives. It is really not that big of a deal once you get used to them. Maybe getting used to them is the problem. The use of 5/8, 7/8, 11/8, etc. is one effective way of avoiding musical clichés. However, I like a complex time signature to be used only because the direction of a melody or musical idea requires its use. I have always been leery of a compositional approach where complex time signatures are imposed on the composition. The composition should grow into that complex time signature naturally. I invite you to go to my www.rogerhudson. com website for PDF downloads of many of my compositions. You will also ind my work available at www.melbay.com. If you do not ind a particular piece you like on the website, please contact me at info@rogerhudson. com. Please also use that address if you want to book me for a concert, workshop, master class or other professional reason. Roger Hudson October 2017 120
Midnight Flight Roger Hudson
q.= 92
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Exploring Artificial Harmonics © 2017 Stanley Yates In a previous issue of Fingerstyle Guitar Journal we explored various aspects of natural (left-hand) harmonics on the guitar, concluding that while the technique is very evocative it’ s also quite limited in the range of pitches that can be obtained. In this second article we’ll explore ‘artificial’ (right-hand) harmonics, a technique that makes many more pitches available to us.
Violin-Style Harmonics
Before turning directly to artificial harmonics, though, I’d like to take a quick look at an unusual technique borrowed from violinists that can be used to generate further natural harmonics on the guitar. 1 In this technique the left-hand first finger frets a note while the fourth finger lightly touches the same string 3, 4 or 5 frets higher to create a harmonic nodal point. Here are the harmonics that result:
nodal point +3 frets +4 frets +5 frets
resulting pitch double-octave plus a perfect fifth double-octave plus a major-third double octave
equivalent to fret III fret IV fret V
For example, if we play string at the third fret (with the first finger) —the natural note produced there is a C — and simultaneously touch the string (with finger 4) over fret 6, the pitch G results. If we touch the string over fret 7, an E results; and over fret 8, a C: Ex. 1
The following pitches, while not available as regular natural harmonics, can be played as violin-style harmonics: Ex. 2
1
This technique was described by Spanish guitarist Fernando Sor in his Guitar Method of 1832 and is used in his Fantaisie villageoise Op. 52 of the same year (the only notated use of the technique that I’m aware of).
129
Combining natural harmonics with violin-style harmonics allows us to play complete chromatic scales. For example: Ex. 3
Any desired scale or mode can be played by simply selecting the required notes from the chromatic scale. For example, G-Major: Ex. 4
Melodically arpeggiated chords can be generated in a similar way. For example: Ex. 5
130
Artificial (Right-Hand) Harmonics
‘Artificial’ harmonics are produced entirely by the right hand, which both creates the nodal point and plucks the string. For example, the first-string natural harmonic found at the twelfth fret can be played ‘artificially’ by lightly touching the string with the right-hand index finger instead of a left-hand finger and at the same time plucking it with the right-hand middle or ring finger. This leaves the left hand free to do other things (to fret a bass note in the lower position, for example). Ex. 6
The clarity of an artificial harmonic is enhanced by maximizing the distance between the nodal point and the plucking finger, making the ring finger the preferred one for plucking the string. On the wound bass strings, on the other hand, artificial harmonics are often clearer (and more convenient) when plucked with the thumb: Ex. 7
Octave artificial harmonics can be generated from any fretted note by touching the string at its half-way point. For example to move from the open first string harmonic E to the first fret harmonic F, touch the string at fret 13 instead of fret 12: Ex. 8
131
To play a melody in octave artificial harmonics we simply track the fret positions of the left hand, always touching the string at its half-way point (twelve frets higher than its fretted position): Ex. 9
On a practical note, it’s very easy to fudge an artificial harmonic—be sure to prepare the right-hand touching finger on or close to the string a little ahead of time, whenever this is possible.
Intervals other than the Octave It’s also possible to touch the string at nodal point s other than the octave, the half-way, twelfth fret octave position. In fact, any natural harmonic nodal point (fret 24, 19, 12, 9, 7, 5, 4, 3, etc.) can be adopted by the right hand to produce a wide range of harmonic pitches from any particular fretted note. This is a neglected technique that provides many options for left-hand fingerings and the artificial harmonics that can be generated from them. For example: Ex. 10
Accompanied Artificial Harmonics As well as being accompanied by a bass note played by the thumb, as mentioned earlier, artificial harmonics can also include an additional note played by the middle finger:
132
Ex. 11
The artificial harmonic can also be played on a string lower than the highest one of the chord: Ex. 12
Palm Harmonics A harp-like effect can be obtained by lightly placing the right-side of the palm on the strings, following the general fretboard shape of the chord, and ‘glissing’ across the strings (from bass to treble) with the i finger: Ex. 13
Cascading ( Lenny Breau ) Artificial Harmonics ‘
’
A further ‘celestial’ effect is obtained by alternating between artificial harmonics and natural notes ge nerated from a held chord shape, producing a cascading scale passage (a technique often attributed to jazz guitarist Lenny Breau):
133
Artificial Harmonics with Left-Hand Slurs
We’ll end with a clever technique used by Spanish guitarist Francesco Tárrega (1852 -1909). Since artificial harmonics take up so much right-hand ‘real estate,’ one way of producing accompanying notes is to hammer them with the left hand. Tárrega used this idea in his well-known piece Alborada, combining open-string artificial harmonics in the right hand with left-hand hammered passagework: Ex. 15
Tricky!2 The entire piece is provided. In addition to the unusual technique just described, the piece also includes a number of challenging fast glissandos (see measures 1, 12, 14 & 32, for example).
2
I discuss this technique and perform the piece in the DVD film Francisco Tárrega: His Life and Music (Mel Bay, 2008).
134
Alborada—capricho
Francisco TÁRREGA (1852-1909) Edited by STANLEY YATES
Andante 2 4
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Eric Lugosch Acoustic Third Coast I Will Do My Last Singing In This Land
In this issue I’m presenting one of my favorite Reverend Gary pieces, “I Will Do My Last singing In This Land.” Late in life Gary Davis was consumed with the concern of making it into heaven upon his death. The lone recording of this song was captured at the Newport Folk Festival. To me, it sounds prayer and thoughts regarding mortality. like he is actually crying through some of Many people have written me about this passage, saying that it’s very somber but the verses. really enhances the arrangement. I had the unique opportunity to be taught by two students of Gary Davis, Ben Aronoff and Take note of a little phrase that I use three Danny Starobin. Ben was my irst teacher times in the transcription at 2:00, 4:06, and showed me the more accessible pieces. and inally at the 5:00 minute mark. You’ll This was more of a training camp to devel- notice some of my trademark chromatic op the muscles necessary to play Gary Da- bass line support of the melody starting at vis. Danny showed me the more intricate the 3:20 mark. I also use quite a bit of conaspects of the Rev’s music and his choral trary motion with my counterpoint. This like approach and use of four inger chords becomes evident at the 0:36 mark and I use it throughout the piece. and counterpoint. There are many people who are purists of Davis’ repertoire. While I can play this way, I consider myself a composer/ interpreter; I chose to treat his music as if he were a jazz teacher trying to help me expand my horizons on the guitar.
I am proud of this arrangement and enjoy performing it in concert. Take your time, identify the sections…intro, verse one, two, vamp to heaven, three, four, inal ending phrase.
Hope you enjoy playing this as much as I I would recommend listening carefully to do. the video link. You’ll notice that I frame the melody clearly on the irst and last pass. Eric Lugosch At the 2:05 mark I break from the tune completely with what I consider his silent http://www.ericlugosch.com/ 139
I Will Do My Last Singing In This Land 6
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O For A Thousand Tongues To Sing by Craig Dobbins
O for a thousand tongues to sing my great Redeemer’s praise, The glories of my God and King, the triumphs of His grace.
Hello again! This time we’ll take a look at an arrangement from my new CD Hymns for Fin gerstyle Guitar 20th Anniversary Edition, featuring remastered tracks from my 1997 book/CD set Hymns for Fingerstyle Guitar , plus 4 bonus tracks. Charles Wesley (brother of John Wesley, founder of the Methodist movement) wrote nearly sixty-five-hundred hymn-poems, including “Hark! The Herald Angels Sing.” He wrote the text of “O For A Thousand Tongues To Sing” in 1749. It was later set to music by Carl Glaser. One of my favorite arranging ideas is to begin with just the melody, gradually adding harmony with each verse, until I have built to full chords. Measure 1 begins with the melody in single notes, leading to two-part harmony at the pickup to measure 9. Full chords begin at measure 17, with a moving bass line at measure 25. I like to imagine a massive pipe organ playing this part. Here I’m using mostly irst position chords, except for an occasional barre at the 3rd fret. At the pickup to measure 33, it’s back to single string melody, and a touch of two-part harmony again at measure 37. On the recording, I used a deep body rosewood/spruce Kirk Sand nylon string electric, equipped with a Gibson CE pickup and a Ray Butts preamp. I used a classical thumb and ingers technique, although I did use a thumbpick. I hope you enjoy learning and playing “O For A Thousand Tongues To Sing.” “O For A Thousand Tongues To Sing” is from Craig Dobbins’ new CD Hymns for Fingerstyle Guitar 20th Anniversary Edition (CBD Music). Transcriptions are available in the book Hymns for Fingerstyle Guitar (Alfred Publications Acoustic Masters Series). For more information and to order, visit www.craigdobbins.com
147
O for a Thousand Tongues to Sing arr.-Craig B. Dobbins
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Artist Proile Franscois Danton Sors
I usually travel to cities like Johannesburg and Cape Town to perform. The majority of gigs are restaurant gigs.
Is there a community of guitarists in your I enjoyed your composition “Eleanor” it region that play ingerstyle guitar? reminds me of Earl Klugh’s pop material. Is there an Eleanor that inspired the The ingerstyle players in South Africa are piece? few and scattered throughout the country but we try to stay in contact with a Facebook Eleanor is actually my mother. She encour- page we created. aged my playing from a young age and also bought me my irst guitar. I know you often compose solo guitar I know that you are from Africa but which pieces. Is original music your focus? country and town do you currently live in and where were you born and raised? Yes original music is my main focus but I am also starting to do arrangements as well. I’m from South Africa though I have moved around many times. I currently reside in the Do you have other musicians in the famtown of Colesberg, which is in the center of ily? South Africa. This is also the town where I was born and raised. I am the only musician in my family. However my family has a love for music and there How did ingerstyle guitar playing come have been other guitarists in previous geninto your life and who has inspired you? erations. I had formal classical training for most of my childhood years so I’ve always played solo guitar. I just found it dificult to relate to classical music and when I discovered Earl klugh’s solo guitar music I fell in love with it and knew that was is the kind of music I would love to play and compose. Tommy Emmanuel, Earl klugh and Andrew York are my biggest inspirations although there’s many more guitarists that I follow.
Do you perform mostly solo and do you have opportunities to play with other musicians? Mostly solo. The only time I play with other musicians is when I help out with our church band. You are playing the nylon string guitar in all the videos I’ve seen. Do you also play electric guitar?
I assume you’re out doing gigs. What opportunities for performing do you have? I only play nylon strings. I just never got into electric guitars. I love the sound and feel of Fingerstyle playing is not very popular in the nylon strings too much. South Africa so the gigs are small and few. 152
Is there much exposure to ingerstyle guitar in your region and opportunities to hear and learn ingerstyle guitar?
Like most artists I’m sure you want to share your music with a larger audience. Tell me where you hope to take your career as a musician.
Unfortunately not, this is something that I hope will drastically change in my region My desire is to reach an audience who are and country as a whole. appreciative of what we do. It may sound simple but in South Africa you still have to What are you currently working on and explain what ingerstyle guitar is. My Ultiin what areas of music do you wish to mate goal is to record more of my music and grow in? someday get to play outside South Africa. I would especially like to perform in the Unit I always have a composition that I am work - ed States on a regular basis. ing on. I am also working on improving my knowledge of jazz harmony and improvisation. I think this will give me more possibilities when it comes to composition and arranging. I am also in the inal stages of recording my debut album Portrait skies, which I am very excited about.
Eleanor Francois Danton Sors II
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2
IV
0 0
3
2
1
4 7 6 6
5
IV
9
7 7
4 4 4
0
2 4
7 5
7
4
7
0
3
2
1
4 7 6 6
5
IV
0
2 4
4
2
0
2
VII 3
4 4 4 4 4 4
0 1
2
1
4 7 6 6
5
3
4
3
10
9
13
7 7 0
4 4 4 0
7 5
4
7 7 0
© 2017 Francois Danton Sors
9 7 8 0
7
1
0
IV 17
3
II
4
3
1
2
2
4
1
1
2
1
2
0
0
4
7 4 4
0
4
7
5
4 0
4
1.
0
2 1 2 1
24
2 2 2
2 2
0
2
1
2.
Tap guitar top with thumb
2
4
5
7
20
0
0
0
2 2
1 2 0
0 0 1
0
4
0
IV
0 3
2
4 23
7 4
4
5
4 4
4
1
1
0 4 0
4
2
IV
2
4
4 4 5 7 9
7
2
2
4
4
1
5
4 4
0 4 0
4
IV
II 4
4
2
3
3
2 2 2
4
II
2
1.
27
4 5 5 4 4
4
7 9
5 4
2 1 2 1
0
0
2
4 2 2 2
5
7
5
4 0
6
4 1
2 2 2
2
24
2
24
2
0
II 31
2
1
4
2.
4 4 5 7
2 1 2 1
0
0
2
2 2 0
0
2 4
2
2 4
2
2
0
0 0 1 0
Editor's note: I personally like replacing measures 28 through 31 with the following two measures. This makes it a four bar phrase instead of a five bar phrase for the repeat. This just gives you an option.
II 35
4 2 2 2
5
7
5
4
6
4
0 0 1
4
0
4
5
7
A Guitar for Change: Ribbecke’s Halling, Lennon’s “Imagine,” and Yoga
Bring to mind the video of John Lennon and Yoko Ono for “Imagine.” You know the one: it begins with the two walking along a misty path, and before long John is sitting at an all white piano in an all white room of an all white country estate singing one of their most famous songs. Tom Ribbecke took this alabaster image to heart when he irst conceived of this particular Halling project. Indian rosewood back and sides are paired with a three-piece maple neck Sitka spruce top that are both painted a creamy white. Simple ebony bindings and trim delineate rosewood from spruce, and the ebony pickguard and bridge set off the milky expanse of Ribbecke’s Halling top plate—bass-side lat, treble-side arched— and the offset sound-hole balances out the image. Beneath the hood lies a B-Band 22r UST pickup with volume control mounted inside the sound-hole and terminates in the end pin jack. A 1 3/4” nut and 25.4” scale feel right at home on the gently curved C proile neck, and the setup is dialed in for slinky playability. The voice is round, focused, and warm at the edges, with hints of punchiness in the bass. It’s not quite a lattop for brashness, and it’s not all the way an archtop for woof, but it blends the two in such a way that individual notes are three-dimensional and distinct, and they have a habit of hanging in the air. 157
We are honored to offer several Hallings like this Imagine model as charity sales. The owner of these guitars has developed a friendship with Dream Guitars owner Paul Heumiller through their mutual desire to give back to communities in need. Paul has developed yoga programs in jails and prisons in North and South Carolina in an effort to provide tools for change to the marginalized. The owner has asked that all proceeds from the sale be given to a charity that dovetails perfectly with Paul’s yoga work: The Prison Yoga Project, an organization that has established yoga programs in prisons in over 22 states across the nation. The buyer is eligible for a tax deduction. Dream Guitars has always been about more than just selling guitars. We are beyond delight ed for this opportunity to feed our dual passions of serving others and putting the world’s inest guitars in the hands of players. Anyone who knows Tom Ribbecke loves him; one of the biggest hearts in the guitar world. Tom is a dear friend and one of the masters of our Golden Age of Lutherie. It’s itting that his art be a part of this offering to affect a change in the world around us. https://www.dreamguitars.com/shop/ brand-new-ribbecke-imagine-halfing-indian-rosewood-sitka-spruce.html https://prisonyoga.org/
Sight and Sound Book Jostein Gulbrandsen Modern Jazz & Fusion Guitar
even advanced players. Subjects covered include playing over dominant 7th and altered 7th chords, 2 minor 7 th, major 7ths, major and minor pentatonic, triad pairs, 2-5-1 in major and minor keys, and soloing over standards including “On Green Dolphin Street,” “Someday My Prince Will Come,” “Invitation,” “Stella By Starlight,” and “Saint Thomas.” Jostein also addresses the styles of Pat Metheny, Allan Holdsworth, Frank Gambale, John McLaughlin and John Scoield. This 104-page book comes with an access code that allows you to view videos of Jostein playing all 139 examples. You also have the option of downloading the videos. It is written in both standard notation and tablature. This is a serious work that will keep even the most dedicated musician busy for a good while. We highly recommend it. www.halleonard.com
CDs Dylan Ryche Daydreamer Jazz guitarist Jostein Gulbrandsen was born and raised in Norway and has lived in New York City since 2001 where he is active in the jazz scene. Jostein originally came to the United States to study at the University of North Texas and later moved to New York City to study at the Manhattan School of Music where he received his Masters of Music in Jazz Performance in 2003. In his new book Modern Jazz & Fusion Guitar Jostein has divided the subject of improvisation into seven chapters. Each chapter having it’s own focus on topics that will help 161
