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HowardRobefts' Guitar Book By Howard Roberts&JamesStewart
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197i, by PlaybacM k u s i cP u b l i s l i i nC g o m p a n yP . o . B o x 4 2 7 8 ,N o r t h H o l l y w o o dC , a l i f o r n i a9 1 6 0 7 All RightsReserved Printedand Publishedin U. S. A. InternationalCopyrightSecured
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FOREWORD Collaborationis a delicateart;few egosare small enough to allow for a compatible, creativerelationship. Howard Roberts a n d J i m S t e w a r t- - w o r k i n g a n d t h i n k i n g a s c l o s e l ya s R i m s k y and Korsakov- - have brought collaborationto a new sophistication. At the sametime they have raisedthe stature of the guitar to its proper level of respect. They accomplishedthis by meansof a simple, direct technique that took full advantageof their 1S-yearrelationshipin a n d o u t o f t h e s t u d i o s : H o w a r d a n d J i m d i s c u s s e tdh e f o r m a t o f t h e b o o k , f l i p p e d o n a t a p e r e c o r d e r ,t h e n a l l o w e ds t r e a mo f to outline the five major topics - - picking, cdmpconsciousness ing, improvising,fingerboardtechniqueand chord solo playing. To illustrate each of those functions, Howard provided e v e r y n o t e o f m u s i cp l u s t h e a c c o m p a n y i n gf i n g e r i n g .A l l t h e s l u r s ,a l l t h e a c c e n t s- - a l l t h e n u a r l c e so f n o t a t i o n- - r e U e c t H o w a r d ' sg u i t a r t i s t r y . I n i t s f u l l e s tm e a s u r et,h i s i s T h e H o w a r d R o b e r t sG u i t a r B o o k . W h a t J i m S t e w a r th a sd o n e i n v o l v e sm o r e t h a n j u s t a d d i n gw o r d s t o m u s i c . H e a n a l y z e dH o w a r d ' st e c h n i q u e a n d i n t e r p r e t e dh i s t h o u g h t sa b o u t t l t e i n s t r u n t e n t .A l l t h e s u b t l e t i e so f t h e t e x t r e t l e c tS t e w a r t ' sg i f t f o r u n d e r s t a n d i n g "artistic a l t e re g o " i s a t h e m a n b e h i n dt h e m u s i c . T l i i s r o l e o f f a m i l i a ro n e t o J i m : h e p r o d u c e ds i m i l a rr e s u l t si n T h c _ W e s M o n t g o m e r yJ a z zG u i t a r M e t l i o d f o r R o b b i n s . o f H o w a r d R o b e r t si s t o r e - c r e a t e T o c a p t u r et h e e s s e n c e t h e v i r t u a lh i s t o r yo f t h e g u i t a r . S t y l i s t i c a l l ay n d a e s t h c t i c a l l y . H o w a r d ' sk n o w l e d g ea n d t e c h n i q u ee n c o m p a stsl t e en t i r c p l e c t r u m p a n t h e o n l f r o m t h e e a r l y a c o u s t i ce x p l o r a t i o n so t ' E t l d i e L a n g ; t h e u n o r t h o d o x f i n g e r i n go f D j a n g oR e i n h u r d t :t h e r m p l i s ;t ' f i e d g e n i u so f C h a r l i eC h r i s t i a n ,t h e c o m p i r r gs t e a c l i r t c o s sf J i r n r n yR a n c ya' n c lJ r l F r e d d i eG r e e n ; t h ei n v e n t i v e n e o F a r l o w ; t o t h a t l i n e a r - c h o r d ga il a n to f t o d a y ,G e o r g eV a n E p s . F r o m 2 0 y e a r so f e x a c t i n gs t u d i oa s s i g n m c n tps l.u s t h e d u e s p a y i n ga p p r e n t i c e s h i tph a t p r e c e d e da, n d t h e c l u b a n d c o l t c e r t g i g st h a t h a v ec o n t i n u e d ,H o w a r d R o b e r t sh a sr e c k o n e dw i t h t y p e o f g u i t a r a n d n r e t e v e r yp o s s i b l et y p e o f e v e r yc o n c e i v a b l e m u s i c a lc h a l l e n g e .I f h e s y m b o l i z e sa l l t h a t i s p a s t i n t h e e v o l u t i o n o f t h e g u i t a r ,h e i s t h e l o g i c a ls p o k e s r n a fno r t h e e x p l o s i v e r o l e st h e g u i t a r w i l l a s s u m ei n t h e f u t u r e . "The guitaris the cuttingedge. A s H o w a r d l i k e st o s a y , V a r i o u si n s t r u m e n t sh a v ee n j o y e dt h e i r d a y a s t h e v a n g u a r do f n e w s o u n d s .N o w i t ' s t h e g u i t a r ,a n d o t h e r sa r e f o l l o w i n gs u i t e l e c t l o n i c a l l y . " L i t t l e w o n d e r H o w a r d ' sm u s i c a le x a m p l e s" g o b e y o n d t h e p a g e . " E a c h i s a c o m p a c t ,h i g h l y c o n c e n t r a t e ds t u d y . T h e r e a r e n o w a s t e dn o t e s ;n o w a s t e dw o r d s . T h e a d v a n c e ds t u d e n t w i l l s o o n r e a l i z et h a t H o w a r d R o b e r t sh a ss u c c e s s f u l lcyo n veyed what he has digestedand coaxed it through the fingerboard. The beginnerstandsto benefit more from one example than from any ten exercisesin a simple rote method. There's a wealth of material condensedin these pages- - the entire plectrum spectrum- - complimentsof the Roberts-Stewart "fret-ernity." Now it's up to you to take your pick. Harvey Siders West CoastEditor down beat masazine
TABLE OF CONTENTS
SECTION I
The Fingerboard Five Distinct FingeringPatterns Slidins on Half-Sleps The I-Eft Hand and'rheFinqerboard Fingerboard/Left -Hand preisure TechnicalExercise Etude The GraceNote The Gliss The Hammer-On(One String) The Hammer-On(AdjacentString)
SECTION II
SECTION III
Picking Warm-upExercise Exercisefor Developmentof Up-pick Strokes Exercisefor Developmentof Short Strokes Back-Pickine AdvancedPickinsExercrses Cadenza Improvising WholeTone ScaleLick Run in Fourths Run Built Over a Dominant SeventhChord Lick and Run Over a Dominant SeventhChord WholeTone/DiminishedScaleRuns Minor SecondIntervalLick Updatingan Old MusicalLick Eastern/Semite Sounds TraditionalOld Blues Lightening(JazzStylb of phrasing) B e b o pJ a z zS t v l eB l u e s ContemporarvBlues Expiorationsin the Bi-TonalityConceptof Improvisations
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SECTIONIV
Comping Exercisein CreatingGhost Notes Catalogof IdiornatlcCompingColors
33 33 35
SECTION V
Chord Solo Playine The Guitar asa'Mi"niature OrchestralAcc<_rmpanlmenr
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SECTION VI
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INTRODUCTIONTO THE FINGERBOARD AND THE FIVE DISTINCT FINGERINGPATTERNS
"five distinct fingeringpatterns"whc'nlaid end to end The coverthe entire fingerboardfrom the lowestto tltc highestpoints in any key. A full commandof scalesand rrarietyof intervalsis a prerequisiteto the comrnandof eachof the "five distirrctfingcringpatterns". You shouldreacha point of visuallyseeing whlr you hear and be able to relateto one or more of the five basicfingeriltg patterns. Whenall of the five basicfingeringpatternsarc-telescoped keys. into one position,you can play with cascitr fivc di1-1'ercnt t h i r c l o f c h r o n r e t i c t o n c sa r e t w o o c t a v e s a n d a I n o t h e rw o r d s , p l a y a b l ei n o n e o f t h e b a s i cf i n g e r i n gp a t t e r n sw i t h o t t tt n o v i n g t h e h a n d . A f i n g c r| c r t ' r c ti s t h r ' g e n c r arlu l e . T l r e l ' i r . t l ' iI t g c r is availableto stretchdown a fret anclthe littlc finger is available to stretchup a fret. Harmony doesresultfrom scales.and so do "five distinct fingeringpatterns". chord fingeringsresultfrom the The "five distinct fingeringpatterns"can be visuallyrelatedto the five basicchord forms; i.e.,Cf, Af, Gf. Ef, anclDf.x "five distitrctfingering Two basicrulesfor connectingthe patterns": 1 Slidethe fingerson the half--steps. littes. 2 - Stretchwith the littlc finger iu ascending *The five basicchord forms are derivedfrom the open stringsixnote chordsfingeredin first position.
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THE LEF'THANID AND THE F'INGERBOARD
Positionof the_T&41Ll Your knucklesshoulclbe almost parallelto the sideof the neck. F ingersshouldbe in an arched p o s i t i o nu n t i l j u s t t h e t i p s r e s to n t h e s t r i n g ss o t h a t t h c y r v o r k u p a n d d o w n i n a h a m r n e r - l i kfea s h i o n s, e a t i n gi n L r c t w c e tnh e frets. It is neccssary to kecp tlre fingerssuspcndetl over the fingerboardat all tir-nes.Do not let thcnr standr-rpstrlight or -l-he curl under the f ingerboarcl or lvanclcrin eny l'ashiorr. wrist m u s tb e k e p t s t r a i g ha t t a l l t i n t c sc x c c p tw h c : nc r c c u t i n ga v e r y l o n gs t r e t c h . T l i i s w r i s t . p o s t u rsch: o u l db e c o n t l ' o l t l b l ea n d -l-lie naturalwhen usedcorrectly. attack sitouklbc a r.lclibcrate "I'ltr snapworking to prorluc:e a gooclsound. lttuck is thc basic criterioni'or good souncland fluid techniquc.
POINTSTO REMEMBER T h e l e v e r a g ep o i n t - a t t a c k - t h e t h t r r n b s h o r r l t lr i t i c r r p a n c l d o w n t h e c e n t e r o f t h e l - r a c ko t ' t h e n e c k l n c l y o r r t o r r n t l r c p r e s s u r e b e t w e e u t h e t h u n t b a n c ll ' i . n g eer x e c u t i n gI s l t l l pl t t l i c k . T h e r e a s o nw i r y t h e w r i s t i s h e l c lf l a t i s s o t h c t c l t d o l t st h a t o p e r a t e t h e t ' i r t g c r sc a n r i d e t h r o u g h g r o o v e s i n t h c u , r i s t a n d k n u c k l e s a n c l f i n g e r s . I f y o u b e n c l t h c w r i s t y o u u r e l t r , r t t i n ga f r i c t i o n o r a b i n d o n t h e f i n g e r s ,w r i s t l n c l t c n c l o n s .
FINGERBOARDLEFT HAND PRESSURE
Exercisefor developmentof equal pressurefor fingersof the left hand: As eachfinger is placedon the designatedstring, the maximum of pressureis exerted throughout the exercise. At no time after a finger has soundeda note is the pressuredecreased.The object of the exerciseis to developmaximum pressureof eachfinger soundingthe string at all times. Once a finger soundsthe note it remainson the fingerboardand that pressure is retained. When moving to the adjacentstring the fingersremain on the string that hasjust sounded. This exercisealso developsindependenceof each finger of the left hand.
NOte: EACH FINGER MAINTAINS MAXIMUM PRESSURE AT ALL TIMES ON ALL SIX STRINGS.
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TECHI\ICALEXERCISE For cier,elopnrLrnt of the first joint of eachfinger,bending a n r la t t a c k . E a c hr r o t ei s t o b e h c i c la sl o n g a s p o s s i b l ed,e v e l o p 'f ing a lcgatotcchniqne. he first joint ol' each fingershoulclsnap to producea soundon the adjacentstrin-u.T'hisexerc:ise should bc playeclslowly anclcleliberatcly listertrng1'orsound. The purp o s eo f t h e e x e r c i s e i s t o d e v c l o pt h e s n a pa t t a c ku s i n gt h e f i r s t joint ot'eachfinger rvhenplayingacrossadjacentstrings.Hold eqq\ n oJc 4_sl,o-tigj11fgs!fb_!e.
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ETUDE (STUDYIN THE FIVE BASICFINGERINGS AND THEIR []ONNECTIONS) Etudeusingthe live basicfingerings andtheirconncctions,and their relationship to chordforms. a -J++
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THE GRACENOTE
Symbol:I The gracenote takesits time value from the note it embellishes.whoseaccent it aszumes. The execution of the gracenote differs accordingto whether the two notes are ascendingor descending.When ascending, pick the gracenote and, without moving the finger, stop it. Then let the proper finger fall on the following note without picking it. When descending,set both fingerssimultaneously,pick the grace note, then lift the finger so that the following note will sound.
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THE GLISS J-J sv,nuot, The finger employed stopsthe first note as it is picked, then slidesacrossthe frets to the other note, pressingthe string sufficiently to make tht: intermediatesemitonessound.
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THE HAMMERON (OneString) H
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THE HAMMERON (AdjacentStrings)
Here the left hand againexecutest\\'o notes.descending or ascending,while the right hand picks onlr. the first note, the differencebeing that the secondnote erecuted falls on a different string,aboveor below. To executethis classof HammerOn, pick the first note, then let the proper finger lall energeticallyon the next note to be sounded.
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INTRODUCTIONTO PICKING
Of all areasto be mastered,the techniqueof picking is the most personaland subtle,and is the identifying factor of primary importancein creatingthe individual'ssound. The picking motion is the end result of a seriesof coordinated muscularmovementsbeginningwith the shoulderand ending with the tip of the pick. This is a cantileversystem,with musclespulling fingersand the bone structureof the arm supporting the muscles.This systeminvolvesfive separateareas: the shoulder, the elbow, the wrist, the thumb and index finger, and the tip of the pick. Movementsthat originatefrom the shoulderare largesweepingmovements. The elbow motion is still a sweeping movement,but more controlled or confined. The wrist movement is a flicking type of motion. (Rhythm playing comesfrom the shoulder,elbow, and wrist.) Small circular scalpelmovements are produced by the thumb and index finger (singlenote playing). The ATTACK is achievedby the pressurepoint createdby the thumb pushingthe pick againstthe index finger. When the pick is held loosely rt producesa different type of attack than with the pick held rigidly. Holding the pick in a rigid fashion givesyou a rigid attack;holdingthe pick lightly givesyou a looserattack. This doesnot changethe actual processof pick contactingstring. The clarity of sound is createdby the precision with which the pick contactsthe string;the quality of the attack by the way in which the pick is held. It shouldalsobe noted that in order to dchievea good attack, a consciouseffort must be made to synchronizethe action of the left hand with the pickingmotion. In summary,think of pickingin termsof the total picture, startingfrom the shoulderand endingat the tip of the pick, at the sametime beingawareof all the variouselementsinvolved. Also keep in mind the goal to be aimedfor, which is an open mind attitr-rde which allowsthe subconscious to do the oickine action througirthe ear. Througirthe evolutionof the guitar to the presenttime, amplificationhasgreatlychangedthe picture. The guitar is now capableof achievingmany different tonal colors,and the player no longercan rely on a thoroughknowledgeof just one or two of the elementsof picking;i.e.,wrist only, elbow and wrist only, etc. He nrustdevelopall the elementsof picking. An assortment of picks should be tried as well, different sizes,shapesand gauge, sincethe type of pick usedis a governingfactor in achievingthe desiredsound. It should be noted here that with an experienced player the choice of fingeringsin the left hand will greatly influencethe manner in which the stringswill be picked.
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EXERCISES WARM-UPEXERCISE AND EXERCISEIN FINDING CENTERGROUND
The following exerciseshould be played coveringthe dynamic spectrum. The first time through very softly with tremolo. The secondtime through fff with tremolo. The third time through mp, fourth time through mf, which should be center ground or normal playing level for your instrument. Developmentof the short stroke or scalpelmovementsof the index finger and the thumb: On the downstrokesthe thumb pushestowardsthe string beingsounded;onthe upstrokesthe index fingerpushesthe right side of the pick back up againstthe thumb making a small circular movement or small scalpelmovements. Each exerciseshouldbe playedten times,with the wrist and musclesof the forearmand the index fingerand thumb kept very relaxed. The naturaldynamiclevelof this strokeis mp. The con. centrationshouldbe at only the attack point at the tip of the pick. As the musclesdevelop,the feelingof the pick rn the liand will be a "velvety" feeling. Note: As a must, the pick shouldalwayssta1,in the strings.This is true for eachexercisein this chapter.
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EXERCISEFOR DEVELOPMENTOF CONSECUTIVEUP.PICKSTROKES
The following exerciseshould be played first time through with all down-picks,secondtime through with all up-picks,with the object of developingthe samedynamic leveland attack produced by down-picking. The object of playing all down-picks first is to hear the difference in sound of your up-picks.
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EXERCISESFOR DEVELOPMENTOF THE SHORTSTROKE
The pick should be helf very lightly betweenthe index finger first joint and thumb first joint. The movementof the pick should be a small scalpelmovement of circular motion. The front lower edgeof the pick is usedon the down strokes (the side of the pick that is not visible to the eye. The back upper edgeof the pick is usedon up strokes (the part of the pick that is visibleto the eye). This circular movenrent should be'exaggerated at first until the desirecleffect is experienced. Then the movementof the strokeshouldbe scaleddown to the desiredsmallcircularmovement. It shouldbe noted that this style of pickingis strictly usedfor singlenote playing. The following threeexercises shouldbe plaveclten times each.
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BACK.PICKTNG The following exercisesdemonstratethree ways of phrasingusing the back-pickingtechnique: l. The use of evenback-pickingaccomplishinga strict on-the-beat feeling.
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ADVANCED PICKINGEXERCISES
l. Picking acrossadjacentstringSsoundingthe samepitch.
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3. Exercisein developmentof up-pickwith a diatonicline passingthrough a pedal sopranonote.
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ADVANCED PICKINGEXERCISES
4. A harmonic elaborationof the up-pick pedal sopranotechnique.
CADENZA An exampleof using back-pickingand hammering-on.
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INTRODUCTIONTO IMPROVISATTON
Improvisationis the creationof a spontaneousmusicalexpression- - a way of painting an emotional picture, sharingthe individualsinner world with the listener.The psychological overtonesof improvisation are the players moods in a here and now situation, drawingmaterial from experiencein what is an evolutionary process.In this processthe improvisor is using four senses;thinking, feeling,intuition, and sensation.The equilibrium and interactionof thesesensesis what produces the total spontaneousmusicalexpression. Tonality is the languageof improvisation. There are only so many possiblecombinationsof notes available.It is lik' a languagewith combinationsof words meaningdifferent things. In essence, an improvisationis an assortmentof musicalideas that are strung togetherto createthe musicalimpreSsion. Someof the buildingblocksof improvisationare: Developmentof a contputermind that is constantly I updatingmaterial. the structuralnatureof lrne and its 2 - Understanding relationshipto the background. 3 - A good ear (The brain usingmemory and intellectto translatethe imageto sound). 4 - A good working knowledgeof harmorrl. o1 tlie rh1'thnticpulse. 5 - The understanding quality of your music. 6 The singing for what y'ot-t are goirtgto plal'. 1 Over-technique The elementslistedaboveare !re)'!n!lh! p!ge, They are elementswhich the individualmay'or rnav not apply himselfto, accordingto the degreeof his interest. And tirey are eiements which the individualmay pursueas tar as hc wantsto - - their study can neverbe exhaustedin tlie senseof beingcompleted.
WholeTone ScaleLick
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Run in Fourths
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Run Built over a G7 Chord
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T h e l o w e r n o t e c o n t i ' u e st o r i n g w h i r et h e . r n c o r t l . L l c sg i ' i r r g the illusionof the legattosou.d of a' elcctrifiedker,.boarcl instrument. U p d a t i n ga n O l d M u s i c a L l ick ( T h i si s a c o u n t r yl i c k i n i n t e r v a l o s f s i x t h sp a s s i r gt h r o ' g h a c y c l e of fifths a'd playedover trredominart severtrrchclrcl('7.: 9.) ):
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Let eachnote ring as long as possible;left hand slideson half stepsanclstringindications.
This nrusicalexamplcshowsthe ttseof slidingon half-steps.
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TRADITIONALOLD BLUES (Funky Blues) This study is written in the old traditional blues idiom using the traditionalbluesornamentation. Notation Symbols for blues ornamentation(Left hand): Vtg Vibrato: Producedby a shakingmotion of the left hand. The soundis a minute fluctuationof pitch in order to increase the emotionalquality of the tone without resultingin a noticeablefluctuationof pitch. *J RwerseBend: A shakeis startedby bendingthe given note up a half-step,whole step,and sometimesa quartertone from the givenpitch. lt is then struck,immediatelyletting it waveras rapidly as possiblebetweenthe neighbornote chosen abovethe actualpitch of the note beingbent. B_."4 The given pitch is sounded,immediately bent v up a half-stepor whole step abovethe actualpitch, then allowed to return to the actualpitch without strikingthe note again. ,r^* Shake: Givennote is sounded.imntediatelybent up a half-step,whole step.sometimestluartertone. then allowedto fluctuatevery rapidly betweenactualpitch anclthe proxirnity note chosenfrom above. At no tirne is the note struck again. pitch is sounded ,ly.z Up-Gtitt' Slidingof the hartdafter the upwards. ? ? S t a c c u t o :S l t o r t c tttl t c p e r l i r r n ) J I r ur 'lct l t c t t o t r ' r ol l t e t E i t s o u n d so n l y f o r a m o m e n tr e p l a c i n gt h c n t a j o rp a r t o f i t s written value. Note: It is recommendcdthat !'ou usea guitar that is set up with light gaugestrings.
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LIGHTENING. SKIMMINGOVER NOTES J44gL1g !1p1Uqti',rg, l-his ererciseis baseclorr rt sllni ut r - l n ew h i c i ti s e h r t t . i . t c l i : 1 o d a r dj a z z p r o g r e s s i o(tsr t a t r c l a rt d l r n' \ l l l 9 o 0 ' s ) . t h e e a r i y n r t t s i co f t h c 1 9 5 0 ' sa t r t l improvised "['ltc mttst be adhereclto strictl-v. geringand stringirtdicatiotts purposeof this str,rtly showsthe developmentof littearntusical by lineswithout the ltseof rltythrnic.motifs. f his is expelienceci sole littc rvherebythe tlotcstitclnsclvcs ly playingone continttor.ts createthe ntttsicil clrlttla. In this exerciseberrdingol-the f irst joint of fingersof the lcf'thand and slursare erploitccl. I'ir:king must be at an mp level,as if skimmingover the strings,catlsing the effect of lightening.This exerciscshouldbe prlcticeclslowll' thorottghly.and at first in orclerthat ltll pointsare understoocl mctroplay it at tht'dc'sigrtrtted the str.rclent only then shor-rlcl ll llltl:lt.tl nome marking. This is an excellentexampleof br-rilcling rns clrrr\ notc cacl-r ideaor line witir a continuorisllow of notes, eclualweight.
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BEBOP JAZZ STYLEBLUES
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This musicalstudy usesthe l2 bar bruesformula. unlike the traditional blues this structuredependssolely on the development of a musicalline from the designatedchord progressions. The improvisationis subjugatedto the vertical imprications and its correspondingscale. The study is approachedwith the nzz style of phrasingdiscussedon page 2g. Cnat|
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CONTEMPORARY BLUES (Usingsuperimposedtonality) Bi-tonality is a procedurein which two or more keys are combined simultaneously.The scalesand chordsthat form the different tonic centersare intervalicallyidenticalor contrasting. Although eachtonal planehas its own organizationalcenter,a singleoverallstructureis usually felt. The use of this musical techniquedecreases the stability of the tonal center. The following is a bar by bar analysisof the degenerationof the tonal center,the exampleis built over the basicC7 chord sound implying the key of C tonal center. Bars 1 through 6 are basicallyan Fnul chord and scale orCrnil chord and scale. At the endingof bar 6 parallelharmoniesof chordsbuilt in fourths are usedunder the improvisedline concludingat bar 8. Bars9 and 10 enter the tonal areaof fF and frntf scaletonality. Bars 1l through l4 ente'rthe tonal center of Gb . Bars l5 and l6 enter the tonal centerof .o. Bar l7 entersthe tonal centerof Gb Bar lB entersthe tonal centerof Sl Bars 19 and 20 fndland Gnl scaletonality. Bar 2l through 23 use EP,a?rn,E?rAh chord r and scaletonality, the study is concludedat Bar l-1 r.rsing $bf chordand scaletonality as a transitionback to the repeat of the study.
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This conceptis a horizontal approachto improvising. The infinity symbol is usedto indicate the endlessor unlimited duration of time spent improvisingover the given bi_tonality chords. In the following eight examples,the possibilitiesof this conceptare shown using the superimposedchord and scale tonalities,with a melodic shape. It leavesopen to the improvisor, the areaof rhythmic elaborationand developmentin addition to what could be calleda point of departureto a point of arrival. This conceptshould be explored with musicalwisdom and taste.
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INTRODUCTION TO COMPING A musician'sterm tor the act of providingaccompaniment "comping". We shallhighlightthe important factorsin acis in this chapter. complishinga good accompaniment factor most important in comping is the preservation The of the feelingand nrood which has alreadybeen establishedby the existingmelody. It shoulclbe noted,however,that in some of feelingand/or mood may be desircasesa cross-relationship able. first deIn approachingthe problemof accompaniment, job guitar be usedas a perterminewhat the callsfor. Will the cussiveinstrument,or will it be providingharmony,or both? What is the idiom or "bag" the accompanimentshouldbe in? Is its purposeto act as a mirror or reflectionof the melody,or to providea blanketof soundover which everythingelseis happening? Will the guitar be usedto reinforcethe rhythmic feel of a piece,or is it to carry an accompaniment whereinits own melody will stand out by itself'j
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Note: The discussion of the relationshipbetweenmelody ano the enormoustopic of counterpoint,which backgroundsuggests is beyond the scopeof this book. Every tune must be treatedas an individualproblem,and it is essentialthat you exerciseyour own musicalimaginationat all times.
EXERCISEIN CREATINGGHOSTNOTES: The followingseriesof exercises for developing the techniqueof playingghostnotes. "ghosting"effect,the chord is To createthe desired fingeredand then the pressureis quickly released,achievinga deadenedstring effect. It is as though you were raking the pick over stringsthat havebeen dampened. At no time should the stringsring a true chord sound.
31
In the exercises,ghost notes are alternatedwith accented true chords(normal playing pressureL.H.). In notation the chordswhich are soundedas true chordsare marked with an acceni above;the chordswhich are ghostedare enclosedin parentheses.The patternsstart off with simple one bar phrasesand increasein complexity, with on-the-beatand off-the-beataccents. It is important that the right hand keep strumming with up and down strokes,the only changebeing in the pressureexerted by tire fingersof the left hand. Note: It is recommendedthat theseexercisesbe practicedwith the left hand only, counting and exerting or releasingpressure accordingto the notated accentsand parentheses.
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OLD BLUESLICK T h i : i : l : t u n d l r d o l t l b l L r c s( o n t p t ' i ! I u t ' c .I t u s c r sa h a m m e r - o na n c l g h o s t r r o t c .r l L - e o r u t i o lt o l i r l l l ' b r i n g t o l i f c t h e c h l r a c t e r o f t h i s l i c k .
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,fe FUNKY BLUESINTRO This self-containedmusicalphrasesetsup a funky blues mood.
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BOSSANOVA This exercisecan be played in two fashions: finger style; pick and finger plucking*. The top part should practiced be alone until mastered;then the bottom part should be played in order to achievethe straight eighth note feel; and then both parts should be played togetheras a composite,thus obtaining a desirableeffect - - that of the bossanova rhythm. *Note: Finger plucking is the use of the right hand fingers that are not being held by the pick. I
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JAZZ SAMBA Accentsand the slurredchordshigtrlightthe characterof thisjazz sambaexample.
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CLOSEDCHORDVOICINGS compact closedvoiced chordsare usually played in fasterrhythmic values. )-!
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OPENCHORDVOICINGS Open spreadchordsare usually of long rhythmic value.
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FULL STRINGSECTIONEFFECT WITH USEOF TREMOLO This exerciseis achievedby turning the pick on edgeand striking the string in a tremolo fashion. Thesechordsare spelledin big open voicings,characteristicof the string sectionorchestraldevicenormally usedin creatinga soft etherealsound.
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GUITAR - HARP SOUND To achievethe desiredmusicaleffect the stringsshould be pickedover the top of the fingerboardat the I 7th fret letting each note ring evenlyin a leeatofashion. I
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..ACOUSTIC RHYTHMCOLOUR" A type of open threc note chord voicingcommon to certainstyleso1' rhythm playing. This exerciseis basedon the twelvebar blues.
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CHoRDSoLo PLAYTNc The guitar is truly a miniature orchestra,capableof cover_ ing the completemusicalspectrum. It can provide total harmonv: it can staterhythmic figuresand perpetuaterhythmic feel; it can sustainlike a keyboardinstrument;orit can play percussively like a drummer. It is a forceful instrument in all idioms - - folk. rock,iazz,and traditionalmusicbf other countries.chord solo playing is like writing for a band or orchestra,thinking in terms of a stringsection,brasssection,saxophonesection,rhythm sec_ tion, and soloist. You should try to hear the miniature orchestra in your head,and make yourself increasinglysensitiveto i1. The conceptof the guitar asa miniatureorchestrawill open up your mind to the unlimited rangeof orchestralimpressionsto be found on the instrument.This conceptwill broadenyour play_ ing so that you are not thinking totally from a guitaristicstandpoint, and will enableyou to reacha higherlevelof musicalex_ pression.
AS A MINIATURE ^THJ-GUITAR ORCHESTRAL ACCOMPANIMENT Hereis a musicalexantplebuilt on a standarcl pop,tunepro_ gressiondemonstratingthe subtleimpressionof the guitar asa miniatureorchestralaccompaniment.we will now analyzethe tollowingmusicalexanrpre:Throughoutthe first five barsthe inrpression is that o1'arhythrn sectior playingwith the keyboard rnstrument,usingpunctuatior.r chordsto set both the rhythmic a.d harmonicfeel of the piece. The next impressionbeginsat the end of Bar 6. The impressionis a full studio stringsection playingout a blanketof harmony. At the end of Bar l l the closedvoicedchordsare the inrpression of the lower brasselement, trombonesand Frenchhorns,beingjoined by the full or_ chestralensemblefour bars before the first cadencepoint at Bar 14. The next strain,Bar 17, beginswith semi_closed voiced punctuationchordsgivingthe impressionof the brassteam (trumpetsand trombones)ioined by the saxesat the last beat of Bar 20 throughBar 21. At this poinf you rviil notice 5/zbeats rest. This is an over exaggeration of leavingspaceto perpetuate a senseof drama. We beginthe next impressionwith the entranceof the saxophones and trombo'es layingor.rta rnat with semi-puncuated chordsreadingup to the final cadenceand turnaroundending. This elementis now joined by the stringsat Bar lB and 29. Bar 30 thins out to the impressionof the lower brass clenrent,tliat of trombonesand Frenchhorns,for the first two beatsjoined by saxophones on the last beatof Bar 30. The sec.nd beatof Bar 31 beginswith the full ensembleorchestra leadrngup to the repeatsign.
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CHORDSOLOSTUDY T'hisHoward Robertscornpositionjs an exploratorystudy in the techniquesutilized for chord soio playing. Take cogrri_ zanceof the following voicings,sir-rgle note runs used to fill a deadspot (wheremeloclyrests),inclependent chord movement over melody,pedalbaseto'e. modulationa'd meloclicsequellce. chromaticchord structures,punctuationchordsto highlightthe melody,melody with strongcoulltermelody implicatio's,ostinato base,parallelharmonicstructures,chorcichrsters, rnerod-v changedin octave,and repeatedrhythmic figures. Note I : 2:
Sustaineachchordaltone to the maximum rluratio' of time. The string indications,fingering,exprcssior-r nrarkings, atrd time signaturechanges.
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GLOSSARYOF MUSICAL ABBREVIATIONS AND SYMBOLSUSEI) IN THE TEXT
MUSICALNOTATIONS A TEMPO . . . in time, a term indicatinga return to the originalrate of movementafter somedeviation. CRESC. . . graduallylouder. DIM . . . graduallysofter. DYNAMICS . . . degreesof power or volume. Dynamicsignscommonly usedare as follows: ppp . . . softly as possible. pp. . . pianissimo. . . vcry softly. p...piano...soft. mp . . . mezzopiano. . . rnoderatelysoft. mf . . . mezzoforte . . . moderatelyloud. f ... forte...loud. ff . . . fortissimo . . . very loud fff . . . fortissisimo. . . loudly as possible. sfz . . . sforzando. . . suddenlyloud 7
. . a c c e n t .. . s t r e s s r nagt o n e .
ESPR...expressive. FERMATA . . . to hold indicatinga tone or chord to be held or prolonged. HARM...harmonics. LEGATTO . . . no breakbetweentone. MENO MOSSO. . . a steadyrate of speed,slowerthan the precedingphrase. PIU f,lOSSO'.. . a steadyrate of speedfasterthan the precedingphrase.
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POCCOACCEL. . . fasterlittle by litile. Poco Mosso . . . a steadyrate of speed,slower than the precedingphrase. POCORIT. . . a little retard. RALL. . . decrease speedslightly. RUBATO . . . not in strict time. SENZA MISURE . . . without measure. SIMILE . . . in similar fashion. TEN...holdalittle. VIB . . . meansto uplift the fingersof the left hand whiie the note is sounding like a violin to producea pleasingvariationin pitch. UNO CHORDO . . . two notesplayedlegatto(evenasone chord). TR . . . trill, a rapid alteration of two adiacenrnotes. SYMBOLS ,\
3 Slide up or down with the samefinger. F
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Hammer on. Bendingat note (seenotation symbolsfor biuesornamentation). Reversebendingof note (seenotation symbolsfor bluesornamentation).
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Slap. Fingersof right hand slap the fingerboardat the l6th fret. Pull of f slur mark more than one note ascending.'
Slowfour tempo. Fast four tempo.
notes. T . . . fleshy part of first joint of the left hand thumb usedto stop assigned L. H.
Left hand.
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Right hand.
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soft attack,hold full value.
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47
