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FINGERSTYLE GUITAR JOURNAL

ISSUE 9

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Feature Stories Jason Vieaux 5 Michael Valeanu 19 Flavio Sala 31

Workshops Steve Herberman 45 Tim Lerch 49 Roger Hudson 119 Troy Gifford 103 Eric Lugosch 139 David Rogers 73 Bill Piburn 55 Scott Quellette 61 Dylan Ryche 99 Lou Arnold 79 Dan Riley 85 Craig Dobbins 147 Stanley Yates 129

Departments Editor’s Letter 3 Artist Profile: Franscois Danton Sors 151 Dream Guitar Gallery 157 Sight and Sound 161

Editor’s Letter

Remembering Dad’s advice I cannot tell you how many times I’ve been asked, “How do I learn to arrange, where do I start?” Typically I find out they have yet to try or have not made the long-term commitment required. Of course this long-term comment relates to every aspect of music.

Focus is a very important piece to this puzzle. I remember as a teenager my father used to say, “You go from pillar to post.” In other words I had no focus. Now decades later I realize his words were spot on. Thankful this has improved for me however, I do have to remind myself often! Here I am so many years later advising others as he did me. Does that mean I’m becoming my father? In a way I guess so.

With this focus it’s important to develop the tools that will unlock some of the mysteries of music and hopefully the entire guitar fingerboard. The workshops in each issue are offered to help you develop these tools. Playing well and understanding what you are playing is a lifetime’s work. You should be in constant pursuit of knowledge and skill. Be patient yet persistent while enjoying each small triumph. I must go now, so much to do, so little time!

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Grammy winner Jason Vieaux was born in Buffalo, New York where he began his study of the classical guitar at the age of eight with Jeremy Sparks. He went on to study at the Cleveland Institute of Music with John Holmquist. In 1992 at the age of nineteen Jason took first place in the Guitar Foundation of America International Competition becoming the youngest winner in the competitions history. He has also been honored with a Naumburg Foundation top prize, a Cleveland Institute of Music Alumini Achievement Award and a Salon de Virtuosi Career Grant. In 1995 Jason was an Arts Ambassador of the U.S. to Southeast Asia. He followed that with a fifty-three city tour of the United States and France. Naxos Records released his debut recording in 1996. His solo recording Play was released in 2014 by Azica Records, winning the 2015 Grammy Award for Best Classical Instrumental Solo. Jason has been teaching at the Cleveland Institute of Music since 1997 and has been the department head since 2001. In 2011 he also co-founded the guitar department at The Curtis Institute of Music.

It was really great to see you again at the master-class and to hear your concert. In the class you covered a wide range of musicality and technical issues. I hope I wasn’t too hard on them.

As a matter of fact I was talking with Stanley (Yates) just last night and he said that he was very pleased with the class. He went on to say, “When I tell them they don’t listen. To have someone like Jason come in and confirm what I’ve been telling them means a lot. Maybe now they’ll apply themselves.”

Yeah, that’s right. That’s why we have master-classes. Stanley’s comment is exactly what I experience and probably a lot of other teachers. Students can get very used to you and dare I say even complacent. What you’re telling them you really mean but sometimes it takes a visiting artist confirming what they’ve been told. Then it becomes a real thing to them. In the class you referenced what you call the three Cs. Clarity, comfort and consistency, do you want me to expound on that? Yes.

I have been teaching for over twenty years at a conservatory. During that time I have found that a lot of students have a tendency to approach a piece of music with a plan of getting the piece in their fingers first. Then deal with the musical details.

The idea of clarity, comfort and consistency should be a more prevalent way of working on pieces. The first C is clarity. Basically you should take tempo and memorization out of the equation. They should be the last two things you think about, if you should think about them at all. Regardless of the speed, strive to get the rhythms, notes and musical details, adhering to the composer’s indications on the score. You can play whatever tempo you want to but strive for clarity. If you start from there the journey will be a lot easier. The comfort part of the equation is making sure that after achieving clarity you have a very clear model. I’m talking about a measure or even a half measure depending on your playing level and experience. A lot of students try to bite off more than 6

they can chew. Obviously at my experience level I can bite off and chew a larger chunk of music than a student that has only been playing five to ten years. That’s something that should be monitored by their teacher. I have practice sessions with my students in their lessons. I’ll have them practice in front of me. The comfort thing comes once you’ve established that model of clarity regardless of speed. Make sure that your muscles and body are very relaxed so it makes it easy right away. All this can be done in the very first day of learning the piece. Regarding consistency, in the beginning just try to get two good takes in a row on that little snippet of music. Try not to put too much pressure on yourself. Whether it’s a measure, two measures or even half of a measure, work in that kind of way.

the composer had in mind. I may need a second or third take but usually not much more than that because my practicing and sight-reading are at a high level. If you invest in the quality of your practicing and the volume of your sight-reading it goes faster. Those things start to come together after about ten years. Was your approach to practicing something instilled early by a teacher or was it developed over time through experience? I think the building blocks of this kind of practice was instilled in me by Jeremy Sparks and later as a bachelor student at the Cleveland Institute of Music by John Holmquist.

I was putting it together on my own in a rougher form while a student in college because I needed to maximize the efficiency of my practice. In college I only had three or four hours a day to practice. I could have practiced more but then you’re not getting enough sleep. Sleep is an important thing too.

There is nothing wrong with reading through a piece. Sight-reading is actually a very healthy thing to do but sight-reading is not the same as practicing. Practicing is actually hard work. Sight-reading is another thing entirely and should be done at least twenty to thirty minutes a day. The investment into sight-reading is something that will pay div- Or to get more practice you neglect your idends on a professional level. The ease of music history class. sight-reading is something that will give you the confidence to take gigs. Exactly, or you’re neglecting your classes. My classes were very important to me. Not just Your sight-reading of the scores at the because I wanted to keep up a good academmaster-class impressed me; I was sur- ic standing but also because I saw sight singprised how musical it was. I thought, wow ing, history, ear training, theory, keyboard, you could almost record that. etc. as essential to my musical development. I studied and took it seriously. If you listen (laughs) My sight-reading level is very high to my playing closely you will hear an underas well as my practicing level. But you may standing of these things. It’s ingrained; it’s have noticed that some of those snippets not just a mystery. took me two or three takes to get it. Sometimes I have to tell my own students to just The classical guitarists that I most admire give me a second and I’ll demonstrate what have those attributes in their playing as well. 7

students at CIM I allow fifteen minutes of playing. You can figure out what their experience and playing level is within fifteen minutes, even if they’re nervous. It’s harder to tell, but you still can pretty much see where I assume you agree that there is a differ- they’re at. ence in playing the classical guitar mechanically and being a classical musician. Nerves can be overcome. I talked about that in the master-class. Nerves are not entirely a Exactly! Whether you’re playing the guitar, mystery. They are a result of a lack of confiflute, piano or whatever. The experienced dence. Their confidence was not established teachers can hear it in ten seconds. I’ve had in the practice room through good practice so many conversations about this with many patterns. Nerves are not often touched on as a subject and it’s a very difficult subject to of my colleagues around the world. breach. You have to really get in there with You could probably hear four measures the student and figure out why they’re getand know if you want to accept them as a ting so nervous. I do think nervousness can student. be lessened with structure in their practice routine. Yeah, pretty much. (laughs) Well, maybe more than four measures. When I audition It’s a foundation that their musical choices are built on. They don’t just throw the fundamentals away. A classical musicians job is not to do whatever they want to do.

8

Preparation added with performing ex- create a high peak within a phrase. If you perience ought to smooth things out. want to make the largest decibel impact possible on the audience you have to find where Now that’s the mystery part of it. You’ve got that is. Playing softly is also very important. to just get out there and do it, performing is The more you can control your sound at the hard. Sometimes you have to jump into the softest level the more you can accentuate the deep end of the pool. dynamics in your playing. Again, the players I admire the most do that very well, Zoran I encourage my students to be like scientists. Dukic for example. We’re different players I tell them they have to use our seminars like obviously but he’s a player that really gets a laboratory. Don’t joke around; don’t tell us, that. “Wow this is really new.” Don’t quantify or make any excuses in advance. Make it like a You won’t remember it but there used to performance and play it at whatever speed be a commercial in the 1980’s that said, you want to. “If you want someone’s attention whisper.” I’ve done this myself in front of my students with a newer piece like “Jongo.” On the first (Laughs) Exactly, that’s great! Another guirun through I played it at seventy percent of tarist that is a good example of that is Colin the tempo. I didn’t say anything before play- Davin who’s teaching with me at the Cleveing, just tuned and played. Then I collected land Institute of Music. He’s a master of the data from it. Every performance can be a dynamics, color control and poetic playing. helpful vehicle to collect information on how He’s a complete musician. To find all those you can improve. qualities in a guitarist is a rare thing.

By the way your concert could have been a Would it help guitarists develop a broadlive recording. I didn’t hear one note out er concept of color and dynamics if they of place, a buzz or bad sound, nothing! It listened more to other instruments? was an amazing performance. They just have to listen to a lot of music. I lisWow, thanks Bill. I really appreciate that. tened to a ridiculous amount of music when I was in college. Orchestral, string quartet, piYou get such a big sound out of the guitar. ano, mixed ensembles, and composers from You may take it to the edge but you never the late eighteenth century to the current over play. time. I listened to a lot of jazz as well. I try to find where that edge is in the practice room so I don’t over play too much. I’ve definitely overplayed some notes in concerts, for sure (laughs). If the composer has indicated fortissimo in a specific passage you’ve got to go to the edge to see where the sound breaks up in order to control it or if you’re trying to 9

It’s also good to listen to different interpretations. When a student finds a piece of music they really connect with I encourage them to listen to as many interpretations as possible. Listen to as much music as possible while you’re still in school because you’re not going to have that time later in life. I realize

that now having a family, wife and two kids. Even before I was married, my career got so busy twenty years ago that my music listening time was taken away from me. Being busy is the goal. Obviously it’s a great thing to have a lot of work but now I’m taking steps to get some listening time back. One of the things I admire about you is that you appreciate a wide range of music. You even perform and have recorded music by Jobim, Duke Ellington, Pat Metheny and Keith Jarrett. I remember a time when classical guitarists tended to be closet performers of popular music.

sound world. I remember the reaction from some people who thought it was crazy for an established classical guitarist to do an entire record of one jazz artist. Though Pat is a great jazz guitarist I actually think of him equally as a composer. I’m a big fan and was excited to do the project. I’m a fan as well. He’s not just a guy that writes a tune every now and then, he’s diffidently a serious composer.

Oh yeah and the guitar is really just his vehicle it’s not the primary focus.

The Metheny album was quite an accomYeah, well it’s not unprecedented. After John plishment and I was impressed that Pat Williams ran through the standard guitar wrote the liner notes. repertoire he began to do a lot of pop music and was in a jazz-fusion group. Manuel It was really nice of him to do that and I still Barrueco one of my big heroes did a Lennon appreciate it. It was wonderful. Eventually I and McCartney album in the ‘80s. He also re- would like to do another project of his music corded the Children’s Songs by Chick Corea. but right now I’m really focused on learning It’s not unprecedented but they are two of more Bach. It sounds sort of cliché for a clasthe supreme artists on our instrument. They sical guitarist to say that but it’s really the were blazing a lot of trails. All I’ve really finest music we play on the instrument. In done is take it to another place. my view no one has ever surpassed him as a composer, albeit my limited knowledge of I was one of those ‘90s recording artists that what it means to be a composer, I find that the industry told you to release a recording everything you need in music is there. by one composer. So I did an all Ponce and an all Albeniz recording. After that it was kind Yeah, like in eight bars! I once saw a film of like, what to do from here? I had all these composer accept an Academy Award and Metheny arrangements and when I talked he said, I accept this in humility knowing with the record company they were really I’ll never be as good as Bach. into the idea of an all Pat Metheny album. At the time I was only playing the heads of the (Laughter) Yeah, it’s impossible! tunes. It was the prospect of doing an entire album that prompted me to stretch each of I watched a video you did for GFA (Guitar them where there was either a solo over the Foundation of America) on ornamentachanges or in the case of the baroque suite I tion. I really enjoyed that video. took five different tunes and made them into something that was outside of Metheny’s Oh, yeah, I love that video! That was a very 10

inspired video. Matt Denman filmed it at the college he teaches at in Oklahoma City. I believe he’s the director of education for GFA. When I went to do my concert he asked if I would film a lesson video. I don’t remember if he picked the topic or I did. I just did one of my lessons like I might do in a seminar or private lesson. I thought it turned out really well. It really encapsulates how I approach ornamentation. You talked about left hand and cross string trills but you also talk about melodic ornamentation, which is a subject musicians rarely address.

yes! I think it’s important. That’s something I recognized even when I was a kid listening to musicians ornament on the repeats. Whether it was a guitarist, harpsichordist or pianist I recognized it. Early on I started to form a personal opinion on what is either too much ornamentation, too little or just right. As I said in the video, I don’t consider myself any kind of an expert but my own taste is my own taste. I’m not getting paid to be an expert on Baroque ornamentation. It’s just my own thing. It involves a bit of composition and that’s the composer inside of me. There is a composer in me though I’m not a professional composer. It’s the composer inside of you that tempers it. You don’t want the ornamentation to become predictable.

That’s right. It’s so obvious when the ornamentation becomes a vehicle to celebrate the performer. That’s fine because there is definitely an audience for that but for me personally I don’t want it to be a reflection of me. I want it to be something that augments the music. Sometimes joking with my students

I’ll take it to the extreme and play ornaments in every measure. (laughs) Of course you can go nuts but that’s taking the attention off of the music.

I admire that in the class you said, “Hey guys I have to work at this stuff. If I don’t work on my tremolo for a month I suck. I then have to go back and work on the details.” Oh yeah, for sure! That’s absolutely one hundred percent true. Also, I show students how I practice. Then they know I’m not just prescribing something like a doctor. I actually do this stuff. I’m fond of saying; “I can tell you’re not doing what I asked. I recommend that you be a maniac like me.” (laughs) I use that word because you need kind of a maniacal bent. You have to want it so bad that you’re willing to get down to the nitty-gritty and that’s who I am.

Most of the time a musician is not going to solve a problem or develop a technique in one day. Knowing when enough is enough for the day can be an issue. I agree and that’s another thing I talk about in master-classes and in my teaching in general. That goes back to the three Cs. Consistency is a very difficult thing to achieve. It involves a lot of patience. If you’re impatient with this art form you’re going to have a long row to hoe. I think I had the right mix of patience when I was a kid. I’d get frustrated but I wouldn’t get so frustrated that I was willing to cut corners. You have to have that stick-to-itiveness that people talk about but you also have to give yourself a break. You can’t put to much pressure on yourself. You can’t climb a mountain in a day. You have to take one step at a time. 12

In A Sentimental Mood

Duke Ellington (arr. Jason Vieaux)

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Copyright © 1935 Sony/ATV Music Publishing LLC in the U.S.A. Copyright Renewed. This arrangement Copyright © 2017 Sony/ATV Music Publishing LLC in the U.S.A. All Rights Reserved by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219 Rights for the world outside of the U.S.A. Adminstered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print)International Copyright Secured All Rights Reserved Reprinted by permission of Hal Leonard LLC

Born in Paris, France in 1985, New York based guitarist and composer Michael Valeanu is one of the most exciting players of his generation. While in Paris he studied at the Nadia & Lili Boulanger Conservatory and at the National School of Music of Bourgla-Reine. During those years the young guitarist quickly became active on the Parisian musical scene as a sideman and regularly worked as a studio musician. In order to quench his thirst for music and to learn “real jazz” he moved to New York in 2008 to attend the New School For Jazz and Contemporary Music. In 2010 he was selected to participate in the Betty Carter Jazz Ahead Program for a two weeks residency at the Kennedy Center in Washington DC. In 2015 Michael was the second runner-up in the Wes Montgomery International Jazz Guitar Competition. In 2012 he released his debut album Tea Time and his second album Hard To Cook was released in April of 2015. Michael, I love your new CD Hard To Cook, it’s hard to beat! It’s truly one that I will listen to often. Please tell me about the material and the musicians you’re playing with.

be playing. Jake Sherman and Jake Goldbas have known each other for a long time and they always have a great chemistry when playing together. Last but not least, Cyrille Aimée sings two songs on the record. I have been working and collaborating with her for nearly seven years. It was important to me to have her on this record. The initial idea for the record was the format of organ trio. With that in mind the obvious choice for me was to record with Jake Goldbas and Jake Sherman. There’s something about the sound of the organ that makes everything very orchestral. It has a very wide sonic range of textural possibilities. In order to push that idea further I used the acoustic guitar on the songs “Thousand Leaves” and Billy Strayhorn’s “Blood Count.” The original music was also written with the musicians in mind. I tried to write music that would fit them well as far as grooves and atmosphere.

The album has six originals, one of them being a song I wrote with Cyrille titled “20 Years.” It’s basically a folk/pop song with an unusual rhythmic pattern. The originals like “Floating Island” and “Thousand Leaves” reflect my attempt to achieve a more “orchestral” sound - they have richer more complex harmonies. Their form is thought out more like a through-composed piece. “Hard to Cook” is a fun jam that I thought would put everybody in the right mood when we recorded. The standards such as “ Firm Roots” by Cedar Walton, Irving Berlin’s “How deep is the Ocean” and my original “Norwegian Omelette” pay tribute to the great tradition of organ trios. I also included a solo piece for acoustic guitar entitled “ Palermo Seaport.”

Thanks a lot Bill! I’ll tell you about the musicians first. I met Jake Sherman at the New School when I moved to New York in 2008. Jake was really the only student to have an interest in the organ that we had at school, in fact he had been playing the organ for years already. We played a few sessions and gigs together where Jake was on organ and ever since then I knew I wanted to record with him one day. Jake Goldbas is the drummer on the album and I also met him within my first year in New York. We met while playing in different bands and I always looked You currently live in New York City. Obviforward to the gig when I knew Jake would ously there is an extremely high level of

20

competition among musicians. It’s also a very expensive place to live. Give me an idea of the challenges you and other musicians face living there and please share the positive side as well. Well I see almost only positive things about being a musician in New York. First of all, like you said in your question New York has one of the most exciting and diverse musical scenes in the world. You’re right, there is a very high standard in music and some could see the New York scene as competitive, but I’ve always looked at it as a good thing. There’s a constant emulation amongst musicians. I would add that because there is always going to be someone in the room who could potentially “kick your ass,” it forces you to look for something personal in your music rather than trying to be the best instrumentalist in the world. Actually it almost takes

21

the competition out of the equation.

But living in New York is expensive and that’s why you have to be flexible with your expectations in terms of quality of life. I think that’s the number one struggle here for musicians. For example I haven’t had an apartment to myself in New York since March of 2016. As I have been traveling a lot and because of the price of housing it ended up being cheaper to lock my stuff in storage and sublet a room whenever I’m in New York. I should be able to settle back down in October though. I understand that you came to New York originally to study at the New School. Steve Cardenas who teaches there is a friend from my hometown of Kansas City. Did you study with Steve or get to know him while attending the school?

Unfortunately not, but I love Steve Carde- 60’s and the 70’s but also some Brazilian munas’s playing a LOT! sic and flamenco. He was also and still is very hip to everything that’s going on. He offered I’d like to hear about the curriculum at me my first guitar when I was eight years old. the New School and about your overall He tried to teach me and even sent me to the experience while at the school. conservatory but none of these things really worked. I just liked to pick it up once in a Coming from France and having only stud- while and play the two or three things that I ied at the conservatory for two years going had struggled to learn, or I would pick up a to the New School was like a jazz wonder- little melody from a cartoon or a television land. The great thing about the curriculum show once in a while. Then when I was fouris that you can study with potentially anyone teen during a summer with friends, I played in New York as long as they agree to it and a simple piece in front of whoever was there if the New School’s guitar faculty decides and it put a smile on everyone’s face. That you’re advanced enough. That allowed me triggered my interest. A few months after to study privately with Lage Lund, Jona- that I worked in a guitar store in Pigalle, and than Kreisberg, Peter Bernstein, Ari Hoenig, that’s where I really fell in love with the inJean-Michel Pilc and Panagiotis Andreou. I strument and everything it represents. had really great teachers! Richard Boukas’s sight reading class for guitar was great as When you studied at the Nadia & Lili Bouwell. Robert Sadin’s class also holds a very langer Conservatory and the National special place in my musical development. School of Music of Bourg-la-Reine in Paris Every semester we would pick an orchestral were you studying classical or jazz? piece from the classical repertoire and work on it in all possible ways. I was very lucky I was studying Jazz in both schools. They to get to know so many musicians at school were great conservatories and I had great that are still part of my life and who are doing teachers with whom I really got my first forgreat in music. I learned so much from each mal education in Jazz and music in general. of them. But then a school is just a school I’d like to mention their names, Vincent Jacand there were things I disliked. I guess you qz, Eric Schultz, Laurent Coq, Eric Daniel and have to remember what you’re here for and Yves Brouqui. Also many of my teachers enthat’s true for any music or art school in gen- couraged me to go to New York. I did study a eral. bit of classical guitar while in Paris and took a few private lessons with Alberto Vingiano. Please tell me about your early years in Paris and how the guitar came into your Tell me about your growth as a musician life. and your experiences at both of these schools. Well the guitar came into life first because of my dad. He is a big music lover and an ama- My experience in both schools was great. The teur guitarist. Very early on, I was exposed to curriculum was not as heavy as you would this instrument through all the music he was get in a college in the United States, therefore listening to. A lot of blues and rock from the I had a lot of free time to practice and play 22

gigs. I probably had a total of twelve hours of classes while attending the two conservatories. At the Nadia & Lili Boulanger conservatoire, I was actually just taking jazz guitar lessons and at Bourg la Reine I had ensemble classes, ear training, composition and arranging classes. I had great teachers who really helped me improve my phrasing, my time feel and helped me understand music in a larger sense. During those years I was also playing lots of gigs in town. Growing up in Paris was a blessing for that. I was playing in several cover bands and that helped me learn and transcribe tons of songs. My girlfriend back then was a singer and we played lots of duo gigs playing jazz standards. I basically said yes to any gig and that helped me grow as a musician.

You began playing the guitar at the age of fourteen. How did the interest develop and who was your first teacher? I was really into music before I decided that I wanted to be a musician and I was listening to all kinds of things. But as far as the guitar was concerned I was into Jimi Hendrix, BB King, Eric Clapton, Gary Moore, SRV and soon after came Steve Vai and Joe Satriani. I wanted to be a guitar hero! My mom was kind enough to get me a private teacher who would come every week for an hour. His name is Tanneguy Bramaud. He was a real rock ‘n’ roll guy but had the great idea of teaching me early on about triads and how to practice with a metronome, which helped me a great deal. As I started listening to Jazz I also studied privately with Wolfgang Edener who had studied with John Abercrombie at Berklee. He was my first jazz guitar teacher and passed on to me a lot of concepts from Mick Goodrick’s The Advancing Guitarist.

Like New York, Paris also has a high standard of musicianship and an extremely rich musical history. Please compare your life as a musician in Paris to your life Who has influenced you the most as a muas a musician in New York. sician and why? Paris is indeed a great place for a musician. There are a lot of great musicians and enough places to play in town. There are also a lot of clubs and venues where artists from all over the world come to perform. I’d say the biggest difference between Paris and New York is the life style. In France, the social system is much more helpful so musicians can have a pretty comfortable life without having to work like crazy and they can concentrate on being creative. But on the other hand the fact that being in New York is harder creates that drive and energy that you can feel everywhere in the City. This energy is in the music and in the people who make music in New York and that is the biggest difference. 23

That’s a question I can’t really answer. Very early on I was listening to all kinds of music. I admire all the great musicians who have ever lived and I feel inspired by all of them. Growing up I transcribed a lot of music that came from all possible repertoires. I was trying to find similarities between all the different languages. Depending on where I am in my life I’m attracted more to a certain composer or a certain genre of music. Lately it’s been early 20th century organ music and early Hip-Hop. I have also been greatly influenced by the musicians I have played with and currently play with.

Tell me about the guitars you play and boutique amps that are wonderful, the Pigalle Amplification from France, and the Elektra your gear such as amps, effects, etc. amps from Holland. I currently have three electric guitars. The main one is my Gibson ES-350 from 1951. My pedal board consists of: Wampler Hot The other two guitars are a 1966 Guild Star- wired overdrive, Earth Quake device Phone fire III and an American made 1952 telecast- Dispatcher, EHX Freeze, EHX Holy Grail and er reissue that I bought in 2007. I have a a Boss DD-7 digital delay. steel string acoustic guitar by K. Yairi that I really love and a nylon string made by Cór- Do you teach and if so is it private instrucdoba guitars. tion or at a school? I don’t really own an amp at the moment but I can tell you what I like to use. I really like recording with an old Fender Princeton. I obviously like the Fender Twin and the Deluxe Reverb as well. I’ve also been using two

I still teach privately whenever someone is interested. When I have the time I really enjoy doing it. I also taught some master-classes with Cyrille Aimée. The last one was in Bari, Italy at the Pentagramma school. I 24

taught at the New York Guitar Academy for two years. I also taught guitar and ensemble classes every summer for six years at a jazz camp in the French Alps called “ Les Enfants du Jazz” (The Children of Jazz).

in those songs were great and rhythmically intricate so I stared transcribing them. One of my first gigs in New York was playing with great Cameroonian drummer Joseph Kuo.

You are obviously a skilled improviser. Do Lately I’ve been doing some Skype lessons you have any tips or suggestions to those and have released two instructional videos new to improvisation? on soundslice.com titled The Well Underwstood Fretboard. I think it’s important to keep in mind that improvisation is a discipline per se that inDo you have a preference as to what type volves every aspect of music but also every of musical configuration you play in and corner of your mind and body. Therefore I if so why? think you just have to do it a lot no matter the stylistic and aesthetic boundaries you set for Lately I’ve been enjoying playing in smaller yourself. It’s important to prepare by learnensembles. It seems to fit better with the ing repertoires and the language you want to tone I get from my guitar. I always feel that speak but if you never apply those things you the sound of my guitar is a really fragile thing won’t get better at it. So my advice would that gets very easily overwhelmed by the be to get together with other musicians as rest of the band. So smaller ensembles are much as you can and improvise with them. an easier place for me to let the guitar speak. The reward is priceless and improvising can teach you amazing things about yourself. Your bio states that you have an interest in and have been influenced by music https://www.michaelvaleanu.com/ from North and West Africa. Please tell me about this music and how you discovered it. Well first of all, because of its colonial past, France and Paris in particular have a large community of people who are from Tunisia, Marocco, Algeria, Cameroun, Sénégal, and Mali but also from the French Caribbean and The Reunion Island or Mauritius. As a teenager I would hear music from those places, later as a young musician I played music with people from all those places. Now when I hear Makossa or North African music I get homesick and I think about Paris. My dad’s wife is from Cameroun, so there was some Makossa, Hi-Life and Bikutsi playing on the living room sound system. The guitar parts 25

Seaport of Palermo

Written in May 2014

Michael Valeanu

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Arranged by Walter Rodrigues Jr. Ten favorite hymns arranged in Walter Rodrigues Jr.’s unique style of solo guitar, in standard notation and tablature. Songs include: Abide with Me • Amazing Grace • Blessed Assurance • God Is So Good • Just a Closer Walk with Thee • Londonderry Air • Oh How I Love Jesus • Softly and Tenderly • Sweet Hour of Prayer • What a Friend We Have in Jesus. The book includes access to videos online for download or streaming using the unique code in the book. 00153842 Book/Online Audio................................................... $19.99 FREE SHIPPING on orders of $25 or more. Mention ad code WRFG. U.S. only. Least expensive shipping method applies.

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Italian guitarist Flavio Sala grew up in a rich family history of musicians. He soon found his passion for the guitar and added to the family legacy. As a young boy he was too bashful to express himself. In time he realized that the guitar gave him a voice and a way to share his feelings. He would eventually take that voice to concerts stages throughout the world.

of almost three years. I got to know the best and the worst about the music business and human nature. So, at the end of my stay I was kind of shocked, I had to leave. Now I am a “new” Flavio Sala. I’m a more mature person, therefore a more mature artist. You have a rich family history of musicians. Tell me about this legacy that you carry on.

“I love seeing a thirty year old guitarist knock my socks off!” There are four generations of professional – Steve Howe musicians in my family, on my father’s side. His grandmother was a pianist, also his fa“Flavio Sala has a great technique.” – Paco de ther and himself, all graduated from the San Lucia Pietro a Majella Conservatory of Naples, one of the oldest and most prestigious conservatoYou’re from Italy but moved to Baltimore ries in Italy. They never became performers, in 2014. I would bet that many people but they were very good musicians. It’s also in Baltimore would rather be in Italy! very interesting that my grandfather was SoPlease tell me what went into your deci- phia Loren’s music teacher, during her high sion to leave Italy. school years. She wasn’t famous yet, but she was already very beautiful! I wish my grandGood question, Bill! Many people kept ask- father were alive to ask him more about that ing, “You were born in such a beautiful coun- story; I was only six when he died. My brothtry! Why did you move to the United States?” er, Simone is also a brilliant pianist! That was so funny, but they were right. Indeed, a few months ago, I moved back to Ita- Everybody wants to know how and why I ly, because I belong to Italy. I strongly missed opted for the guitar. I wanted to break this all the people I love, my family, my girlfriend, very long piano tradition (laughter). My and my teacher. I also returned for reasons brothers, one sister and also my father used out of my control. I came to the United States to play the guitar, but just for singing. I never because I wasn’t happy how the music busi- asked to play, because when I was five or six ness was going in Italy and Europe. I also my brother told me I couldn’t play because I didn’t want to spend my time teaching in a was left-handed. One day, my father asked conservatory of music. I wanted to open a me to try. He put a guitar into my arms and new market for my career, to take a chance. taught me how to play two chords, E minor The only way to do this was to move. I ap- and E major. plied for a visa and I got the famous O-1 visa. It’s a three-year visa for artists. Specifical- I used to be so shy, timid, of few words and ly a visa for “Alien of Extraordinary Ability.” had difficulty with relationships, even in my Funny but that’s the name the government family. When I discovered I could play I told gives it. I learned so much during my stay myself: “You will see who I am!” I was sev32

en years old and was already spending all day practicing the guitar and singing. That was the best training you could ever dream of! For me the guitar is much more than an instrument to make music. It gave me the best way to exist and communicate. A way to share and fight my fears, a way to deal with my feelings and a way to avoid going crazy!

happened in more than forty years, except for my brother Simone and we graduated the same day. You had the good fortune to study with the legendary Oscar Ghiglia for several years at the Accademia Musicale Chigiana in Siena. Tell me about this experience and about his influence on you as a musician.

You studied at the Lorenzo Perosi Conservatory in Campobasso, Italy. Tell me I met Oscar Ghiglia for the first time in about your studies there and your guitar 1996. I was thirteen and I played the “Soteacher at this school. nata Omaggio a Boccherini” by Mario Castelnuovo-Tedesco for him. He was impressed I entered the Lorenzo Perosi Conservatory in and invited me to study with him at the “AcCampobasso, in the region of Molise, in 1994 cademia Musicale Chigiana” in Siena. My and my teacher was Pasqualino Garzia. He teacher Pasqualino Garzia was very happy studied with Mario Gangi, Alirio Diaz and and encouraged me to go. I studied with Andres Segovia. Not bad, hum? That’s why Ghiglia during the summers of 1998, 2000, I consider him an open door, a direct bridge 2001 and 2003. He helped me learn to listen that allows me to walk through the past. I to myself and pay attention to every single truly love and respect him! He also lived in thing I did unconsciously or should maybe I Venezuela, that’s why I love Venezuela too! should say instinctively. While in Venezuela he heard Antonio Lauro and many others. I am so grateful to him Imagine being there, walking through that for what he has taught me, with no secrets. wonderful palace and meeting Zubin Mehta, I still visit him once in a while and play for Raina Kabaivanska, Trieste Trio, Uto Ughi, him. What he tells me is always gold! There Salvatore Accardo, Maurizio Pollini, Jury is no question that seventy-five percent of Bashmet, Franco Donatoni, Nicola Piovani, the guitarist I am today is because of him. and the great concerts every night. What a During the guitar lessons, he used to say, happy and formative period in my life! I’ll “Music doesn’t need good enough musicians. never forget it! If you are not willing to work hard and become the best of you do not persist, go home. If I’m not mistaken I see an influence I am not here to waste my time.” I was only of flamenco technique in your playing. ten when I started studying with him. Being Would I be correct? If so tell me where so timid, it was a nightmare to play in front this influence came from. of him. It was very hard for me but later I understood that it was his way to test me, a test Oh, Bill! If you could have seen my face when of my mind, personality and talent. He knew I saw Paco de Lucia for the first time! I was you needed big balls to get your place in the just shocked! I was fourteen when I went to music world. I graduated in 2002, with full his concert in Naples. After that experience marks and honorary mention, which has not I totally fell in love not only with flamenco 33

music but also with all the technical possibilities that that genre offered. I wanted to discover and learn all of them! I took three flamenco lessons here in Italy, but more than ten years later and I kept learning by myself. I wanted to incorporate the technique and the flamenco feeling into my classical guitar world. I never said, “I am a flamenco guitarist,” because I am not able to play with a cantaor or a bailaor (with a singer and dancer) I have no interest in that.

projects with his extraordinary musicians such as Jorge Pardo, Carles Benavent, Rubem Dantas, Alain Perez and Israel el Pirana. That was another important step into the world of Paco de Lucia. At one time I almost moved to Spain to study flamenco, to become a real flamenco player, but things changed for me. I got an invitation for a twenty-five-concert tour in Russia and I couldn’t say no!

I really enjoy your performances and arrangements of popular music and music I had the opportunity to play for Paco de from movies. Do you mix this music with Lucia when I was seventeen. He told me I the classical in your concerts? had a great technique, especially my right hand. That was something! I also had sev- Always! When I was a child and went to a eral meetings with him, in Spain and Italy. guitar concerts I always felt like something We never became friends, but he was such a was missing. I wanted to hear a variety of kind person and I would be a very different music genres in one concert! Now that I am musician if I hadn’t met and listened to him. the owner of the stage, I enjoy doing it and I’ve also had the chance to share recording people love it! Guitarists around the world 34

have criticized me. I have never understood ways grateful to Steve, for his friendship and why. all the advice and things he has shared with me. We became good friends and always stay You befriended the rock guitar legend in touch. Steve Howe. You have also played and recorded with him. How did this friendship In 2016 you did a tour of house concerts develop? across the United States. Tell me about this experience and how you developed This is an amazing story, Bill. A huge fan of and booked the concerts. Steve Howe and dear friend of mine, Leonardo Bigott is a journalist for LaDosis, the most I planned and booked the tour by myself. It important music magazine in Venezuela. He was an idea that developed when I discovered went to the press conference the day before the house concert circuit in the U.S. I played YES was going to give a concert in Caracas. twenty-four concerts, drove through twenBut, before going, he went to a CD shop and ty-four States, for seventy days and traveled bought a couple of recordings of mine and thirteen thousand miles! I made many new gave them to Steve. fans and friends around the country and also saw some amazing places. It was an amazing He didn’t tell me because he didn’t know if experience. Steve was going to listen to them or not. But a few months later, I noticed a comment on How do you approach your daily practice? a video on my YouTube channel. Somebody wrote, “I just came back from a Steve Howe I am very methodical about it. I practice master class and the first thing he said was, three to four hours in the morning, almost “Flavio Sala is one of the best guitarists I’ve every day. I can do that because I practiced ever heard!” I guess the guy went online to an average of seven hours during my time check if Steve was right or not (laughter). I at the conservatory. I warm up by playing a wondered how it happened that Steve Howe new piece very slowly. In doing so I accomheard me. I knew Leonardo was a big fan of plish two things, I warm up and also learn a Steve and finally he told me what happened. new piece that I want to add to my repertoire. Later, Steve was going to play in Caracas When I don’t practice I think about practicwith ASIA and Leonardo sent a message to ing, kind of mental practicing. Even when I his manager, leaving him my phone number. listen to music, I am not only listening I am Steve surprised me with a phone call and working! (laughter) said, “Flavio, I will be in Caracas in a few days and I want to meet you! Please, bring your Which musicians have inspired and influamazing Camillo Perrella guitar!” I was living enced you? in Caracas at that time. So, we met and had a great time together! Then we met again in I have to say that it’s a very long list and made Italy and in the U.S. I also got to spend a few by very inhomogeneous artists, because I days in London with him recording a duet for love all good music. Starting from the very my new album Mi Guitarra y Mis Amores. We beginning, Andres Segovia, who made me recorded at Steve’s home studio. I will be al- fall totally in love with the guitar. Then Julian 35

Bream, who was so different from Segovia but so powerful. Then John Williams, who made me discover new repertoires for the guitar. Alirio Diaz, the voice of South America and Venezuela, which I love with all my heart. Definitively, Paco de Lucia, who literally shocked me! Then Uto Ughi, Arturo Benedetti Michelangeli, Luis Salinas, Chris Botti, Glenn Gould, but also Marc Anthony, Jennifer Lopez, Christina Aguilera, and many others. Of course some friends like Mango, Claudio and Giovanni Baglioni, Alain Perez, Rafael “Pollo” Brito, etc. They all have given me something you could recognize in my playing. Do you currently teach?

I love teaching, but only if I have the freedom to make a plan for every single student. Everybody is different with different talent. It’s very important to make a personal study plan for each student. That’s why I enjoy teach privately and online. When invited I also give public master-classes. In what areas do you wish to improve and grow in your music?

had been missing. I learned so much playing and arranging other’s music, but I have always felt like I was “telling” a story that was not mine, a copy of somebody. When you copy somebody, you are a copy, even if better than the original you are still a clone. I want to be myself, I want to tell and share my story, which is unique, original and it’s mine. This is what makes me feel I have a special place in the world. Definitively I am kind of tired of playing other’s music. Now I feel ready to introduce my music to the audience after years of fear and doubt. What are your future hopes and goals?

My hopes? That people will love my music! Now that I am here again in my country, I am focusing all my energy on making it here. I am recording a new album, which will include my original music, maybe, a couple of covers. I never know what will happen during the process. I am also very proud and happy because, this time, I am working with a very good friend of mine, Giovanni Baglioni, a great acoustic guitarist himself who is taking care of my new recording. I still don’t know when it will be ready. We’ve just started, but I hope it will be ready in a few months. Then I will be touring Italy and sharing the new work. Of course, I am in touch with all my fans in the United States. Next spring I will probably return for a concert series in Russia, a country that makes me feel so specially loved. I really can’t wait to share my music with everybody. It’s a strange and a new feeling, I feel naked but complete. I’m now a guitarist who plays his own music. Nothing better than that!

You know, while I was living in the U.S., I met Andrew York. I had been playing his composition “Sunburst” for years. After I introduced myself, he asked me right away if I also played MY music. I said “No, I don’t.” and he added “You should.” I took his words so seriously. I don’t know why, but they sounded so powerful to me. I went home and started to write some notes down that same night. Then I couldn’t stop. In a few hours I had my first piece ready to play and it wasn’t bad, actually I liked the result. Finally I have been https://www.flaviosala.com/ working on and writing my own music continuously. This is the most important step I Photo credit: Francesco Morgillo.

36

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Fingerstyle Jazz Concepts Fun With 10ths! Part III by Steve Herberman This 3rd  installment of our in-depth exploration of the mighty 10th interval features a few new concepts. One of my favorite concepts is playing two 10th intervals in pairs, allowing them to ring together. When they overlap in this way a four note chord is produced. Examples #1 to #3 employ this useful technique. Example #1 consists of chromatically descending minor 7th chords. Example #2 again uses descending chromaticism though the implied root motion is cycle 4 (B-7 E7b9 A-7 D7b9 Gma7)

Example #3 starts with 5th’s in the bass and overlaps 2 sets of 10ths once more in a chromatic descending pattern. Example #4 focuses on 3rds in the lower voices of all chords and employs some high-range soprano voices. On example #5 and 6 it’s back to the cycle 4 bass pattern and should be extended as many of these examples should be! Example #7 shows how to make cadences into chords following the cycle 4 root motion. Each major chord is preceded by its own dominant 7th  essential tones (3rd  and 7th) resolving into a 10th interval consisting of the root and 3rd. Example #8 uses the very important #IV-7b5 chord as a way to chromatically cycle downward to the I chord with half step descending root motion, again with overlapping 10th intervals. What makes this progression so important to learn is that it is one of the most useful and common ways to begin and end a tune! Examples #9a and #9b get the sharp 9 involved in the upper voice 45

going around cycle 4 with funky dominant 7#9 chords. Example #10 begins again on the #IV-7b5 chord but this time using cycle 4 root motion. Check out the chromatically ascending bass line followed in the second half of each measure with a chromatically descending inner line. Finally example #11 combines minor 7th intervals with our 10ths showing how descending half step motion and cycle 4 root motion (if you look at the chord symbol roots) go hand in hand. I hope these exercises are getting the creative juices flowing and are getting more and more comfortable to execute on the guitar. Although right hand fingerings are not given I think you will find the right finger combinations after repeated performance of the examples.

To quote George Van Eps “Guitarists put too damn many notes in their chords!” Employing the “mighty 10th interval” is one way of looking at chords in a reduced manner. With the reduction comes useful ideas such as overlapping the 10th into larger chords. Keep experimenting and I look forward to part 4 of “Fun With 10ths” in the next issue!

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Eclectic Electric Cycle 6 with chromatic voice leading By Tim Lerch Welcome to this installment of Eclectic Electric. This time we will complete our look at the cycle of 6ths by introducing the concept of chromatic voice leading.

Just to remind you what the cycle of 6ths is Ex.1 goes thru the cycle 3 times on the 4-32 string set. Starting with a first inversion C major triad. Notice that only one note changes from chord to chord. The 5th of the C major triad moves up a diatonic step and becomes the root of Amin. This cycle allows for a great exercise in playing all of your inversions in the key in a very systematic and nice sounding pattern.

In Ex.2 I introduce Chromatic Voice Leading. It occurred to me that moving the 5th of C major chromatically introduces a very pleasing sound that generates the V of Amin. If you raise the G in a C triad to G# it becomes E augmented which acts as V of A minor. Continue by raising the A in A minor the Bb and the result is C7 which is V7 of F, then raise the 5th degree of F to C# which creates an A augmented that is V of D min. Of course you cant just keep doing this because the major Scale has a few places where the distance from one note to the next is only a half step so in a few spots I had to move two notes to created a nice V of movement. Even though there are a few in-

49

stances when two notes change rather than just one there is a very important principle at work here. As we move thru the cycle all 5 of the non-diatonic notes are used one at a time to create stronger and smoother voice leading from degree to degree. I also really dig the sound of the resulting progression, especially the first three bars. In bar four of example #2 we have to make a few variations to the pattern because of those pesky half steps in the scale. At this point we have completed one cycle from C/E through C/G. The following measure continues with another cycle moving from C/G through C in root position. In Ex.3 I change to the key of F major and use 7th chords in the cycle of 6ths on the middle set. Spend some time with this diatonic cycle if its new to you, its really a great way to get your inversions together.

Then in Ex.4 using the same principle I add the Chromatic Voice Leading to produce V of each degree of the key. It’s a little trickier with four voices and some of the chords generated are unusual and a bit hard to name elegantly but with the power of chromatic movement even the weird ones sound great in context. I hope you enjoy these explorations of Cycle of 6ths and can use some of the sounds in your composing and improvising. http://www.timlerch.com/

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Cycle 6th With Chromatic Voice Leading Tim Lerch C/E

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©2017 Tim Lerch

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Bill Piburn Mapping The Fingerboard Part VI Diminished 7th Resolutions Welcome to the sixth installment of Mapping The Fingerboard. In the last article we covered diminished triads resolving to four possible major triads and their four parallel minor triads. In this installment I will discuss the fournote diminished 7th functioning as a V7b9 resolving to 1 major 7 or 1 minor 7. The triads also functioned this way but only using three notes.

ished resolves to F major7 in root position. Now let’s move over to measure 3 in example 1. In this example we have Bb diminished 7th or you guessed it, E diminished 7th in 2nd inversion. The intervals in relationship to the C root are b7, 3, 5, b9. This resolves to F major7 in first inversion.

The final example in measure 4 is Db diminished 7th. As you know by now it can also be thought of as E diminished 7th in 3rd inversion. The intervals as they relate to the C root are b9, 5, b7, 3. This resolves to F major7 in second inversion.

We now know that E diminished 7th, G diminished 7th, Bb diminished 7th and Db diminished 7th can all be used as C7b9. An easy way to apply this concept to any dominant 7 is to play a diminished 7th from eiLet’s take a look at example 1, measure 1. ther the 3rd, 5th, b7 or b9. An example: D7b9 You will see an E diminished 7th chord. This = F# diminished 7th, A diminished 7th, C dichord is functioning as C7b9 without the minished 7th, and Eb diminished 7th. root of C. If you analyze the intervals from the bottom to the top in relation to the root Resolution of C you have the 3rd, b7, b9 and the 5th. This chord is followed by a resolution to F major When the diminished is functioning as a V7 chord resolving to the 1 major or 1 minor 7th voiced 7,3,5,1. generally they should resolve to the closest Now let’s move over to measure 2 in exam- possible voicing. This is the case for exple 1. Here we have a G diminished 7th func- amples 1 through four and each of the intioning as C7b9 without the root of C. If you versions used in the examples. Notice that analyze G diminished from bottom to top in 3rds move to major 7 or b7 and b7 moves relation to the root of C you have 5, b9, 3 to major 3rd or b3rd. The 5th moves to the and b7. We end up with the same notes in root and the b9th moves to the 5th. Don’t let a different order, in other words an inver- that confuse you; just move to the closest sion. This tells us that that G diminished voicing and you’ll be fine. can also be thought of as E diminished in 1st inversion. As a matter of fact any of the four Resolving to other keys centers notes that make up a diminished 7th chord can be identified as the root. This is due In examples one through four the E diminto its symmetrical nature. Here the dimin- ished resolved to F major and F minor. But

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wait the resolution possibilities don’t end there! In example 2 notice that I have resolved the E diminished and it’s inversions to Ab major and Ab minor. In example 3 the resolution is to B major and B minor. Example 4 resolves to D major and D minor. A visual tip for resolution

Examples 5 through 8 have the 2 minor 7th preceding the V7b9 chords in the major resolutions and 2 minor 7th b5 preceding the V7b9 for the minor resolutions.

As always, if you have any questions feel free to email me at [email protected]

A half step (one fret) above each of the four notes in a diminished 7th is a resolution point. The resolution can be either major or minor. This applies to all the diminished inversions as well. We then have four major resolutions and four minor resolutions. If you include all the possible resolutions from each note in the diminished 7th and their inversions we end up with thirty-two resolutions! (Sixteen major and sixteen minor) Visual tip #2

A half step below each of the four notes in a diminished 7th are the four possible roots of the V7 chords. So half below each note in the diminished 7th are the four roots for V7 and half step above each note are the four roots for I major or I minor.

All the examples are built off of the 4th string group. It is important to know them on the 5th and 6th string groups as well. Once you have the concept down move it to as many key centers and positions as possible.

Inserting the 2 minor 7th and 2 minor 7th b5

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Diminished 7ths resolving to 1 major 7 and 1 minor 7th

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© 2017 Bill Piburn

11 9 12 10

b n œœœ b b b ˙˙˙ Œ bœ b ˙ 12 11 12 11

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Ex. 3

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10 10 10 10

An Insight On Composing For Solo Guitar By Scott Ouellette I was five years old when I first touched the strings of a guitar in 1973, and 35 years old when I composed my first piece for nylon string solo guitar. Every composer writes at his or her own pace. Whether a composer writes at an early age, or later in life are neither right nor wrong, but is considered the appropriate time for them. When I first began composing for solo guitar, I had no idea how to approach it. Since I wasn’t a composer of lyrics, I felt stumped on how to begin. So I started thinking about past memories, memories that had a lot of emotional content. I decided to try and convert a memory into a piece of music. It wasn’t enough that I had good (or bad) memories, but I wanted to make them tangible. The process always begins the same. I would hold the guitar, and…..not play anything. I was forcing it. So instead, I would think about the memory, and NOT focus too much on the guitar. Eventually, my subconscious would take over, and while reflecting on a thought, my hands reached for a chord. When you’re educated in harmony, or the study of chords, you have a very good sense of what emotions come about when you play a Maj7 chord, or a dominant chord. Having this education is extremely helpful when choosing what chord to play next, and how the chords will function in the song. When I was a student at Berklee College of Music in Boston Massachusetts, the teachers always stressed the importance of listening. They said “50% of the time should be spent practicing, and the other 50% listening.” I never forgot that, and have always made time for listening. I can admit with confidence that the way I composed solo guitar music wasn’t so much from listening to other solo guitar pieces, but actually, it was from listening to artists like Peter Gabriel, or Genesis, which if you listen, their songs are like little “journeys”. Anyone can compose a song thinking of using a min7 chord, or a II-V in the key of G, but I never think that way when I compose. When I compose, the things I keep in mind are…what kind of emotions I can draw out of people when they hear my piece, what kind of journey can I take my 61

listeners on, and the importance of making the next song sound different from the last. I believe this way of thinking helped me to compose songs with substance, songs with a deep meaning behind them, and songs that are memorable. After I would record short ideas for songs, I would set up my PA system with the speakers on tripod stands, put a chair in front as if setting up a small concert hall setting, and begin listening to my ideas in the chair. This activity would help me hear my music as the listener instead of the composer. When the idea would play out until the end, as the listener, I would anticipate what the next notes would sound like. This really helped a lot! And to this day I still compose music this way. Not all songs are composed based on memories or life experiences. Sometimes I would sit outside on my front steps on a nice summer day, and simply experiment with a random chord formation. I would at times try to create a one or two note combination, combined with a couple opens strings, and begin finger picking randomly. I would play the notes in a rhythmic fashion that would imply an introduction. The introduction is the most important place to begin because it establishes the feel of the song, and helps move the piece forward. Regarding melody. I’ve always believed that the melody should be simple. One thing I always keep in mind is that I want the listener to be able to remember the melody to my songs, to hum it back to themselves after they hear it. I picked up on how effective this is when I first heard the melodies from the motion picture Cinema Paradiso, or the piece “Playing Love” from the movie The Legend of 1900.

62

63

When I first began composing Colors, I was recalling a day I rode my bike around the Charles River in Boston Massachusetts. I felt the sensation of pedals going up and down in a constant motion. I also thought of all the different colors I saw on my trip. This set the stage for the feel of the song, as you’ll see in future measures. When I picked up the guitar, I randomly set my second finger and fourth finger on the C and G notes in measure one, and began finger-picking the two notes in order, and included the open B and E strings. Knowing that these notes were found in the Cmaj7 chord, I chose to descend from the C notes down to the B note in measure three. Measure 5 and 6 utilizes an Fmaj7(#11) chord by beginning on the A note, and playing the F, B and E notes in the same right hand picking order.

Measure 33 begins the main theme of the piece. It’s here that the illusion of bike pedals going up and down is represented. You’ll also notice that Maj 6 chords are prominent from measure 33 to 40. Also, in measure’s 33, 34, 35, 37, 38 and 39, I play the melody notes on the up-beat of beat one so that the bass notes in the first beats are emphasized.

64

The ending of “Colors” brings back the sound of Maj 6th chords once again, but also duplicates the same concept as the main theme by emphasizing the sensation of “rise and fall”, by playing bass notes on beat one of each measure, and without a melody note. I chose to play the last chord in a closed position, and as a Maj 7 to create contrast. So composing music isn’t always about theory alone. Yes, it’s important to have a strong foundation in music theory, but try not to over think things when you compose. Start with an idea for a song, and like I mentioned earlier in the article, try to create a song that reflects a memory, feeling, or thought, and use your level of musicianship to your advantage to create music that becomes a part of who you are. 65

Colors Dedicated to Per-Olov Kindgren Composed by Scott Ouellette

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Stanley Yates 

Classical Guitar Technique from   Foundation to Virtuosity 

‘With this work, Stanley Yates goes beyond  the traditional concept of the guitar method  or the guitar technique treatise. The history  of  the  instrument  includes  outstanding  examples,  but  none  that  constitutes  an  adequate  precedent  to  this  book  from  the  Anglo‐American master.’   Angelo Gilardino  ‘A “go to” book that comes along once in a  generation—an incredible resource.’   Dr. Michael Quantz   University of Texas Rio Grande valley 

‘This  monumental  work  is  both  a  lucid  summation of guitar methodologies and an  innovative  advancement  of  instrumental  theory. Read it and learn.’   Mark Delpriora   Manhattan School of Music   The Juilliard School  ‘Yates’  magnum  opus  is  the  most  thor‐ oughly  comprehensive  guitar  technique  manual I’ve ever seen.’   Dr. Douglas James   Appalachian State University 

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David Rogers Vermillion Dusk This is my composition, “Vermillion Dusk.” A friend of mine suggested the title and I thought it fit the mood of the piece well. I’m not very good at naming or titling my music. I don’t feel I’ve got a good music/verbal connect, so I like to ask friends, family and audience members for title suggestions. They always come through for me. I especially love talking with audience members at concerts and hearing their title suggestions, they always have great ideas!

My inspiration for this piece was the duets that John McLaughlin played with his wife Katia Labeque in the late 1980’s. These grand piano/acoustic guitar duets really struck me with the great beauty of their composition and improvisations as well as the lovely intimacy between the two performers. I wasn’t trying to quote or ‘steal’ anything from this music, but I was trying to approach the lovely vibe they had.

to the line. The climax of the phrase is the high C in measure 16. Measures 16-18 are in the 7th position and require the keeping down of the second finger on the 5th string F through this short phrase. I was going for a baroque guitar ‘Campanella’ effect in this section. ‘Campanella’ means ‘little bell’ in Italian. In baroque guitar and lute music it refers to playing scalar passages using a combination of stopped and open strings.

“Vermillion Dusk” is a short piece with five sections. The first section encompasses the first 9 measures of the piece and is the ‘main theme’ or ‘head’ of the piece. I think it’s very important to follow the notated rhythms quite explicitly in this section. The effect will be expansive and seemingly free but if The next section, measures 19-30 features played too freely the forward momentum a melodic bass with decorative scalar paswill be lost. sages on top. I generally play the bass with a light thumb rest stroke that supports the In the second section, measures 10-18, I like bass and also creates a slight agogic accent, to bring out is the accent on the quarter note bringing out the bass line. An agogic accent that appears on the ‘and of one’ from mea- is an accent of time, in which the accented sures 10-15. I think this adds a ‘funkiness’ note is extended in duration a slight bit. So, 73

a slight delay of the ‘and of one’ is desired I hope you and your listeners enjoy this piece. here. Thanks for listening and reading! Measures 31 to 34 comprise a transitional David Rogers phrase that leads and morphs into the minimalist section of the piece. Measures 35 http://www.davidrogersguitar.com/ through 46 are in a ‘minimalist’ stye/construction consisting of smaller units with repeating 4 measure phrases. Slowly building, these lead up to the conglomeration of ringing through notes in measure 46. In this measure, I try to make sure that the low C, middle C, F and open G are ringing through, similar to the Campanella effect earlier. I think the overall element that one should work to bring out in this ‘minimalist’ section and its preceding transition is the middle line with its slurs (hammer-ons, pull-offs) that take some real concentration to bring out. After the big energy/volume build-up of measure 46 we return to the beginning of the piece and repeat until measure 34 where we head to the Coda section. Nothing too new here although watch out for the Campanella elements in the second measure and fifth measure of the Coda. In measure 2, I think it’s important to be sure that the top open E continues ringing through the end of beat 3. In the 5th measure of the Coda it’s the D on the second string and the open E that should be allowed to ring even after their notated duration has concluded. The last phrase after the double bar is a pretty much note for note recap up until the last 2 chords. I liked the sound of the doubled third in the final G chord of the piece (the octave B’s). Although I like this sound, tuning can be a little problematic so I leave that to the performer as to whether they’re ‘having a good tuning day’ to risk the double B’s.

74

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Lou Arnold Follow The Leader This piece was written as a voice leading study. As Bill said, “This little voice leading study is fun to play and contains a lot of line movement.” With those words, the score and a midi rendering of the piece, I began to work on “Follow The Leader.” I started playing it on nylon string because I gig on that guitar and I’ve played classic guitar for years. My goal was to make the piece flow smoothly and have a nice swing feel. Singing the melody and the bass helped a lot, especially with a metronome beating on 2 and 4 at a relaxed tempo. I also worked out right hand fingering to avoid the confusion that sometimes comes from leaving right hand fingering completely to chance.

I really like how the piece moves as a result of strong melodic lines. I did not try to memorize it right away, because looking at the score makes me aware of different possibilities for phrasing and seems to reinforce the musical flow. I was also intrigued by the title and wanted to stay open to discovering how the lines follow each other. As it turned out, memorization resulted from singing, reading while playing and just plain internalizing the music. There is a lot going on in this piece; I am still enjoying working on it, and it’s helping me to play better.

leading in a narrow academic sense is often thought of as how the voices of one chord move into those of the next chord. While that is important to study, it’s also important to remember that good line movement is one of essential elements in making great music (Bill’s words).

I think “Follow the Leader” is an excellent study. Working on it, I feel closer to the instrument and I have stretched my technique to get a satisfactory performance. I am keeping this piece in my repertoire because it is fun to play and it has helped me move about the guitar – also, people like to hear it.

Bill Piburn on his composition: I have always trusted my ears, but in recent years I have grown in what I hear and how quickly I find what I hear. Thankfully, my father’s love of harmony and voice leading Working on “Follow the Leader” has ex- was a very early influence. Looking back panded my concept of voice leading. Voice I remember being excited by what I heard

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as he played the piano. While his main instrument was the guitar, he really saw and heard voice leading better on the piano. Before I could understand what voice leading was, I came to realize it was in my soul and mind’s ear. Years later I was fortunate to study harmony with a jazz pianist named John Elliot. John gave me the path to understanding what I heard and loved.

“Follow The Leader” is a short piece that packs in a lot of voice leading. While space will not allow for analysis, you will hear it; you will see it and it will be an influence. I encourage those interested in voice leading, and in my opinion, all musicians should be. Study harmony, study compositions and make note of what you see and hear. Eventually you will be applying solid and interesting voice leading to your own work. http://www.louisarnold.com/

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Dan Riley Funeral March of a Marionette

As the title suggests, this piece is sort of a comic version of a funeral march in honor of a marionette that has (somehow) just died in a duel. Make of this what you will. Originally written for piano in 1872, it has since been adapted for seemingly every combination of instruments imaginable, including several versions for guitar. Most famously it was used as the musical theme for Alfred Hitchcock Presents (1955-1965). If you aren’t familiar with this piece (in fact, even if you are), I recommend listening to I first heard this played (only the first sec- some pianists and possibly organists play it. tion) by Ted Greene, which you can find at Unsurprisingly, they generally play it closhttp://tedgreene.com/audio under “An Af- er to the way the original music is written, ternoon with Ted” and the main theme in my which is much more staccato than my verarrangement is more or less a transcription sion. For example I have lengthened many of the way he played it. He added in some of the note values in the bass, but you may nice simple little inner lines to give some prefer to keep them short, which I think variety in the phrase that repeats the most gives it more of a bouncy, comical feeling. I and made small adjustments to the chords have left out most of the intro, and all of the here and there. One small technical thing to repeats and it’s four and a half minutes long point out: in bars 13-14 etc., Ted uses a par- as it is, there’s plenty of repetition already. ticular little trick of his where he frets the The notes in brackets are optional; someC and G notes on the top two strings with times people find it easier to include anothhis fourth finger, and then rolls it off the C er note in order to avoid an empty string note while still holding the G note. It is easy in the middle of a chord, sometimes there to forget to do this and just lift the fourth are notes that would be nice to include, but finger off entirely (I am definitely guilty of aren’t worth too much sweat. Bar 54 has a this), but it gives a nice effect in this piece stretch that gives a very satisfying bass line, and many others. but some hands might be simply unable to reach it (especially if you’re playing a clasAs always with guitar arrangements of pi- sical guitar). I have given an alternative for ano music, sacrifices must be made, and in that part, which you might prefer anyway this one I tried not to be too concerned with since it puts the inner line up close to the getting a really close match to the original. top line as it is in the original.

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Funeral March of a Marionette

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Tim Lerch Solo Guitar

“Tim’s playing is superb, really beautiiful. Every so often I ask myself how is he doing that?! His touch on the instrument is to be envied. Solo Guitar is a deep and beautiful piece of work.” Steve Kahn, guitarist

Tim Lerch Solo Guitar

“Tim’s playing is superb, really beautiful, but every so often I would ask myself how did he do THAT?! His touch on the instrument is so great it is to be envied, Solo Guitar is a deep and beautiful piece of work.”

- Steve Khan Guitarist 17 songs download in high quality audio for $10 http://www.timlerch.com/home.html

17 songs download in high quality audio for $10 http://www.timlerch.com/home.html

Dylan Ryche Wishing Well Hey Everybody, in this issue I’d like to share one of my new songs with you. It’s called, “Wishing Well” and you can find it on my most recent album, Daydreamer. When I was putting this album together, I really didn’t want to have 12 songs that all sound pretty much the same so there’s up-tempo songs, ballads, a jig, some funky bass lines…and then there’s this one which is probably the most ‘different’ song on the album.

It’s a counterpoint style composition and it moves through some different moods. The tempo fluctuates throughout the track which gives it a ‘living and breathing’ feeling.

I like the contrast from the more expressive and sustained B and C sections to where it goes back to the A section which is very lively, spirited and ‘D Major’ in all its glory.

I am very proud of this song and I hope For the A section, which is the main theme, you enjoy learning and playing it too. I’m in full counterpoint mode. It’s a lot of fun to write in this style and I recommend See you next time, you give it a try if you haven’t. This section jumps all over the neck and has a couple of Dylan large stretches so I would definitely warm https://www.dylanryche.com/ up before ripping into this at full speed. I am unashamed in my love for, and potential addiction to, any 9th interval (ha-ha) and the B section is full of them. I am aiming for maximum sustain throughout the B and C sections. Think as though you are holding the sustain pedal down on the piano and aim for a similar effect and feeling. 99

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Composer’s Corner Metal meets ClassicalFinding the Muse Pt. 1 by Troy Gifford In the last issue of FGJ, Roger Hudson wrote a great article about sources of inspiration that also happens to tie in with some of my thoughts for the next couple of columns. In particular, how do we address the times when we aren’t feeling very inspired? For every composer, the process of trying to find the muse is different. Some work daily at their craft, constantly writing and refining ideas whether they feel inspired or not. Others might wait for magical moments to suddenly appear; when the muse strikes, they sense that something special has occurred and get to work to realize the idea fully. Others, like myself, fall somewhere in between. I don’t try to compose every day, and sometimes I go for long stretches without writing anything new. But I also don’t just sit around forever hoping for inspiration to materialize. Sometimes you have to make something happen, and simply forcing yourself to start writing can often jumpstart the process and stimulate the creative part of your brain. So what do you do when you aren’t feeling particularly creative but still want to write? All of us get writer’s block from time to time. One technique that can be useful in these situations is to try to emulate something that you really like or find interesting. This can be a specific piece, a 103

style of music, or an individual composer. I have written several works in homage to composers that I admire greatly, and I have almost always found these to be enjoyable to write. Many of the great composers in history have used this technique. The goal is usually not to try to write something exactly like the composer you are emulating would have (which is often hopeless anyway), but to use their style as inspiration and as a guideline while still including elements of your own voice. I will get more specific about this particular technique in my next column. Another method is to emulate a more general style of music rather than a specific composer. Perhaps you don’t feel you have any original ideas at the moment. Well, how about trying to write something that uses a reggae rhythm or a samba beat? Choosing a predefined style like this gives you a framework to start working in and can get your creative juices flowing. The

piece might start out as one thing and gradually evolve into something else, which is fine. But imitating something you like can yield some rewarding results. And if nothing else, writing in different styles helps you broaden your chops and versatility as a composer and musician.

“Agora” is a piece I wrote in this way. The initial concept was to try to bring some of my progressive metal influences to the classical guitar. Like many fingerstyle guitarists, I began my guitar career playing rock guitar. Unfortunately, I don’t play the electric guitar as often now, but I still enjoy it. When writing this piece, I thought about how I could write for the classical guitar but with some of the intensity and ideas a metal guitarist might bring. Obviously the electric guitar possesses power that the nylon string guitar can’t come close to matching in terms of sheer force and volume, and this created a challenge in trying to implement the idea. But I found the exercise worthwhile and I ended up with something very different from what I usually write for the classical guitar, and ultimately a piece that I think is fun to play. https://www.troygifford.com/

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~~~~~~~~~~~~~~~~~~~~~~~~~~~

OUSTANDING ARRANGEMENTS FROM

BILL PIBURN Bill Piburn Plays Antonio Carlos Jobim

Groovy Guitar

Fingerstyle Guitar Standards

Fingerstyle Love Songs

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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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 southwestern 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

traffic 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 flooding, 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 fine 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 find my work available at www.melbay.com. If you do not find 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

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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).

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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

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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

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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 points 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 generated from a held chord shape, producing a cascading scale passage (a technique often attributed to jazz guitarist Lenny Breau):

133

Ex. 14

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

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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 first teacher times in the transcription at 2:00, 4:06, and showed me the more accessible pieces. and finally 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 finger 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, final 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 first 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

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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 Fingerstyle 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 first 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 fingers 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

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O for a Thousand Tongues to Sing arr.-Craig B. Dobbins

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Artist Profile 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 fingerstyle guitar? reminds me of Earl Klugh’s pop material.  Is there an Eleanor that inspired the The fingerstyle 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 first 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 fingerstyle 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 Do you perform mostly solo and do you childhood years so I’ve always played solo have opportunities to play with other guitar. I just found it difficult to relate to musicians? classical music and when I discovered Earl klugh’s solo guitar music I fell in love with Mostly solo. The only time I play with other it and knew that was is the kind of music I musicians is when I help out with our church would love to play and compose. Tommy band. Emmanuel, Earl klugh and Andrew York are my biggest inspirations although there’s You are playing the nylon string guitar in many more guitarists that I follow. 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 fingerstyle Like most artists I’m sure you want to guitar in your region and opportunities share your music with a larger audience.  Tell me where you hope to take your cato hear and learn fingerstyle guitar? reer 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 fingerstyle guitar is.  My Ultiin what areas of music do you wish to mate goal is to record more of my music and someday get to play outside South Africa. I grow in? would especially like to perform in the UnitI 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 final stages of recording my debut album Portrait skies, which I am very excited about.

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A Guitar for Change: Ribbecke’s Halfling, 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 first conceived of this particular Halfling 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 Halfling top plate—bass-side flat, 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 profile 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 flattop 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 Halflings 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 delighted for this opportunity to feed our dual passions of serving others and putting the world’s finest 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 fitting 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-halfling-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 7th, 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 Scofield.

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

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While listening to Dylan Ryche’s new CD Daydreamer my immediate impressions were strong melodic themes, rhythmic percussion, great tone, logic, and flawless technique. Dylan understands the division of musical parts and controls them with great skill. He plays a wide dynamic range. It’s very easy to hear and feel the entire band while listening to his solo guitar. Because he feels and hears it you do as well. When using percussive elements they are not the focus but a rhythmic underpinning used with taste and accuracy.

Craig Dobbin’s playing and arranging has won him praise from many guitar legends including Chet Atkins, Tommy Emmanuel, Jerry Reed and Steve Wariner. As an author his works have been published by Hal Leonard, Mel Bay and Alfred. As a columnist his articles have been featured in Acoustic Guitar, Just Jazz Guitar, Fingerstyle Guitar and Fingerstyle Guitar Journal.

Craig Dobbins Hymns For Fingerstyle Guitar

“The Old Rugged Cross,” “What a Friend We Have In Jesus,” “In The Garden,” “Just As I Am,” “Amazing Grace,” and the featured transcription of “O for a Thousand Tongues to Sing” are just six of the sixteen classic hymns on this recording.

Craig’s new CD is in celebration of the twentieth anniversary of his book/CD set Hymns for Fingerstyle Guitar, which was published by Alfred. Tracks one through twelve are from the original recording while tracks thirteen through sixteen are newly recorded.

I first heard him in 2012 when I was a judge at the Canadian Guitar Festival. Dylan won the competition that year. He stood out to me within just a few notes. He has a natural gift for composition and has all the skill in the world to play his ideas. If you’re interested When listening to Craig’s hymn arrangein a great solo guitar recording then I highly ments it is obvious he has been influenced recommend his new CD Daydreamer. by four-part traditional choral music. It is also obvious and that he has a love for it. https://www.dylanryche.com/ The playing is very musical, well paced, colorful and sincere.

Like his hero Chet Atkins, Craig plays with clarity and a beautiful tone. If you love sacred music played in a traditional fingerstyle guitar style you’ll love this CD. Congratulations Craig on the twentieth anniversary of Hymns for Fingerstyle Guitar. http://www.craigdobbins.com/

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