Chops: Intermediate Theory: Intermediate Lesson Overview: • Understand a few basic arranging techniques in DADGAD tuning. • Create open-string or campanella melodies. • Learn how to combine fretted and
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Understand a few basic arranging techniques in DADGAD tuning.
• Create open-string or campanella melodies.
• Learn how to combine fretted and unfretted notes to create flowing arpeggios.
Click here to download the accompanying mp3 audio example & a .pdf of the entire Prelude section.
When my friend Mike Marshall suggested I learn Bach’s Partita No. 3 in E major (BWV 1006), my first thought was “impossible.” That was shortly followed by “what if?”
I’d known the solo violin works for years, but however much I love Bach’s music I never considered it within my scope as a player. I’m a “folkie” and I play by ear. As more non-classical musicians are beginning to explore this incredible musical landscape, I figured now might be the time to dive in!
The well-known opening phrase is a great example of Bach running up and down a major scale—in a way that only he knew how. Now, in my experience as a guitarist, when I hear lots of linear scales or even fragments of scales, I immediately think of DADGAD tuning. Though in some cases an arrangement may not stay there. In this case the opening measures drew me so far into the piece that I stayed committed to this tuning even through some fairly hairy key modulations.
The key of E major is not the friendliest in DADGAD, but maybe even Johan Sebastian would have sanctioned the use of a capo. In order to preserve the intervallic spacing of the tuning, and make liberal use of the open strings, we will place a capo at the 2nd fret. When Bach transcribed this piece for lute he changed the key to F major to suit the tuning of that instrument. If you want to retune to E–B–E–A–B–E and avoid the capo then have at it—however, my medium-gauge strings would protest. Glenn Gould, regarded as one of the most significant interpreters of Bach in modern times, said that the point of this music is to be faithful to the harmonic ideas that Bach was exploring. And Gould mostly played Bach on the piano—an instrument that hadn’t been invented in Bach’s time.
Several times in arranging this piece I thought the difficulties in fingering were going to make it unplayable, only to eventually find an alternative that put me back on the rails. It’s an amazing piece of music, originally written for solo violin, but also arranged by Bach for lute. The lute version consisted of an astoundingly inventive series of key changes, often exploring the same idea in several keys and all delivered in a relentless torrent of consecutive 16thnotes— 1,560 of them to be precise.
In playing the first few measures in Fig. 1, I use two ideas that are worth exploring. One is the technique of playing across the strings. DADGAD tuning, with the whole-step interval between the 2nd and 3rd strings, lends itself to this very naturally. In fact it’s one of the main reasons for the enduring popularity of this tuning. The idea is to play consecutive notes on different strings so that these ring into each other. In classical guitar this technique is called campanella, which means “bell-like.” It’s often also compared to the sound of a harp where each note has its own string.
This first occurs in the fourth measure. The descending scale moves across three strings, then back to the open string. This can be a bit confusing, but the effect is both attractive and ergonomic. The fretting hand stays in one position and the picking hand can do the work.
The other idea worth mentioning is the use of an open string to get the fretting hand into a different position. This occurs throughout the piece, but the first instance is in the seventh measure, shown in Fig. 2. The open 1st string allows us to move from 2nd position to 4th position to continue the ascending phrase that ends with the B at the 7th fret of the 1st string.
Getting that transition smooth and accurate will take some work. One striking difference between stringed instruments— fretted or bowed—and the keyboard is that we have the same pitch available on different strings. The piano has only one middle C! Bach’s writing for strings exploits this frequently by “pivoting” between an open string and the same note on a lower string. The first instance of this is in Fig. 3, which begins at the 13th measure. The open 1st string alternates with the same note on the 4th string. This creates a great sense of movement around one fixed note.
In Fig. 4, the pivot note remains but the pattern changes and we are into a descending sequence of arpeggios that presents a real challenge. Remember, this piece was written around the capabilities—including the open strings—of the violin, not the guitar, in an altered tuning. When I first tried to figure out a way to play this section I found the notes easily enough, but once the arpeggios started to descend my fingers got tied in knots. Playing the section slowly only made the knots more apparent! I was trying to play the first part of the sequence up around the 12th fret, which is where the fingers naturally land from the previous bar. It was playable but somehow sounded clumsy and awkward whereas on violin it sounded natural and musical.
The solution is in the second measure of the figure, where the G# note moves from the 11th fret on the 3rd string (measure 1) to the 9th fret on the 2nd string. From there on the arpeggio sequence is so much easier. As the open top string remains constant, the outer notes modulate and then descend one at a time, with one note changing in each measure that fits under the fingers. This almost mathematical type of pattern is typical of Bach’s compositional style, but hopefully we can play it in a way that brings out the musicality rather than the technicality of it.
I found learning and arranging this music to be one of the most challenging and satisfying projects I’ve attempted. The music is difficult but rewarding and has opened many doors in terms of technique and harmonic awareness. I hope you get the same out of it!
Tony McManus One of the foremost Celtic guitarists in the world, Tony McManus crosses borders and genres by combining elements of classical, country, folk, and traditional music to create a unique hybrid sound. His latest album, The Maker’s Mark, was recorded in Nashville and features 15 of the finest guitars being built today. For more information, visit tonymcmanus.com.
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Our columnist stumbled upon massive success when he shifted his focus to another instrument. Here, he breaks down the many benefits you can get from doing the same.
A while back, I was doing a session for the History Channel at Universal in Hollywood, California. After the session, I sheepishly admitted to some of the other session players that I was really getting into bluegrass and specifically the square-neck resonator, or dobro guitar. Now, as a progressive-jazz guitarist, that was quite a revelation. After some classic lines from the Burt Reynolds movie, Deliverance, another friend said he also was getting into mandolin and banjo.
Long story short, we put together a band, Honeywagon (which is the vehicle that cleans out the toilets under actors’ trailers on movie sets), started playing bluegrass around L.A. (up and down the Sunset Strip), and three months later, we had a record deal. We sang three-part harmony, made “deranged” covers of songs by famous artists, produced it ourselves, and sold well over 1.5 million albums and counting, and played all over the world.
What started all of that was my love for Jerry Douglas’ dobro playing. It’s so vocal, and his timbral range! You see, music is a universal language that transcends cultural, social, and linguistic boundaries. And learning another instrument is a gateway to unlock levels of self-expression, creativity, and emotional exploration you might not even be aware of.
I don’t believe in “mastery”—there are always deeper levels to discover—so let me say that while gaining significant proficiency on one instrument is a huge achievement, the benefits of learning to play at least one other instrument are immense. It will enhance your musical skills, cognitive abilities, and personal growth. Tighten up your belts, the Dojo is now open.
Enhancing Musical Skills and Understanding
Learning multiple instruments can profoundly deepen a musician’s understanding of music theory, composition, and performance. Each instrument has its unique challenges, techniques, and approaches that require you to adapt and learn new skills. For instance, a guitarist transitioning to the piano will need to understand new techniques, two-hand interdependence, chord shapes, and different ways of producing sound.
New instruments also allow you to appreciate different timbres, textures, and roles within an ensemble. A drummer who learns to play the bass, for example, will gain a deeper understanding of rhythm and timing, as they experience how their drumming interacts with the bassline. This cross-instrumental knowledge can lead to more creative compositions and more nuanced performances, as musicians become adept at thinking from multiple musical perspectives.
Cognitive Benefits
The cognitive benefits of playing an instrument are widely documented. Learning to play an instrument can improve memory, enhance coordination, and increase cognitive flexibility. When a musician learns to play an additional instrument, these cognitive benefits are amplified. The process of learning new fingerings, reading different clefs, and adapting to various physical requirements engages the brain in unique ways, promoting neuroplasticity and cognitive growth.
“Music is a universal language that transcends cultural, social, and linguistic boundaries.”
Moreover, playing multiple instruments can improve problem-solving skills and adaptability. We often face challenges when learning a new instrument, but successfully navigating these challenges builds resilience and perseverance—skills that are valuable both in music and in other areas of life.
Emotional and Personal Growth
Music is not just a technical skill, it is also a deeply emotional and expressive art form. Learning to play multiple instruments can enhance your ability to express and connect with your rich emotions. Each instrument has its own voice and character, offering different ways to convey those emotions and tell stories. A violinist who learns to play the flute, for instance, may discover new ways to express lyrical melodies or subtle nuances in phrasing. In addition, taking on another instrument can boost confidence and self-esteem.
Expanding Musical Opportunities
It can also open you up to a wide range of musical opportunities. Musicians who can play multiple instruments are often more versatile and in-demand for various musical projects. The more you’re able to adapt to different genres, styles, and ensemble settings, the more valuable a collaborator you’ll be in bands and recording sessions.
Which One?
Ultimately, I’ve found that the instruments I can play besides the guitar have helped me deepen my connection with music and discover new ways to express myself. If this article is resonating with you, I would suggest choosing your new instrument based around what excites you the most. Is it bass, keys, pedal steel (one of my personal faves), or modular-synth programming? The possibilities are as wide as your mindset. In “Song of Myself, 51,” Walt Whitman said, “I am large, I contain multitudes.” Namaste.John Mayer Silver Slinky Strings feature a unique 10.5-47 gauge combination, crafted to meet John's standards for tone and tension.
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