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.
MayFly’s Le Habanero Boost and Fuzz pedal, designed with input from Trevor May and Lucas Haneman, offers a wide range of tonal options from clean to scream. Responsive to player touch and guitar volume, stack the Boost and Fuzz for endless sustain and harmonics. Perfect for exploring your inner David Gilmour.
MayFly’s Trevor May and LH Express’ Lucas Haneman have been cooking upsomething real good. Le Habanero is a dual boost and fuzz pedal specifically designed to be very responsive tothe player’s picking hand and the guitar’s volume control. With Lucas’ input, the pedal was specifically tweakedto give a ton of tonal options, from clean to scream, by just using your fingers. It heats up your tone with a tastyboost, scorching lead tones with the fuzz, tantalizing tastes of extreme heat when boost and fuzz are combined.
The boost side is designed to ride the edge between clean and grit. Keep the drive below 12 o’clock for cleanboost but with active treble and bass controls, or push the gain for clear/clean sustain with great note definition.
The fuzz side is tuned to match the tonality of the boost side and offers a load of sustain and harmonics. The fuzz features a unique two-pole filter circuit and deep switch to help match it with single coils or humbuckers.
Stacking the Boost and Fuzz gives you even more. Want to explore your inner David Gilmour? Switch both onand turn up the volume! Want to switch to Little Wing? Turn the volume back down.
- Combination Boost and Fuzz pedal, designed to work well together.
- Very responsive to guitar volume and player’s touch.
- Use Boost and Fuzz independently, or stack them.
- Boost features Treble, Bass, Volume, and Drive controls.
- Fuzz features a two pole Tone filter, Deep switch, Fuzz and Volume controls.
- Stack them to create endless sustain and plenty of harmonics.
- Wide form factor for better footswitch control live.
- Full bypass using relays, with Mayfly’s Failsafe circuitry.
- Suggested Pairing: add a dash of Le Habanaro to spice up a MayFly Sunrise guitar amp simulator!
MAP price: $185
For more information, please visit mayflyaudio.com.
Introducing: the Mayfly Le Habanero!! - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Darkglass introduces the Luminal Booster Ultra for bass guitar, combining the Harmonic Booster with adjustable frequency range parallel compression, 6-band EQ, gain reduction meter, and 7 custom Impulse Responses. With versatile controls, including a +/- 20dB BOOST and CHARACTER selection, this pedal offers precision and unmatched tonal control for bass players.
Darkglass introduces the Luminal Booster Ultra for bass guitar. The Luminal Booster Ultra combines the rich tone of Darkglass’ Harmonic Booster with the unmatched control of an adjustable frequency range parallel compression, 6-band EQ, gain reduction meter, and the choice to load seven custom Impulse Responses via USB.
The layout of the pedal is straight forward. Across the top, from left to right, is an adjustable lowpass FILTER knob for the compressed signal, a COMP knob to adjust the amount of compression applied, a BLEND knob to blend between the clean and compressed signal, and LEVEL knob to adjust the level of the compressor after the blend control. Added controls include a +/- 20dB BOOST, a CHARACTER control to allow selection between seven Impulse Responses, a MID GAIN +/- 20dB, and MID FREQUENCY from 250Hz to 2.5kHz.
The 6-band EQ uses faders for precision control. The bass Low shelf is +/- 13dB at 80Hz, the mid bands are +/- 13dB at 250Hz, 500Hz, 1.5kHz, and 3kHz. The treble is a high shelf of +/- 13dB at 5 kHz. The EQ is flanked by a MASTER fader of +/- 12dB to set the overall volume of the unit.
Input and outputs provide a player with maximum versatility. Traditional ¼” input and outputs are complimented by and 3.5mm AUX IN for practicing with backing tracks via a smartphone or laptop, a stereo headphone out, a balanced XLR direct out, USB C to connect to PC/Mac to utilizing the desktop version of the Darkglass Suite of available Impulses Responses or custom / third party impulses, and a 9V DC adapter input. A ground lift and Cab Sim round out the feature of the unit.
"This marks our entry into new sonic territories, in our search to connect with jazz and clean-tone bass players on a deeper level,” says Marcos Barilatti, Managing Director of Darkglass Electronics. “With the Luminal Booster Ultra, we've created the ultimate tool for bass players across all genres, delivering precision, versatility, and unmatched tonal control.”
Street Price is $499
For more information, please visit darkglass.com.
Focusrite announces the expansion of the Scarlett audio interface range with the 4th Gen 16i16, 18i16, and 18i20 models.
Scarlett’s fourth generation introduced several major advances that build on Focusrite’s legacy in professional audio: best-in-class audio specifications, enhanced creative capability, powerful workflow tools, and more. The three new interfaces add more analogue inputs and outputs, front-panel monitor switching and mute control, S/PDIF and ADAT connectivity, additional headphone outputs, and a built-in talkback mic on Scarlett 18i20.
Focusrite Scarlett 4th Gen 16i16, 18i16, and 18i20 now feature:
- Huge 122dB dynamic range, using the flagship RedNet range converters – found in the world’s best studios.
- All-new, remote-controlled preamps with 69dB of gain for studio sound from any mic.
- Pair Focusrite Control 2 for desktop with Focusrite’s new mobile app; enjoy full wireless control over inputs and monitoring mixes, allowing the adjustment of settings without being tethered by cables.
- Re-engineered Air mode with Presence, and all-new Harmonic Drive, adding rich harmonics to recordings by emulating the characteristics of vintage preamps.
- New Auto Gain and Clip Safe modes can handle up to eight microphones at a time, making session setup simple, and ensuring every take is a keeper.
- Brand-new Custom-designed headphone amps for the best playback ever heard from Scarlett.
- Redesigned Dynamic Gain Halos now with output as well as input metering.
- Professional studio features included: A/B speaker switching, built-in talkback mic on 18i20, and more.
- MIDI in /out plus S/PDIF, and ADAT in/out.
- Refreshed Easy Start tool, making it easier than ever to get set up and recording in minutes.
- Includes Ableton Live Lite, Pro Tools Artist 3 months, and FL Studio Producer Edition 6 months.
- Huge bundle of plug-in instruments and effects; including Antares Auto-Tune, Marshall Amp Modelling, synths, keys, drums, EQ, compression, reverb, and more.
Three new Scarlett interfaces
Scarlett 18i20 4th Gen, an update to the flagship 3rd Gen model, is a rack-mountable USB audio interface featuring 18 inputs, including eight advanced fourth-generation Scarlett preamps, and 20 outputs. 18i20 not only has an impressive amount of analogue and digital I/O, but also features additional workflow enhancements that make it a perfect fit for even the most complex project studios: a built-in talkback mic; A/B speaker switching for instant referencing on different monitors; and eight channels of LED bar metering, assignable to inputs or outputs as well as master output metering.
Scarlett 18i16 is a desktop-format USB audio interface with 18 inputs, including four 4th Gen Scarlett preamps and 16 outputs. Ideal for multitrack recording and designed for producers, 18i16 is the industry-leading interface for project studios. It makes an ideal hub to integrate hardware with a DAW, providing enough analogue and digital I/O to connect a huge number of external instruments, processors, and effects. Plus, manage complex routing with ease via the included Focusrite Control 2 software for desktop and mobile devices.
Scarlett 16i16 is a desktop-format USB audio interface which shares the same feature set as 18i16 but is slightly more compact, with 16
Scarlett 4th Gen
A giant leap for the world’s most popular audio interface range, Scarlett’s fourth generation debuted in 2023 with the Solo, 2i2, 4i4, Solo Studio, and 2i2 Studio.
All Scarlett 4th Gen interfaces feature re-engineered audio circuitry and professional-grade converters (taken directly from Focusrite's flagship RedNet interfaces), which deliver up to 122dB dynamic range. With up to 69dB of mic preamp gain on tap, they are designed to get the very best sound from any microphone. Custom-designed headphone amps with independent volume controls drive high-impedance headphones louder and with more clarity than any previous Scarlett.
Scarlett’s 4th Gen mic preamps feature a re-engineered Air mode, based on the sound of legendary Focusrite consoles. Each one now includes a selectable all-analogue Presence mode, and a new DSP-based Harmonic Drive mode for added richness.
The range also introduced two new features designed to ensure artists and producers never miss a perfect take: Auto Gain analyses ten seconds of incoming audio before setting set the perfect level, while Clip Safe automatically readjusts it to prevent clipping. These tools help artists record themselves easily and let experienced engineers quickly set multiple gains in high-pressure environments.
The included Focusrite Control 2 software takes care of setting up routing, levels, monitoring mixes, independent outputs, and routing options. In addition to the desktop application, the iOS and Android Focusrite Control 2 apps enables engineers and performers to adjust monitor mixes and mic preamp gains while away from the computer.
To help users get up and running with Scarlett in record time, Focusrite has developed an Easy Start tool that quickly guides from initial connection to their first recordings.
All Scarletts come with Ableton Live Lite, three months of Pro Tools Artist recording software, and six months of FL Studio Producer Edition. Also included is a curated selection of essential production software from Focusrite, Softube, Native Instruments, Antares, and many more. In addition, there are five free masters from Landr that can be used at any time, plus a two-month subscription to Landr Studio, offering unlimited music distribution on streaming platforms such as Spotify, Apple Music, YouTube Music and TikTok.
These interfaces will be available beginning mid-October 2024 with U.S. pricing as follows:
USD (excluding tax)
Scarlett 18i20: $649.99
Scarlett 18i16: $499.99
Scarlett 16i16: $369.99
For more information, please visit us.focusrite.com.
Focusrite Scarlett 18i16 Fourth Generation USB Audio Interface
Scarlett 18i16 4th GenIn this episode, Nick Millevoi and Jason Shadrick dig deep into the work of Jazzmaster-master Nels Cline—best known for his brain-melting work with Wilco. They get into what makes Cline’s sound so unmistakable, from his obsession with the Jazzmaster to his pedalboard that could double as a small spaceship, as well as his ability to draw from an extremely wide range of influences.
But Nels Cline isn’t just Wilco’s lead guitarist (a chair he’s held for two decades)—he’s created his own musical universe. The hosts take you on a whirlwind tour of his wild discography, including the Nels Cline Singers’ Instrumentals as well as his never-ending list of collaborations (we’re starting to suspect he’s cloned himself to pull it all off). And then there’s “Impossible Germany”—one of the greatest rock guitar solos on this century.
Nick and Jason can’t stop raving about how Cline’s magic really shines when he’s playing with others, making him not just a guitar hero but the ultimate team player. One minute, he’s shredding like a beast, next he’s creating sonic explosions, and then he’s pulling on your heartstrings. You’ll be leaving this episode with some homework!