
It’s all about subtle but powerful choices.
Intermediate
Intermediate
- Learn about appoggiaturas.
- Develop ways to highlighting dissonance.
- Transform your playing with pitch-led dynamics.
We’ll be looking at the first eight measures. The Sarabande is a slow piece in triple meter. A metronome set between 40-50 bpm could help in feeling the space in between the notes but playing metronomically correct is not the point. It’s all about looking for elements of interpretation in the notation, relying on your ears, and allowing the internal energy of the music to guide you.
Jason Vieaux performs the Sarabande from Bach's Lute Suite BWV 995. This video was recorded live on March 9, 2008
In Ex. 1, you can hear me play the first eight measures in order to simply hear the character of the music and to get it under your fingers. At this stage on the electric guitar, I’ll make sure the notes are not ringing into each other. To do this, I dampen open-string notes with my fretting hand and quickly lift my fingers off of fretted notes to avoid sustaining them. Don’t worry, we will revisit the sustaining quality of the electric guitar as we make more personal choices with the interpretation later.
Now that we have the basics of the piece in our hands, let’s dig into the harmony (Ex. 2). On first look we have Am in the first measure, Dm in the second measure, Bdim in the third measure, and Am in the fourth measure. But there’s a harmonic twist on beat 3 of the first three measures. Each of these bass notes could suggest a different way to interpret the harmony.
For example, in measure 1, the F on beat three could suggest an Fmaj7 chord. However, the function of the bass note on beat 3 foreshadows the harmony of the next measure. Meaning, the F is suggesting that we’re moving to the D minor tonality. Imagine there’s no barline that separates the measures. Think of the music being written as a conversation between measures. Understanding these small details of the music will inform your interpretation.
Now, let’s talk appoggiaturas. An appoggiatura is a musical ornament. It’s technically defined as a dissonant note that is outside of the outlined harmony and is resolved into a consonant note by half-step or whole-step. For example, the dissonant G# in measure 1 resolves to the note A (Ex. 3).
An appoggiatura is executed with a slur, also known as a hammer-on. Try this on the G# to the A in measure 1. Now continue slurring the appoggiaturas in the rest of the example. Take a listen to how I emphasize the starting dissonant note of each appoggiatura by stretching it a little longer than the written value, I then resolve softly into the next note with a slur. In Baroque music, this is common practice: highlighting dissonance and resolving consonances softly. This gives the appoggiatura a sighing quality, like the human voice.
The next aspect we will discuss is pitch-led dynamics, meaning when there’s an ascending melodic line you rise the dynamic and when there’s a descending melodic line you lower the dynamic. In Bach’s music there are no dynamic markings, so much of your interpretation is dependent on your understanding of the melodic line.
Look at the notes on beat 1 of the first three measures in Ex. 4. Can you see the climb to the high B? Listen to how I gradually build the dynamics so that it peaks in measure 3 and I then proceed to lower the dynamic in measure 4. It’s the subtlety in dynamics that brings out the music.
Moving onto the next section, the first two harmonies are F major and G major (Ex. 5). In measure 7 Bach touches on three different tonal centers: C, F, and G. Then, there is a final resolution to a C bass note. Follow the dynamics implied by the descending shape of the melodic line by allowing the dynamics to diminish.
Now let’s work on the appoggiaturas in this section. In measures 5 and 6 there are descending appoggiaturas. Descending appoggiaturas are executed with a pull-off. Remember to highlight the dissonance and resolve the consonance softly. In measure 7 there’s both a descending appoggiatura on beat 1 and an ascending appoggiatura on beat 2. Take time to refine the appoggiaturas in this section of the piece (Ex. 6).
Play down this section again with your new understanding of the harmony, appoggiaturas, and pitch-led dynamics (Ex. 7). Are you starting to feel your own unique interpretation developing by applying these techniques? Remember, every player and every interpretation is unique. That is the beauty of playing this music.
Now, let’s consider the character of the electric guitar. The electric guitar tends to produce lots of sustain, so I often choose to let notes ring a little longer and into each other, which gives a more impressionistic quality to the music.
We can also add to the fun by using a reverb effect with a hall setting, which helps in recreating a cathedral-like space found in many Baroque lute recordings (Ex. 8). By setting the decay time on the reverb to around 2.5 seconds, the notes ring out even further creating interesting harmonic colors.
In measure 1, listen to how I let the very first note ring, and I hold on to the A note right before the F bass note on beat 3. This gives the effect of turning the measure into the Fmaj7 chord that I referred to earlier. While uncharacteristic of Baroque music, this brings out the sustain of the electric guitar and creates new harmonic pathways.
Listen to how I also let the last B note in measure 7 ring through into measure 8. This implies a Cmaj7 tonality. While a bit dissonant, I find it makes for an exciting resolution.
Bach’s music can be intimidating. But we can make this music personal by applying some simple Baroque performance practices. When we add the electric guitar’s sustain and some reverb to the creative mix, we can take Bach’s music into the present and create our own unique interpretations.
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Need more firepower? Here’s a collection of high-powered stomps that pack plenty of torque.
There’s a visceral feeling that goes along with really cranking the gain. Whether you’re using a clean amp or an already dirty setup, adding more gain can inspire you to play in an entirely different way. Below are a handful of pedals that can take you from classic crunch to death metal doom—and beyond.
Universal Audio UAFX Anti 1992 High Gain Amp Pedal
Early 1990s metal tones were iconic. The Anti 1992 offers that unique mix of overdrive and distortion in a feature-packed pedal. You get a 3-band EQ, noise gate, multiple cab and speaker combos, presets, and full control through the mobile app.
Revv G4 Red Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
Based upon the red channel of the company’s Generator 120, this finely tuned circuit offers gain variation with its 3-position aggression switch.
MXR Yngwie Malmsteen Overdrive Pedal - Red
The Viking king of shred guitar has distilled his high-octane tone into a simple, two-knob overdrive. Designed for going into an already dirty amp, this stomp offers clarity, harmonics, and more.
Empress Effects Heavy Menace Distortion Pedal
Arguably the company’s most versatile dirt box, this iteration is all about EQ. It’s loaded with an immensely powerful 3-band EQ with a sweepable mid control, footswitchable noise gate, a low-end sculpting control, and three different distortion modes.
JHS Hard Drive Distortion Pedal - Tan
Designed by late JHS R&D engineer Cliff Smith, the Hard Drive is a powerful and heavy ode to the post-grunge sounds of the late ’90s and early ’00s. This original circuit takes inspiration from many places by including cascading gain stages and Baxandall bass and treble controls.
Boss HM-2W Waza Craft Heavy Metal Distortion Pedal
Few pedals captured the sound of Swedish death metal like the HM-2. The go-to setting is simple—all knobs maxed out. Flip over to the custom mode for more tonal range, higher gain, and thicker low end.
Electro-Harmonix Nano Metal Muff Distortion Pedal
Voiced with an aggressive, heavy tone with a tight low end, this pedal offers +/- 14 dB of bass, a powerful noise gate, and an LED to let you know when the gate is on.
Soldano Super Lead Overdrive Plus Pedal
Aimed to capture the sound of Mike Soldano’s flagship tube amp, the SLO uses the same cascading gain stages as the 100-watt head. It also has a side-mounted deep switch to add low-end punch.
Featuring vintage tremolos, modern slicer effects, and stereo auto-panners, the update includes clever Rate and Tempo controls for seamless syncing and morphing.
Today Kemper announces the immediate availability PROFILER OS 12.0 including the highly anticipated collection of advanced Tremolo and Slicer FX for the entire range of KEMPER PROFILER guitar amps.
The Collection features three vintage tremolos, two modern slicer effects, and two stereo auto-panners, that have been derived from the slicer effects. They all feature a clever Rate and Tempo control system, that allows for syncing the tremolo to the song tempo, retriggering the timing by simply hitting the TAP switch, and changing or morphing the tremolo rate to different note values,
The new Advanced Tremolo Modules in Detail
- The Tube Bias Tremolo is the familiar Tremolo in the Kemper Profilers. Formally named "Tremolo“ and available in the PROFILERs since day one, it is a reproduction of the famous Fender Amp tremolos from the 50‘s. Placed in front of the amp it beautifully interacts with the amp distortion.
- The Photocell Tremolo dates back to the 60‘s and features a steeper pulse slope, and its width varies with the intensity.
- The Harmonic Tremolo also dates back to the 60‘s and was introduced by Fender. The low and high frequencies alternate with the tremolo rate.
- The Pulse Slicer is a modern slizer or stutter effect that will continuously transition from the smoothest sine wave to the sharpest square wave, using the "Edge“ parameter. The "Skew“ parameter changes the timing of the high level versus the low level, sometimes also called pulse width or duty cycle.
- The Saw Slicer creates a ramp like a saw wave. The saw wave has a falling ramp when "Edge“ is at full position, and a rising edge at zero position. Towards the middle position a rising and falling ramp are forming a triangle wave. The „Skew“ parameter changes the slope of the rising and falling ramp from a linear trajectory to a more convex or concave shape.
- The Pulse Autopanner and the Saw Autopanner are derivates from their respective Slicers, they spread their signals in the stereo panorama. The "Stereo“-control parameter is included in many effects of the PROFILER. Here, it introduces a novel "super-stereo" effect that lets the Autopanner send the signal well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. When you move the “Stereo” soft knob beyond the +/-100% setting, the super-stereo effect comes into place, reaching its maximum impact at +/-200%.
- A single press on the TAP button at the beginning of the bar will bring the rhythmic modulation effects, such as Tremolo or Slicer, back into sync with the music without changing the tempo. The sync will happen smoothly and almost unnoticeable, which is a unique feature. Of course, tapping the tempo is possible as well.
- Modulation Rate - The “Rate” control available in many modulation effects is based on a special philosophy that allows continuous control over the speed of the modulation and continuous Morphing, even when linked to the current tempo via the To Tempo option. The fine Rate resolution shines when seamlessly morphing from, e.g., 1/8 notes to 1/16 notes or triplets without a glitch and without losing the timing of the music.
PG's demo master quickly (and easily) drops in an H-S-S setup into his 1994 40th Anniversary Stratocaster that needed help. Find out what happens when gets his first taste of active pickups.
EMG SL20 Steve Lukather Signature Pre-wired Pickguard with 3 Pickups - Black Pearl
SL20 Steve Lukather Pre-wired PG - Blk PearlBarry Little’s onstage rig.
How you want to sound and what makes you happy are both highly subjective. When it comes to packing and playing gear for shows, let those considerations be your guide.
I was recently corresponding with Barry Little, aPG reader from Indiana, Pennsylvania, about “the One”—that special guitar that lets us play, and even feel, better when it’s in our hands. We got talking about the gear we bring to gigs, and Barry sent me the photo that appears with this column.
“I’m mostly old school and take quite the amp rig, and usually two or three Strats or ‘super strats,’ plus some Teles,” he wrote. “Some are in different tunings.” Barry also has a rack, built with famed guitar-rig designer Bob Bradshaw’s help, that he says holds a Bad Cat preamp bearing serial number one. For his ’70s/’80s rock outfit and his country band, this covers the waterfront.
I love Barry’s rig; it looks awesome! So … why do I feel guilty about the substantial amount of gear I take to gigs where my five-piece band will be playing a concert-length set? Onstage, my setup looks fantastic—at least to me. It’s the gear I’ve always wanted. But packed inside cases and ready to load into the Honda Odyssey with a rooftop carrier that all five of us and our instruments travel in for away dates … it seems excessive. Currently, I take three guitars: my customized reissue Fender Esquire “Dollycaster,” my Zuzu one-off Green Monster, and a Supro Conquistador, plus a 1-string electric diddley bow made from a crawfish-boiling pot. They start every show in open G octave (D–G–D–G–D–G), open D, standard tuning, and A, respectively. There’s also a Sony GLXD6+ wireless, and a pedalboard with 13 effects stomps, a tuner, and two power boxes, along with a Brown Box. That board is the launchpad for the stereo signal that runs into two Carr 1x12 combos: a Vincent and a Telstar. In addition, there’s a big black bag with spare cables, fuses, capos, strings, extension cords, microphones, straps, duct tape, and just about anything else you might need. After all that, miraculously, there is also room for my bandmates–another guitarist, bass, drums, and theremin—and their gear, plus light luggage.
I admit that’s a lot, but it used to be more—at least by the pound. In the late ’90s and early 2000s, I often played through two Marshall 4x12s with a Mesa/Boogie Duel Rectifier Trem-O-Verb on one and a ’72 Marshall Super Lead atop the other. And before that, it was the Marshall with a 4x12 plus a ’66 Fender Twin Reverb. I kept a waist back-support belt in the van, but spent a decent chunk of that era living with regular back pain.
“I admit that’s a lot, but it used to be more—at least by the pound.”
Where am I going with this? Besides a desire for you to absolve me of my guilt, I feel like all of this gear is … um … necessary? It’s the recipe for the sound I want to hear, for the versatility of the material, and for me to play from my happiest place—onstage in the middle of a glorious stereo field of my own making. It’s not really about gear and it’s not about somebody else’s definition of practicality. It’s about joy. Ideally, you should be able to bring whatever gives you joy to a gig. Period.
Sure, naysayers will yap that after a guitar, a cable, and an amp, nothing else is necessary. And on a certain misguided, intolerant level, they are right. We can all play a show with just the basics, but I, for one, don’t want to—unless maybe it’s a solo gig. Neither did Jimi Hendrix. There is a universe of tones out there waiting to be discovered and explored. There are improvisational paths that only a pedalboard can suggest. (Of course, if you’re playing a small stage, traveling in too tight quarters, or claiming turf that impinges on bandmates, those considerations apply. “Be kind” is a good rule of thumb for life, including band life.)
Remember, the naysayers are not in your bones, and onlyyour bones know what you need and want. Don’t let the voices—even in your own head—nag you. (I, too, must take this advice to heart.) Bring whatever you want to bring to gigs, as long as you can get it there. Do it guiltlessly. Have fun. And listen to your bones.