Theory: Beginner
Lesson Overview:
• Create melodies using natural harmonics.
• Explore the nuances of open Em7 tuning (E–G–D–G–B–E).
• Develop a jazz-waltz feel.
Click here to download PDF notation and an audio MP3 of this arrangement.
The vamp that first appears over the first four measures is played entirely with harmonics at the 7th and 12th frets. The purpose of the vamp is to set up the feel of the arrangement and to help divide the A and B sections. I play the 7th-fret harmonics with my first finger. The 12th-fret harmonics I play with my second finger. I seem to be able to get a bigger tone and less buzz by using my second finger. Use what works best for you. I’m lightly touching the strings, but not lifting my finger while I play the harmonics.
The A section is also played almost entirely with harmonics. In order to bring out the melody, play with confidence and pluck the melody notes slightly harder than the other strings. In measures 12 and 14, we combine both harmonics and fretted notes. In order to make the notes sound more uniform, you can play the natural notes on the top of the fret so that you’re slightly muting the note with your fingertip. It’s a little tricky, but fun to try. I’ve left quite a bit of space in the A section for the harmonics to ring, so you really need to internalize the groove to make it swing.
The B section has a little emotional lift—like you’ve crossed a tightrope and made it to the other side. You may need to hold back the volume a little to help match the A section. I play a hammer-on and pull-off triplet with my pinky in measures 19 and 27 that helps to push the song forward. In measure 30 (the last measure of the B section), the move up the neck is designed to get you back into position for the vamp at the end.
Bret BoyerBased in Austin, Texas, Bret Boyer has been an active teacher and performer for more than 20 years. He has been a faculty member at several colleges and for the National Guitar Workshop. His most recent recordings include Songs for Everyone and Hidden Constellation. bretboyer.com
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Diamond Pedals Dark Cloud
True to the Diamond design ethos of our dBBD’s hybrid analog architecture, Dark Cloud unlocks a new frontier in delay technology which was once deemed unobtainable by standard BBD circuit.
Powered by an embedded system, the Dark Cloud seamlessly blends input and output signals, crafting Tape, Harmonic, and Reverse delays with the organic warmth of analog companding and the meticulous precision of digital control.
Where analog warmth meets digital precision, the Dark Cloud redefines delay effects to create a pedal like no other
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
