Monthly Archives: August, 2009

Andres Segovia & modern classical guitar

August 31, 2009 — Leave a Comment

For today’s post we’re going to take a quick look at the classical guitar and a few key players thereof. If you’re interested in taking a a quick tour through the guitar’s history then a shortlist of great players might have to include the following:

Gaspar Sanz (1640-1710), Fernando Sor (1778-1839), Mauro Giuliani (1781-1829), Francisco Tárrega (1852-1909), Andrés Segovia (1893-1987), and John Williams (1941) and Julian Bream.

During the Golden Age of Flamenco, between around 1869–1910 guitar players supporting flamenco dancers had gained an increasing  reputation and flamenco guitar as an art form was born. By the beginning of the Twentieth Century however the status of the classical guitar was in decline, and only in Barcelona and in the Rio de la Plata region of South America could it have been said to be of any significance.

The classical guitar is a plucked string instrument from the family of instruments called chordophones. The modern classical or Spanish guitar typically has 6 nylon strings (the 3 bass-strings additionally being wound with a thin metal thread). The basic characteristics of the shape of the modern classical guitar were established by the nineteenth century Spanish luthier Antonio Torres Jurado.

When Andres Segovia arrived on the scene, this situation was just beginning to change, and it was in this changing milieu that Segovia, whose artistry coupled with new technological advances in recording, radio, and air travel, succeeded in moving the guitar forward to become more popular again. Segovia said that he began playing the guitar at the age of six but it is important to note that Segovia did not play flamenco guitar and his personal mission was to elevate the guitar to an instrument capable of expressive art-music. Segovia delineated a new style utilising both fingernails and fingertips which, although frowned upon by the students of the great flamenco player Francisco Tarrega, made it possible to create a wider range of timbres.  Both Segovia and Tarrega transcribed works by the great composers (for example Bach, Mendelssohn and Beethoven) for the guitar.

Well, That`s all folks,
Cheers…

Jake Edwards

Posted in classical, music | Tagged ,

John Martyn – fuzz box folk

August 30, 2009 — 2 Comments

Today we`re going to have a look at English guitarist and musician John Martyn – an electrifying guitarist and singer whose music blurred the boundaries between folk, jazz, rock and blues:

His first album London Conversation remained more strictly folk oriented in terms of genre but what made Martyn particularly unique was his guitar set up whereby he ran his acoustic guitar through a fuzzbox, a phase-shifter, and an Echoplex which he used to produce more progressive rock styled guitar motifs within the broader contexts of the folk-jazz idiom. This approach begins to be heard on his second album Solid Air is reinforced on Storm Bringer and also on his more atmospheric, reggae infused One World album.

It`s definitely worth illuminating Martyn’s individual approach to his effects and equipment as a key factor in defining a highly individual sound and approach within folk music.

If you like John`s layered, fractal and atmospheric sound maybe consider having a look at the ROLAND SPACE ECHO PEDAL in combination with some classic fuzz boxes from Electro Harmonix John Martyn fuzz box folk

Well, That`s all folks,
Cheers…

Jake Edwards

Posted in folk, music | Tagged ,

OpenD tuning

August 28, 2009 — 3 Comments

8468009097 150x150 OpenD tuning

…the Open D tuning.

Its a really versatile tuning. If you `re wondering just what an an open tuning is, it`s a tuning which means that the strings produce a chord when played open or unfretted and today I`m going to focus upon the open D guitar tuning.

Its an open chord tuning which when strummed produces a D major chord:

(bass)
6D
5A
4D
3F♯
2A
1D
(treble)

The open string notes in this tuning are: D A D F♯ A D. It uses the three notes that form the triad of a D major chord: D, the root note; A, the perfect fifth; and F♯, the major third. The six guitar strings, from lowest pitch to highest, should be tuned as follows: D A D F♯ A D.

When the guitar is strummed without fretting any of the strings a D major chord is sounded. This means that any major chord can be easily created using one finger, fretting all the strings at once (also known as barring); for example, fretting all the strings at the second fret will produce an E major, at the third fret an F major, and so on up the neck.

Open D tuning is very popular with slide guitar (or ‘bottleneck’) players, as it allows them to play complete chords using the slide. This tuning is also used for regular (non-slide) guitar playing.

1. Strike your D string, and then loosen your E string until you are sounding the same note, one octave lower.

2. Leave your A string exactly as it is and your Dstring also it’s the toni, first or root note.

3. Strike the note on the fourth fret of your D string, and loosen your G string until the notes are exactly the same – an F#

4. Next, strike the A STRING and loosen your B string until the notes are exactly alike.

5. Finally, strike your fourth string, and loosen your first string until both tones are alike, but an octave apart.

It’s rich and spacious harp-like tuning that allows a different complete major chord to be produced simply by barring each fret all the way up the neck

For example here at the 2nd fret the product is an E major,
And here at the third is an F major.

Well, That`s all folks,
Cheers…

Jake Edwards

Posted in learning | Tagged ,

Ovation iDEA

August 27, 2009 — 1 Comment

SO you’ve mastered a few chord progressions and you’re looking to play a few lead lines from the JAMORAMA lead course too. Now, unless you’re about 300 years old you probably don’t own a cassette recorder or even really know what a cassette tape looks like – “I mean music comes out of thin air these days doesn’t it?”   – just like it used to when the internet was in black and white right?

If you’re laying those chords down on cassette right now, then skip this post, ’cause you’re probably still busy playing PAC MAN, buying hair gel and listening to Huey Lewis and the News.

Just HOW are you going to master the idiosyncracies  of the modes in relation to all those far out jazz chords you’ve been inventing of late? Well, it`s easy in a digital world and Ovation have had the bright iDEA of building a digital MP3 recorder straight into their new iDEA guitar – FRESH!

quickstart 300x172 Ovation iDEA
A digital recorder is part of the on-board Ovation preamp as well as an inbuilt microphone. A simple and direct recording control makes it easy to record entire songs, riffs, fragments, vocals and commentary. The iDea is also a learning tool, with audio lessons pre-installed in the memory.

The Idea also connects via USB to your computer so you can edit, rearrange, move, rename right on your desktop. Mixes from recording software, rhythm tracks, even songs can be played back through the headphones or the guitar itself.

What makes this guitar so invaluable as a learning tool is probably the fact that the recording ability allows the player to self accompany and therefore to focus upon building an innate understanding of how a guitar actually works in terms  of scales, chords and their interrelationships.

If you were learning the JAMORAMA LEAD course this machine would really help you in understanding how the CAGED system works and prove ultimately beneficial in unlocking some of the musical mysteries of the guitar’s neck. Simply being able to record chord sequences and then play back over the top of them anywhere and at anytime means your practice could reach a whole new level of focus and put you on the fast track to becoming a more competent guitarist.

Well, That`s all folks,
Cheers…

Jake Edwards

Posted in gear, learning, recording | Tagged , , , , ,

Acoustic amplifiers 1

August 26, 2009 — Leave a Comment

I know that a lot of you out there are acoustic guitar players and there is definitely a growing market of affordable, portable acoustic amplifiers available for those of you without a wheelbarrow of cash sitting rotting in the rain at your back door.

SWR Strawberry Blonde.

SWR’s Strawberry Blonde acoustic instrument amplifier has always been much more than the California Blonde’s “little sister”! The Strawberry Blonde is the amplifier of choice for acoustic players seeking a clean, true, full-range amplifier for their guitars, mandolins, violins, violas, cellos, autoharps, bouzoukis, lutes, dulcimers, banhus—anything acoustic that needs to be louder. The new Strawberry Blonde II stays faithful to the popular features and tone of the original while adding some new updated features: a tuning mute switch, a ¼” balanced input and an upgraded power amp for more headroom and efficiency.

This is a hardcore and rugged acoustic amp more suited to band situations for those who prefer a single pickup approach to acoustic playing rather than those who enjoy using microphones.

Fender Acoustasonic 2

Fender’s new Acoustasonic SFX II amplifier is the perfect “all-in-one” instrument/vocal amp for clubs, churches, the coffeehouse, or simply losing yourself in shimmering stereo sound in the privacy of your own home!

This dual 80-watt combo houses an 8” low-frequency driver, high-frequency tweeter and side-radiating 6” speaker to maximize our exclusive Stereo Field Expansion (SFX) technology for whole-room, more-than-stereo imagery.

Two separate instrument and microphone channels have individual EQ, feedback notch, and DSP select and level controls. Our patented String Dynamics™ control tames harsh treble notes. DSP effects include reverb, delay, chorus, vibratone and more, all optimized especially for acoustic performers. XLR line-out with level control and ground lift allows perfect direct input to any mixer, and auxiliary RCA inputs with level control make it easy to add a drum machine or CD player accompaniment.

Its a heavy unit so get yourself a roadie with your spare cash – Richie Blackmore is using one of these.

Peavey

The Ecoustic 110 EFX has been designed to get the most out of electrical instruments that have delicate tonal ranges and special nuances that may not be heard through standard amps. Whether you play acoustic guitar, violin, or harmonica, this amp is the answer for those hard-to-EQ acoustic instruments. It also works great for vocals. The Ecoustic uses special buffers, EQ and feedback controls to capture the true essence of acoustic sound.

L R  Baggs

Baggs are reknowned for their acoustic guitar pickups so their entry into the amp marketplace should come as no surprise. Chris Martin of Coldplay uses an M1 pickup.

If you`ve got money then have alook at the LR Baggs Acoustic Reference Amplifier, a product of three years’ intensive development, blends cutting edge loudspeaker design, analog and digital circuit technology and industrial design to redefine the way that acoustic guitar and vocals should be amplified.

At the heart of the amplifier is a patented Balanced Mode Radiator. The BMR is a new type of loudspeaker that has its world debut in the Acoustic Reference Amplifier. It creates and radiates sound in a fundamentally different and better way. This groundbreaking innovation is the brainchild of the eminent speaker designer Dr. Graham Bank and was specifically adapted for acoustic guitar in collaboration with our engineers.

Well, That`s all folks,
Cheers…

Jake Edwards

Posted in amplifiers / pickups, gear
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