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ACOUSTIC ISSUE 52 APRIL 2011

30TOMMY
EMMANUEL The Australian virtuoso has
audiences spellbound with his
incredible mastery of the guitar,
but as he tells Andy Hughes,
there’s a lot of hard graft involved.

23 Sean RETUNE
Taylor YOUR EARS
Since we last

36 Jake spoke to Sean 20 Listen to


his career has
something new
Morley skyrocketed. We
find out why.
The New Zealander’s
debut album sees his
playing take a back seat
to quality songwriting.

43 Ray
Burley 40 Hot Club 27 Pura Fe
On his new
project Four
Parts Guitar.
of Cowtown A wide range of cultural
influences blend to make Pura
Whit Smith makes sure the Fé’s music truly enthralling …
swing is the thing in this hot David Mead tunes in.
jazz trio.

THE WORKSHOP
78 JC Guitars
Situated in beautiful Bordeaux, JC Guitars are causing quite a stir
with their many innovations. Russell Welton reports in.

06 ACOUSTIC MAGAZINE APRIL 2011

Contents 52_BC.indd 6 09/03/2011 10:56


Guitar Techniques NEW Gear Reviews
CHECK OUT OUR HUGE Acoustic keeps you up
TECHNIQUES SECTION! to date with whats hot
and whats not in our
With 10 pages of different level specific tech-
niques, whether you’re a novice or an expert our gear reviews section.
columns have something for everyone.
48 Klepper Dovetail Madness
Acoustic Techniques
This guitar wouldn’t look out of place in a modern
Biography
Raymond Burley is an
Sight Techniques art gallery, and neither would its price tag. Richard
Reading
accomplished classical Skill Level

Thomas goes crazy with some Dovetail Madness.


guitarist, composer and This is suitable
arranger. One of his most
for intermediate
recent projects was the album
Double Vision - a collection
of Giltrap pieces arranged for Let Ray help you improve your
sight reading with some note
two guitars.

RAymond finding exercises. Acoustic Techniques


BuRley
Classical Guitarist
Skill Level: Intermediate

deadline to arrive at the next note or other musicians to stop and wait for of them can be found in the lower
Biography
Fingerings
50 Martin OMCPA1
Welcome back to my column. you to catch up. positions of the fingerboard. Chris is not only a
Techniques
and Positions
Following on from the previous chord, but when sight-reading you Obviously, if you are a player of less guitar teacher but also a
may encounter a note or chord that Unlike the piano keyboard, where
article, I’m continuing with the hugely
important topic of sight-reading – you are unable to find in time and the there is a clearly recognisable pattern than intermediate standard it will be
a waste of time and effort learning
composer and producer
having worked on
Skill Level
rhythm will be interrupted while you of white and black notes, the frets on many orchestrations for
Suitable for all
and how best to improve it. the guitar fingerboard all look very the notes in the higher reaches of players
search for it. As a starting point, it’s the fingerboard at this stage. Judge
television and recordings
similar, therefore we need to start
Note Finding crucial that fingerboard knowledge is
by establishing some fingerboard the required range from the notes alike. He has many years of Chris helps you find the most efficient
CHRIS
Classy, understated, and by acoustic guitar standards
secure and confident. experience in performance
A guitar teacher will often stress that,
During the process of sight- landmarks. Many guitars have encountered in the more advanced
and helping others way to play any given piece, with fretting
when sight-reading, maintaining the pieces in your repertoire. It’s essential
rhythm of a piece of music is much reading it can be very tempting to position dots on the upper edge of
the fingerboard; if your guitar does
GIBBONS
that notes are identified by their letter
develop their playing
potential to
hand positions.
more important than playing all the go back and correct an error that has Composer
names rather than just fret positions
occurred, but by doing this the error not have these you may find it helpful Skill level: Suitable for all their best.
correct notes – this is sound advice. to add a tiny dot of correction fluid or – the reason for this will become

innovative … Could Martin have a ‘category killer’ on


However, if the rhythms are the most is compounded and the pulse is lost; apparent very shortly.
time doesn’t stand still and certainly sticky paper at the 5th or 7th fret as
important aspect of sight-reading, an aid to left-hand accuracy. Find the Es; those up to and
why do I suggest beginning the doesn’t go backwards. If you were One of the
including the 12th fret are shownmain hurdles the guitarist There are no hard-and-fast rules
playing in an orchestra or ensemble Begin by choosing a landmark has to jump is evaluating the most fret so the 1st finger is at the 3rd fret
article with note finding? The answer below: for this because each guitarist fingering and fret numbers; the 1st
it would be unrealistic to expect the note pitch – I suggest E as a number effective left-hand fingering for a and you have a scale of Ab major in finger is always at fret 2, 2nd finger
is simple: the rhythm provides a has a style which favours certain

their hands? Sam Wise finds out.


piece of music. Unlike a pianist, where finger the 3rd position, one fret or semitone always at fret 3 etc.
combinations, but there are higher than G
each key represents a note and is certain precepts which provide an
immovable, for the guitarist playing ergonomic basis for any performance. The The third option is a special case.
C above middle C it can be found in open position uses open strings Here we are using extended fingering
Example 1 three different locations: and thus cannot be shifted in this where the left hand is spanning up to
This first article in a series of six will manner, and a new fingering must
thinking time. Continue by playing another note: it could be F sharp or look at the issues of when to play ‘in then be learnt for Ab major in the
five frets as opposed to four, as in the
Example 1: Don’t move on until you the deadline for arrival at the next 1st fret,
perhaps G. Initially, the 2ndto
closer string
your position’ and when to deviate. ‘one finger per fret’ rule. This is ideal
note. Think now where a further E each note twice and then just once. 5th fret, better. open position.
are able to locate these notes quickly You can, of course, stretch yourself original landmark note the3rd string if, for example, you wish to play the
and accurately. is located, and so on. If at any time 10th fret, 4th string
Avoid taking on too many different So let’s look at first principles … notes very rapidly in groups of three
you have trouble finding a new E, go further by setting a quicker tempo. 15th fret, 5th as the So let’s look at some options for the
Set a metronome to crotchet Once Es are completely secure, pitches in a short space of timestring ‘Playing in position’ refers to placing scale of G major in Ex 1.
using hammer-ons on the way up or
(quarter note) = 60, ie one beat per back to a note played earlier. Try to notes will quickly become confused the left hand so that the 1st finger pull-offs on the way down, with an
avoid playing the notes in the same repeat the procedure using the note Logically, the decision of where to extra stretch between the 3rd and
second. Repeat the open 1st string E F. If you know where each E is found, and little will be achieved. is located at a particular fret; thus, in The first fingering option is using
sequence each time. play is determined by the range of the 2nd position the 1st finger covers 4th fingers on the 6th and 5th strings
exactly in time with the metronome, F will be one fret (or one semitone) open strings; here the left-hand
When the process is secure and the melody – the left hand is located

56 Boulder Creek ECRM6-N


(see Ex 2).
and while you are doing this think higher. As there are no open Fs, where it can reach the bulk of the
all the notes at the 2nd fret, the 2nd finger is the same as the fret on the
where another E is found. Without accurate, continue the exercise by finger covers the 3rd fret, 3rd finger
repeating each E just four times before left-hand position shifting will be a notes required and then extend into the 4th, and so on. Because no open
tab: 3rd fret = 3rd finger etc.
interrupting the rhythm, switch to the little trickier. Continue by choosing higher or lower registers via a series
new note. The metronome provides moving, thus giving yourself less strings are involved, the fingering The second option is utilising the
of shifts. pattern is movable, so shift up one 2nd position. Look at the left-hand

and S2-V
G major scale

This dynamic duo boasts a totally original take on


the acoustic guitar’s traditional bracing system. Top
114 acoustic magazine march 2011

Ray Burley.indd 110


02/02/2011 11:18
sleuth David Mead is on the case …

110 acoustic magazine march


2011

Chris Gibbons.indd 104

02/02/2011 11:15
60 LAG Tramontane TD100DCE
A French-designed dreadnought with enough oo la
100 Duck Baker 106 David Price la to charm the socks off even the humblest plucker.
Let Duck help you get a Carrying on with hammer ons, David Mead goes cheek to chic …
handle on one of his favourite David helps you get a country
songs. feel to you playing.
64 Gretsch G6040MCSS
104 Lin Flanagan 108 Doyle Dykes Synchromatic
Was jazz really banned in Writing a song with a theme. With more bling than a bucketful of hip hop stars,
occupied France? Lin explodes and a magnetic pickup to boot, whatever can the
another myth. Synchromatic want from us? Sam Wise finds out.
110 Ray Gamble
Strauss’ classic Die Fledermaus
102 David Mead for ukulele. 68 Schertler DYNG Set
David takes you further into Mountable on the exterior of an instrument, and
the mysteries of DADGAD easily removed and setup on another guitar, could
this be the pickup to solve your gigging needs?

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70 NAMM Report
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84Hand Care Part 2


Katherine Butler takes you further into the world of
injury prevention.

90 BBC Radio 2 Folk Awards


1 2
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