WHAT DID YOU CALL ME?
When I received a copy of The Complete Idiot’s Guide to Guitar Exercises by Hemme Luttjeboer, I wasn’t sure how to take it. Cracking the 263-page tome (plus CD), however, revealed a super-cool collection of thought-provoking chops and theory builders, including the choice pattern here. This clever bunch of groupings gave me an instant case of “Why didn’t I think of that?” and is just plain fun to play. To quote Repo Man, this book’ll change your life.
BACKWARDS LOOPING BONANZA
GP contributor Vinnie DeMasi submitted this trippy mobius strip of a lick. “The repeated A11 to A7(11) arpeggio of Ex. 1,” he says, “is a part I created for Lloyd Gold’s (aka Lloyd United) track ‘Your Modern Life.’ Since the song deals with people being overwhelmed by technology, I decided to reinforce that idea musically during the fade out by gradually mixing in a backwards guitar playing the same figure as the regular part until it completely overwhelmed the first part.
To do this, I selected the Loop Sampler function from a Line 6 DL4 Delay Modeler and played Ex. 2—an exact retrograde of Ex. 1—into it. (If you play Ex. 2 starting from the last note and go backwards, you’ll see it’s a complete reversal of Ex.1).
Then it was just a matter of stepping on the Loop Sampler’s “Reverse” button and voila—Ex. 3, an exact replica of Ex. 1, only played completely with backwards guitar sounds!”
Jeff Zampillo sent in this quickie. “This lick has valuable applications for guitar players in composition, improvisation, and further development of right-hand picking technique,” he explains.
“The use of wide intervals has been employed by composers and guitarists alike to create tension in music. Examples can be heard in the recordings of Schoenberg, Mompou, guitarists Pat Martino, Robert Fripp, and Omar Rodriguez Lopez. Applying this concept will create ambiguity and prolonged anticipation for the listener.
In turn, the overall effect will be a consistent fluctuation of tension and release on a large and small scale.”