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Archive for the ‘Guitar’ Category

The guitar and the vihuela were carried to the New World by the Spaniards  and the Portuguese, and a host of new forms and rhythm patterns developed. In this chapter, we try playing some of these forms, and practice shaping the rhythms with accented upbeats and damping. We play the tango, the rumba, and the beguine, and then learn some typical chords to practice the bossa nova. Finally we learn a solo, a popular dance form from Peru known as carnavalitos.

The quarter note chords have been marked with a staccato sign marked in the first measure, indicated by the dots below the notes. This means that the chords should be cut off by damping, in this case with the left hand little finger, to give them the dramatic effect typical of this form.

This does not apply to the upbeat eighth note chords which, by contrast, should last their full value, giving a tar-rump effect. The staccato on the single notes shortens the time they are held, but each note starts on its beat as written, i.e, the overall tempo is not changed. The notes simply have a clipped sound.

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Most guitarists learn to strum without thinking about what they’re actually doing. A strummed guitar fulfills two functions: one is rhythmic, the other harmonic. The harmonic function is to supply a “wash” of sound relating to a chord, the equivalent of holding a chord on a keyboard. But because the guitar does not have much sustain, the notes will die unless they are struck again. Repeated striking sustains the presence of the chord. The relationship between strumming technique and sustain can be vividly heard on the mandolin, where rapid strumming is required to keep the notes “present”. Violinists solve this problem when they draw a bow across the string, continually exciting it to vibrate.

The rhythmic function has two components: the rhythm with which the chords are produced and the percussive attack (usually produced by a pick) on the guitar strings. Both aspects are important for solo performers accompanying themselves on the guitar. Guitarists working with a rhythm section or recording with a variety of instruments need to realize, though, that they no longer have to carry the whole of the rhythm with their strumming.

Good strumming patterns balance tempo against sustain. At a slow tempo, you hit the strings more frequently because the chords die away. At faster tempos, you might not need to hit them so often, unless like Jimmy Nolan or Nile Rodgers your guitar part is at least as significant for its percussive effect as for its harmonic effect.