Muutke küpsiste eelistusi

E-raamat: Unorthodox Guitar: A Guide to Alternative Performance Practice

(Instructor in Music Composition and Technology, Northeastern University)
  • Formaat: 320 pages
  • Ilmumisaeg: 01-Feb-2017
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780199381876
  • Formaat - EPUB+DRM
  • Hind: 25,92 €*
  • * hind on lõplik, st. muud allahindlused enam ei rakendu
  • Lisa ostukorvi
  • Lisa soovinimekirja
  • See e-raamat on mõeldud ainult isiklikuks kasutamiseks. E-raamatuid ei saa tagastada.
  • Formaat: 320 pages
  • Ilmumisaeg: 01-Feb-2017
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780199381876

DRM piirangud

  • Kopeerimine (copy/paste):

    ei ole lubatud

  • Printimine:

    ei ole lubatud

  • Kasutamine:

    Digitaalõiguste kaitse (DRM)
    Kirjastus on väljastanud selle e-raamatu krüpteeritud kujul, mis tähendab, et selle lugemiseks peate installeerima spetsiaalse tarkvara. Samuti peate looma endale  Adobe ID Rohkem infot siin. E-raamatut saab lugeda 1 kasutaja ning alla laadida kuni 6'de seadmesse (kõik autoriseeritud sama Adobe ID-ga).

    Vajalik tarkvara
    Mobiilsetes seadmetes (telefon või tahvelarvuti) lugemiseks peate installeerima selle tasuta rakenduse: PocketBook Reader (iOS / Android)

    PC või Mac seadmes lugemiseks peate installima Adobe Digital Editionsi (Seeon tasuta rakendus spetsiaalselt e-raamatute lugemiseks. Seda ei tohi segamini ajada Adober Reader'iga, mis tõenäoliselt on juba teie arvutisse installeeritud )

    Seda e-raamatut ei saa lugeda Amazon Kindle's. 

The Unorthodox Guitar: A Guide to Alternative Performance Practice is a comprehensive resource for experimentally minded guitarists and composers wishing to write for or perform on the instrument in new ways. The book focuses primarily on unconventional approaches to guitar performance, which include alternative tunings, extended techniques, instrumental preparations, electronic augmentations, and issues related to performing and recording with a computer. Embracing all guitar types-nylon, steel-string acoustic, and electric-techniques and examples are culled from a broad range of musical genres, including blues, contemporary classical, country, folk, jazz, rock, and non-Western idioms. While the writing offers a treasure trove of possibilities for experimental improvisation, it is oriented towards formal composition, and to that end details the controllable dimensions of the techniques and preparations at hand, along with strategies that might be adopted to notate them. Conventional guitar amplifiers, effect pedals, and pedalboards are examined, along with a discussion of analog signal chains, rig design, and best practices for the preservation of tone. In addition, possibilities afforded by the addition of a computer to the guitar rig are explored, including signal processing, sensor augmentation, and score following. The writing is paired with a companion website that contains an abundance of audio, video, and software materials to supplement the ideas presented. This information is intended to serve as a guide, reference, and source of inspiration for those wishing to compose and/or perform on the instrument in innovative ways.

Arvustused

"Whether you are a seasoned guitarist or a non-guitarist with an interest in learning more about the sonic possibilities that the guitar presents, Frengel provides valuable and practical information that can be useful in a variety of compositional, performance-related, and educational contexts."--V. J. Manzo, author of MAX/MSP/Jitter for Music, Foundations of Music Technology, and co-author of Interactive Composition and Environmental Sound Artists "The Unorthodox Guitar is like a personal, encyclopedic letter to the guitarist of any skill level, to the composer seeking to articulate the guitar in modern terms, and to any musician desiring a better understanding of how the guitar 'works' in performance and recording environments. Frengel's writing navigates the perfect balance between information and explanation, making this volume a pleasure to both explore and devour."-Janet Feder "This is an extraordinary compendium of creative guitar techniques. Mr. Frengel uses lucid language to vividly and precisely describe countless guitar preparations and performance techniques. He has honored these with detailed attention to the relationships between preparation, technique, musical results, and notation. This is a rich inventory of proven ideas that will stimulate the imagination of guitarists as well as composers who wish to extend the sonic vocabulary of their work."--Nick Didkovsky

Preface ix
Acknowledgments xv
About the Companion Website xvii
1 Instruments and Their Hardware
1(24)
The Acoustic Guitar
1(5)
The Nylon String Acoustic Guitar
1(2)
The Steel String Acoustic Guitar
3(3)
The Electric Guitar
6(2)
Body Styles
7(1)
Specialized Guitars
8(5)
The 12-String Guitar
8(1)
Seven-Stringers and More
9(1)
Resonator Guitars
9(1)
Fretless Guitars
10(1)
The Baritone Guitar
10(1)
The Steel Guitar
11(1)
Modeling Guitars
11(1)
Sustainer Systems
12(1)
Nuts, Headstocks, and Tuners
13(1)
Necks and Fretboards
14(1)
Scale Length
15(1)
Bridges, Saddles, and Tailpieces
15(4)
Acoustic Guitar Bridge Systems
15(1)
Electric Guitar Bridge Systems
16(3)
Pickups
19(6)
Acoustic Guitar Pickups
19(2)
Electric Guitar Pickups
21(4)
2 Contemporary Tuning Practices
25(26)
Standard Tunings
25(1)
Alternative Tunings
25(22)
Non-Standard 12-Tone Equal Tempered Tunings
26(12)
Other Equal Tempered Tunings
38(3)
Just Intonation
41(4)
Dynamic Tuning Systems
45(2)
Notating Music in Alternative Tunings
47(4)
3 Notation Basics
51(10)
Range
51(1)
Strings, Frets, and Fingerings
51(2)
strings
51(2)
Frets
53(1)
Fingerings
53(1)
Tablature
53(2)
Ligado
55(1)
Stroke Direction
55(1)
Strumming and Strum Direction
56(1)
Barre
56(2)
Hinge Barre
57(1)
Cross-Fret Barre
58(1)
Left Hand Thumb over Neck
58(1)
Polyphonic Notation
58(3)
4 Performance Techniques: Attacking the Strings
61(20)
Fingerstyles
61(3)
Pluck Surfaces
62(1)
Alzapua and Rasgueado
62(1)
Clawhammer
63(1)
Plectra
64(13)
Flatpicks
64(1)
Hybrid Picking
64(1)
Fingerpicks and Thumbpicks
65(1)
The EBow
66(4)
String Bows
70(1)
Slides as Plectra
71(3)
Threaded Bows
74(1)
Two-String Dowel Tremolo
75(1)
Mini Hand Fans
75(1)
Percussive Beaters
76(1)
Attack Location
77(4)
Attacking Behind the Nut or Bridge
78(1)
Attacking Back Tones
79(2)
5 Performance Techniques: The Left Hand and More
81(30)
Pitched Materials
81(23)
Pizzicato
81(3)
Vibrato
84(1)
Glissando and Portamento
85(1)
String Bends
86(4)
Trill and Tremolo
90(2)
Harmonics
92(6)
Tap and Touch Techniques
98(3)
Bottleneck Slides
101(2)
Sympathetic Resonance
103(1)
Non-Pitched Sounds
104(7)
Body Percussion
104(2)
Tambour
106(1)
String Chucks
107(1)
String Scrapes
107(2)
String Whistle
109(1)
Off-the-Fretboard String Bends
109(1)
String Crossing
110(1)
Pickup Pops and Electric Buzzes
110(1)
6 Instrumental Preparations
111(36)
Mutes
112(3)
General Considerations
112(1)
Implementations
113(2)
Notation
115(1)
Third Bridges
115(5)
General Considerations
115(2)
Performance Techniques
117(3)
Suspended String Attachments
120(6)
General Considerations
120(3)
Implementations
123(2)
Notation
125(1)
Suspended String-Coupling
126(5)
General Considerations
127(1)
Implementations
128(2)
Notation
130(1)
Buzzes
131(5)
General Considerations
131(1)
Implementations
132(3)
Notation
135(1)
Rattles
136(2)
General Considerations
136(1)
Implementations
136(1)
Notation
137(1)
Bouncers
138(4)
General Considerations
138(3)
Notation
141(1)
Mechanical Oscillators
142(1)
General Considerations
142(1)
Shared Nut Slots, Crossed Strings, and Snarled Strings
143(2)
Shared Nut Slots
143(1)
Crossed Strings
144(1)
Snarled Strings
144(1)
Body Preparations
145(2)
Implementations
146(1)
7 Amps, Effects, and Signal Chains
147(28)
Amplifiers
147(3)
Amp Types
148(1)
Combo Amps, Heads, and Cabinets
148(1)
Inputs, Channels, and Channel Switching
149(1)
Non-Master Volume and Master Volume Amps
149(1)
Effects Loops
150(1)
Signal Chains
150(4)
Analog Audio Signals
150(2)
Pedalboard Design
152(2)
Catalog of Effects
154(18)
Volume Pedals
154(1)
Booster Pedals
155(1)
Overdrive, Distortion, and Fuzz
156(2)
Choruses, Flangers, and Phase Shifters
158(2)
Electronic Tremolo
160(1)
Electronic Vibrato
161(1)
Ring Modulation
162(1)
Delay
163(2)
Reverb
165(1)
Low-Pass, High-Pass, and Band-Pass Filters
166(2)
Equalizers
168(1)
Compressors and Limiters
168(1)
Noise Gates
169(1)
Pitch Shifters/Harmonizers
170(1)
Loop Pedals
170(1)
Modeling Pedals
171(1)
Multi-Effects Pedals
171(1)
Scoring Effects
172(3)
Describing Tone
172(1)
Effects Notation
172(3)
8 Computer-Based Processing and Instrumental Augmentation
175(16)
Computer-Based Processing
175(9)
Adding an Audio Interface to a Rig
176(4)
Applying Effects
180(4)
Instrumental Augmentation
184(6)
Hardware and Software Solutions
185(1)
Tracking Ancillary Gestures
186(1)
Direct Controller Augmentations and Instrumentality
187(2)
Augmented Guitar Systems: Case Studies
189(1)
Composing for the Future
190(1)
9 Performing and Recording with a Computer
191(24)
The Mixed Work Format
191(5)
Musical Relationships between Live and Non-Live Materials
191(2)
Implementation Models
193(3)
Concert Sound Design
196(10)
Imaging and Perspective
197(1)
Live Instrument Sound Projection
198(5)
Projecting Non-Live Components
203(2)
Stage Monitors
205(1)
Recording Mixed Works
206(9)
Recording the Guitar
207(5)
Recording Models
212(3)
Appendix I The E-Standard Fretboard 215(2)
Appendix II Bi-Tones in E-Standard Tuning 217(2)
Notes 219(6)
References 225(4)
Index 229
Mike Frengel is an internationally recognized composer, performer, and music scholar. He currently serves on the faculty of the music departments at Northeastern University and Boston Conservatory, where he teaches courses in music technology and composition. He remains active as a composer and performer in a variety of genres, ranging from contemporary classical, electroacoustic, rock, and country music.