Preface |
|
ix | |
Acknowledgments |
|
xv | |
About the Companion Website |
|
xvii | |
|
1 Instruments and Their Hardware |
|
|
1 | (24) |
|
|
1 | (5) |
|
The Nylon String Acoustic Guitar |
|
|
1 | (2) |
|
The Steel String Acoustic Guitar |
|
|
3 | (3) |
|
|
6 | (2) |
|
|
7 | (1) |
|
|
8 | (5) |
|
|
8 | (1) |
|
|
9 | (1) |
|
|
9 | (1) |
|
|
10 | (1) |
|
|
10 | (1) |
|
|
11 | (1) |
|
|
11 | (1) |
|
|
12 | (1) |
|
Nuts, Headstocks, and Tuners |
|
|
13 | (1) |
|
|
14 | (1) |
|
|
15 | (1) |
|
Bridges, Saddles, and Tailpieces |
|
|
15 | (4) |
|
Acoustic Guitar Bridge Systems |
|
|
15 | (1) |
|
Electric Guitar Bridge Systems |
|
|
16 | (3) |
|
|
19 | (6) |
|
|
19 | (2) |
|
|
21 | (4) |
|
2 Contemporary Tuning Practices |
|
|
25 | (26) |
|
|
25 | (1) |
|
|
25 | (22) |
|
Non-Standard 12-Tone Equal Tempered Tunings |
|
|
26 | (12) |
|
Other Equal Tempered Tunings |
|
|
38 | (3) |
|
|
41 | (4) |
|
|
45 | (2) |
|
Notating Music in Alternative Tunings |
|
|
47 | (4) |
|
|
51 | (10) |
|
|
51 | (1) |
|
Strings, Frets, and Fingerings |
|
|
51 | (2) |
|
|
51 | (2) |
|
|
53 | (1) |
|
|
53 | (1) |
|
|
53 | (2) |
|
|
55 | (1) |
|
|
55 | (1) |
|
Strumming and Strum Direction |
|
|
56 | (1) |
|
|
56 | (2) |
|
|
57 | (1) |
|
|
58 | (1) |
|
Left Hand Thumb over Neck |
|
|
58 | (1) |
|
|
58 | (3) |
|
4 Performance Techniques: Attacking the Strings |
|
|
61 | (20) |
|
|
61 | (3) |
|
|
62 | (1) |
|
|
62 | (1) |
|
|
63 | (1) |
|
|
64 | (13) |
|
|
64 | (1) |
|
|
64 | (1) |
|
Fingerpicks and Thumbpicks |
|
|
65 | (1) |
|
|
66 | (4) |
|
|
70 | (1) |
|
|
71 | (3) |
|
|
74 | (1) |
|
|
75 | (1) |
|
|
75 | (1) |
|
|
76 | (1) |
|
|
77 | (4) |
|
Attacking Behind the Nut or Bridge |
|
|
78 | (1) |
|
|
79 | (2) |
|
5 Performance Techniques: The Left Hand and More |
|
|
81 | (30) |
|
|
81 | (23) |
|
|
81 | (3) |
|
|
84 | (1) |
|
|
85 | (1) |
|
|
86 | (4) |
|
|
90 | (2) |
|
|
92 | (6) |
|
|
98 | (3) |
|
|
101 | (2) |
|
|
103 | (1) |
|
|
104 | (7) |
|
|
104 | (2) |
|
|
106 | (1) |
|
|
107 | (1) |
|
|
107 | (2) |
|
|
109 | (1) |
|
Off-the-Fretboard String Bends |
|
|
109 | (1) |
|
|
110 | (1) |
|
Pickup Pops and Electric Buzzes |
|
|
110 | (1) |
|
6 Instrumental Preparations |
|
|
111 | (36) |
|
|
112 | (3) |
|
|
112 | (1) |
|
|
113 | (2) |
|
|
115 | (1) |
|
|
115 | (5) |
|
|
115 | (2) |
|
|
117 | (3) |
|
Suspended String Attachments |
|
|
120 | (6) |
|
|
120 | (3) |
|
|
123 | (2) |
|
|
125 | (1) |
|
Suspended String-Coupling |
|
|
126 | (5) |
|
|
127 | (1) |
|
|
128 | (2) |
|
|
130 | (1) |
|
|
131 | (5) |
|
|
131 | (1) |
|
|
132 | (3) |
|
|
135 | (1) |
|
|
136 | (2) |
|
|
136 | (1) |
|
|
136 | (1) |
|
|
137 | (1) |
|
|
138 | (4) |
|
|
138 | (3) |
|
|
141 | (1) |
|
|
142 | (1) |
|
|
142 | (1) |
|
Shared Nut Slots, Crossed Strings, and Snarled Strings |
|
|
143 | (2) |
|
|
143 | (1) |
|
|
144 | (1) |
|
|
144 | (1) |
|
|
145 | (2) |
|
|
146 | (1) |
|
7 Amps, Effects, and Signal Chains |
|
|
147 | (28) |
|
|
147 | (3) |
|
|
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) |
|
|
150 | (1) |
|
|
150 | (4) |
|
|
150 | (2) |
|
|
152 | (2) |
|
|
154 | (18) |
|
|
154 | (1) |
|
|
155 | (1) |
|
Overdrive, Distortion, and Fuzz |
|
|
156 | (2) |
|
Choruses, Flangers, and Phase Shifters |
|
|
158 | (2) |
|
|
160 | (1) |
|
|
161 | (1) |
|
|
162 | (1) |
|
|
163 | (2) |
|
|
165 | (1) |
|
Low-Pass, High-Pass, and Band-Pass Filters |
|
|
166 | (2) |
|
|
168 | (1) |
|
|
168 | (1) |
|
|
169 | (1) |
|
Pitch Shifters/Harmonizers |
|
|
170 | (1) |
|
|
170 | (1) |
|
|
171 | (1) |
|
|
171 | (1) |
|
|
172 | (3) |
|
|
172 | (1) |
|
|
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) |
|
|
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) |
|
|
190 | (1) |
|
9 Performing and Recording with a Computer |
|
|
191 | (24) |
|
|
191 | (5) |
|
Musical Relationships between Live and Non-Live Materials |
|
|
191 | (2) |
|
|
193 | (3) |
|
|
196 | (10) |
|
|
197 | (1) |
|
Live Instrument Sound Projection |
|
|
198 | (5) |
|
Projecting Non-Live Components |
|
|
203 | (2) |
|
|
205 | (1) |
|
|
206 | (9) |
|
|
207 | (5) |
|
|
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 | |