‘ |Pierre eis mS OIIS EL GuitarPierre Bensusan “Music transcriptions and typescttig by ‘Tom Gannaway and Wendy Foster Copyright © 2000 John August Music. 3645 Jeannine Drive - Suite 201, Colorado Springs, CO 80917, ‘lusively distributed by Mal Bay Publications, Inc,Pierre Bensusan P Peseta Guitar Like most al guitarists learning to play, | started out in standard tuning, But like those guitarists who are inspired for whatever rea ton to push the boundaries ofthe instrument, to carve out thelr own territory, and establish their own place within it, 1 Rtanoved to do something different with this instrument-something that would contribute t the development of my own voice, and some how set me apart from the droves of other players. As a past of thal ventured into a variety of altered tunings, learning them’ jot from various English guitarists and blues players, Some time later, ]became exposed to the DADGAD tuning. It came through a friend who had learned it from Davey Graham, At the same time, Thad been working through a number of tab books and music published by Stefan Grossman, One of the books, which covered open tunings, included some songs in DADGAD.L Teamed a few of them, and was: sappy to have added DADGAD to my growing arsenal of tunings. After a while, though, I found myself stuck in the same stylistic ruts,and still withoat any clear direction. I realiz é that Pd have to make up my mind about all these tnings-to choose one, and make it my own. Isetiled on DADGAD, or maybe I should say it settled on me! In any ease, when I stake in finally put my e ground. it ‘was epiphany-a revelation. | felt relieved that my tumbleweed days were over. I had made DADGAD my standard tuning, The journey, though, was far from ever. FDADGAD was to be my standard tun- ing, then that meant I'd have to be able to play anything in it that could be played in stan:dard tuning. Pa have to relearn the neck, the chord shapes and positions, the sounds, intervals, and the layout. My cognitive sense of the fretboard in standard tuning would have to be recalibrated for DADGAD. Aan getting back to my original goal of finding a unique voice, I found I was in a fight ageinst a ready disposition to fll into allthe predictable trappings of such a modal tuning as DADGAD. | soon found myself following the same patterns as everyone else who was playing in this tuning! I was doing the most obvious things ever in DADGAD-open strings, D tonalities, using 2 apo. For along time, I played almost exclusively in the key of D. And if [wanted a key change, Pd simply use a capo. But that, too, limited the posites for chord voicings, which got me ri certainly nothing wrong with using a capo; sometimes you have to. Still, thoagh, witha limited understanding ofthe fingerboard, itywas very easy to get stuck in the ruts of standard positions and chords. ht back to the point of really learning the fretboard, There is I you ogrce to go beyond the obvious, you will like most worthwhile things, ind challenges-the first among them being stretches. A more subtle challenge, though, will be the disposition of the open strings. This tuning lends itself to many open, ringing strings-so much so that it can get in the way of the music. You want to be able to control the sustain and the length, of the sound. You might need to replace a note on one string-and that includes open, sging strings-with the same note on another in order to get a different soun ely the fault ofthe tuning, It’s more due to a lack of active listening when the musicis being played. If you'll listen carefully, you'll hear the places where a ringing string i interrupting the musical idea. On the other hhand, you can also take advantage of the strings’ configuration, which happens to include an open bass string that is one full step But these difficulties are not enti lower than in standard. It's just a matter of common sense. You can play any music in DADGAD that you can play in standard tuning, There might be some bigger stretches, but some chords will also be easier to play than in standard. And that brings us to the subject of musical genres. DADGAD is very big in Celtic settings. and as such, its gotten typecasted. tosome degree. Certainly, the modal nature of DADGAD makes for a hand-in-glove fit for much Celtic music. But remember, DADGAD is not a genre-its a tuning. And once you dive into it, you'l find that you can play any kind of musi, be it Celtic, contemporary, classical, country-or jazz. Witness the incredible variety of music included in this collection! I don't think it’s extreme to say that an audience shouldn't care what tuning you're using. A non-musician is just going to lisen to the musi Ifa non-musician starts questioning, “What tuning do you use2” then tis isthe end of the world for me. As 4 musician, want to make DADGAD completely disappear. don't want thereto be any active consciousness ofthe particular tuning Thappen to be using. And I certainly don't want my audiences to be distracted by it. You have to play the instrument ‘he musie-not the tuning. And that’san ethic cach of the fine guitar DADGAD is a tool to be used at the service of the music. Iti a tool that hes helped me to be identified, and to identity s presented here have ascribed to, as well myself. I gives me confidence. But going from there, I stil had to do my homework in order to sound differently, and to find exiting colors, textures, and harmony. And as always, that’s an undertaking that is also going to include my will to be there, and. not rest in automatic mode. How you think about thes: things es a musician opens and closes doors. Let me just say that Hove DADGAD. | fe the same about it today as I did 25 years ago. Pierre Bensusan (Chateau-Thierry, France, January 6, 2000Contents = (15 James Earp thetwins 5 2) Laurence JUbeP Founin Juming 10 (89 Doug Smith trerseandTrePeal 16 45 Bill Mize the siverpiume watz 22 > David Surette cosstiocoat 29 69 Eileen Niehouse cacians crus 35 6D Brooks Williams sco cote 37 8 Peppino D'Agostino wry roc 42 9 Adrian Leggy cogings clory 49 UD) Phil Keaggy county clare 54 AP Pete Huttlingel® \ccuires Laing 64 42 Pierre Bensusan rianogan sir 68€ WINS I sarted playing guitar in 1973, ater hearing a friend's readition of Paul Simon’ Catly’sSoug-A clarinetist for seven years, immediately switched instruments, beginning alifelong love affair with the guitar By 1977,1 was s0 heavily into Leo Kotthe that I went out and boughta Hozo 12-string. | was also completely absorbed by the music of Bruce Cockburn, who was, and is my alltime favorite songwriter, and a consum- mate artist, Throughout the 80,1 played electric gui- tainfatuated with Andy Sammers and The Police-and fora time, the acoustic took a back seat to the eletrie guitar, and finally the guitar synthesizer The real turning point for me came on the heels ‘of hearing Alex de Grass’ Slow Cirde album for the fint time, The powerand orchestral quality ofthe sale guitar hit me hard, much like Leo's work had in earlier years. With my passion for acoustic guitar rekindled, I wrote an instrumental piece for my wife in open C cnttled Catherine (From the CD Rosewood). Incidentally it ended up garnering a semi finalist spot ina national talent contest sponsored by a Noshville- bosed Christin label. After returning from the contest, however, realized thatthe contemporary Christian music industry was not very big on acoustic guitarist, and that no Christian labels wore relly interested in the kind of music that I played. Undaunted, however, 1 new that ny calling was as an artist and writer, and I knew that I would find my audience Later, in alocal dub, | heard a guitarist playing in DADGAD, ala Michael Hedges. This inspired me to go home and write a piece in the tuning, but soon found that it was alfording me nothing farther to say. It wasn’t until my good friend Joe -Mersch-the engineer for Rosewood-performed « Pierre Bensusan piece for me that was entitled Le Voyege Pour Lrlande, thatthe light came on. That tune devastated me, and DADGAD became a permanent part of my musical vocabulary. I started to write ard the music just kept coming Harmonically, DADGAD is wonderfully rich, and extremely diverse, I isa joy 10 do a 45-minute set of material of consider able variety, and never have to retune! [find that it allows for tonalities that are somewhat different than those generally heard in the standard country and blues-based stylings of traditional “American” acoustic guitar. Neo-classical, Ceti, ethnic, and modal idioms seem to low rather effortiesly from it, possibly because of the 2nd between the G on the 3rd string, and the A on the 2nd. Finally, DADGAD allows me to speak a language that is quite personal and close to the heart. Solid Air Records-afiiate artist Jim Earp is an award-winning guttarist and singer/songwriter, His solo instrumental CDs Rosewood and Smiles to Go can be ordered through Solid Air Records at http://www.acousticmusieresource.com, or (800) 649- 4745, For correspondence andlor information on other merchandise, please write: Jim Farp, PO Rox 16284, San Diego CA 92176. E-mail hin at Jim Earp@hotmal.com, or visit his website at www.guitar9.com/rosewood html. The Twinsis from Earp’s 1996 CD Rosewood.DADGAD Capo Ist fret Jet0 ee — Copyright ©1996,im Gel naea meountain Jumping This tune has a slightly swung “Ragtime” feel, and is an example of a DADGAD. position in the key of F major It presents that key’s primary chords over an alternating bass groove, interspersed with Finging, harp-like fines. DADGAD, by ¥ strings, Gand A, taned @ major second apart, allows for melody notes to sound on adjacent iue of having two strings creating groups of sale patterns thet. «an be allowed to ring against each other Ts cascading effect is sometimes referred toby the term “Carrillion,”as it duplicates the sus: tain that that is generated by a carillon of hhand bells, for example. The challenge isto practice making smooth transitions from the ‘open and ringing texiure to the snappy and. muted phrases. Here are some right hand techniques to observe: It’s appropriate to drop the right hand wrist and palm-mute the bas, strings by lightly resting the heel of the hand on the saddle, The walkups and walkdowns can be played. from this position by snapping up the thumb from underneath the string, the hand turning toward you as you doo. ind myself resting the side of ‘my thumb on the guitar top when I do it. The melodic Hines, however, should be allowed to ring as long as possible, especialy the al forearm “earrillion” runs in measures 28, 52-55,62-63,and should be executed with a slight arch to the wrist and with mi ‘weight on the bass sige of the lower bout Playing in this fashion with masimize the openness of the guitar sound. Some general notes for the left hand: Keep the elbow out and loose, as there is alot of left hand movement. The thumb should be centered on the back of the neck, particularly at measures 17, 23, $2 and wherever else the strings need to ring agnint ‘each other, Remember, always practice lowly and dynamically-that’s the way to build strength, confidence and speed. Video per= formance & analysis of this composition is available on my DADGAD instructional tape released by Homespun Tapes. [Asa solo artist, Laurence Juber hes enjoyed a prolific career. A native of London, Juber entered the music business in his tens, and quickly established himself as an accomplished and versatile musician. tn 1978, Juber joined Paul McCartney’ Wings a led guitarist. He recorded and toured with the group for three years, earning rave notices for his work on the hit singles Goednight Tonight and Coming Up, and on the album Back to the Egg, winning a Grammy for Best Rock Instrumental forthe track Rockestra. He has since worked with two other Beatles, George Harrison and Ringo Starr in addition to The Monkees, Air Supply Paul Williams, Belinda Carlisle and Al Stewart, among others. Juber has also become Hollywood's first call fingerstyle guitarist; his playing being heard on soundtracks ranging from Diny Dancing to Good Will Hunting, and TV shows from Home Improvement to 7ih Heaven. is solo work is showcased in numerous CD releases, including Mossi, LJ, Naked Guitar Solo Fight, Winter Guitar, Groovemasters Volume 1 (Acoustic Music Resource/Solid Air Records), and in his Narada debut, Altered Reality: the websites wwowlaurencejuber.com and www.acousticmusicresource com, Call Aves Seal Beach, CA. 90740, ‘To discover more about Laurence Jaber, or write Acoustic Music Resource, (800) 649-4745, 1610 Crest Fountain Jumpingis from Laurence Juber’s 1999 Narada release Altered Reality. -10-Tuning: DADGAD Laurence Juber no (Ted, dermis ‘Composed by Laurence Juber, Published by Amida Music, Inc. (ASCAP)/Juber Music (ASCP), From Narada album Altered Reslity, (p) 1999 Narada Productions, Inc. All Rights Reserved. Used by Permission. -11-2, DS.al Coda Spe ee eee ==€ HOSE aNd Ne rear ‘This piece isa tribute to my grandmother, Rosa Pearl Smith, In her house she had a beautiful upright piano that weall used to gather around, so this tune is sort of “pianistic” The two elements in the A section are like two hands on a piano keyboard. The piece is built around the opening phrase, which continues at measure 5, when the main melody comesin. These two elements should be distinct, with the notes of the main melody brought out, or played louder, and the opening phrase continuing asan undercurrent. The whole tune shouldbe pled as smoothly and with as much sustain as possible, os Grandma loved pretty music, I hope you'll enjoy it, Nationally recognized acoustic guitarist Doug Smith weaves together folk, classical, jazz, and contemporary forms intoa unique, flowing, fingerstyle, as heard on his new CD Alone At Last,and his earlier albums Deep Heart, Order of Magnitude, and Labyrinsh with music recalling the playing of Chet Atkins, Leo Kottke, Michael Hedges, and Alex De Grassi. Doug has studied piano and guitar since childhood, ultimately majoring in lasical guitar at Cal Sate Fullerton, After heat= ing John Renbourn, he switched to stesl-string guitar, His music has been heard on radio and TV stations throughout the country, including The Discovery Channel, CNN,TNN, ESPN, and Encore. He also played guitar on the soundtracks of the movies Moll Handers and Twister Doug isa well-traveled performer, having served as the opening act for such musicians as Liz Story, David Lanz, Steurzand Farah, and Richard Elliot, as well as performing solo in various venues and festivals arouné the country, including The Great American Music Hall and The Freight & Salvage in San Francisco, and McCabe's Guitar Shop in Santa Monica, Califoria Besides his solo albums, Doug has contributed to several of American Gramaphone’s popular DayParis series: Sunday Morning Coffe, Dinner, Romance, and Sunday Morning Coffe I. He has also been featured on KINK-FM’s Ligh’ Out IIT Ma benefit for the Oregon Food Bank. And he has been featured on the nationally syndicated radio shows Echoes, West Coast iv and River City Folk. Doug curcently resides in Portland, Oregon, where he teaches and performs. For information on his music, and booking, write to him at Doug Smith Musie,717 SE 60th Ave. #7, Portland, OR 97215, You can order his CDs from Acoustic Music Resource, (800) 649-4745. For those online, visit Doug's website at http://uwv:douge smith.findhere.com. DISCOGRAPHY/RESOURCES: On Honest Records: Deep Heart, Onder of Magnitude, and Labyrinth. On Solid Air Record: Alone at Last. Rose and Pear is from Doug's 1995 CD Deep HeartDoug Smith DADGAD Capo 2nd fet) ye Copyright © 1995 Doug Smith; P2O.E, Music All Rights Reserved. Used by Permission. aApe~19-