This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the prese... more This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the presentation and explanation of contemporary guitar techniques. Relying on extensive use of tables, charts and musical examples as well as an accompanying CD, various novel techniques ranging form multiphonics to percussive actions are discussed in detail, including the analysis of salient passages from the literature of the 20th and 21st century. What is unique about this book is the historical contextualization of each technique along with discussions around the orchestration of the guitar in chamber and orchestral musical settings.
»Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavor... more »Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavors to explore and compare various formal outlines of Salut. There are aspects of the discourse on Lachenmann’s formal thinking which led me to the conclusion that discussing its musical progression by building upon research previously conducted would shed interesting light on issues concerning perspective, perception, and sensibility. The essay’s central question involves the notion of structural demarcation, or partitioning, and in connection therto, how the ear perceives beginnings and endings as concerns long-range progressions. The results of this comparative analysis – often striking in terms of the sheer diversity of opinion – will be aligned against a recently-discovered formal design by Lachenmann himself, which will in part support, but ultimately question the way the work is commonly understood, at least on a structural level.
I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ag... more I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ago. The festival celebrated Lachenmann's eightieth birthday in grand style, and the composer himself attended. During a backstage chat, Lachenmann, whom I've known for around 20 years, casually hinted that there were things ‘missing’ in the print edition of the work, published in 1985: that is, that performative information in the fair copy was not fully reproduced in the print edition. At that moment, my curiosity was piqued intensely, and the seed of a new edition was planted. While I understood the formidable challenges involved in properly preparing the part, rehearsing, and traversing this Everest of the guitar literature, I was not fully prepared for the astonishing array of hazards that awaited me. This article describes the…
»Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavor... more »Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavors to explore and compare various formal outlines of Salut. There are aspects of the discourse on Lachenmann’s formal thinking which led me to the conclusion that discussing its musical progression by building upon research previously conducted would shed interesting light on issues concerning perspective, perception, and sensibility. The essay’s central question involves the notion of structural demarcation, or partitioning, and in connection therto, how the ear perceives beginnings and endings as concerns long-range progressions. The results of this comparative analysis – often striking in terms of the sheer diversity of opinion – will be aligned against a recently-discovered formal design by Lachenmann himself, which will in part support, but ultimately question the way the work is commonly understood, at least on a structural level.
This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the prese... more This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the presentation and explanation of contemporary guitar techniques. Relying on extensive use of tables, charts and musical examples as well as an accompanying CD, various novel techniques ranging form multiphonics to percussive actions are discussed in detail, including the analysis of salient passages from the literature of the 20th and 21st century. What is unique about this book is the historical contextualization of each technique along with discussions around the orchestration of the guitar in chamber and orchestral musical settings.
Considerable research has been made into the harmonic properties and playability of woodwind mult... more Considerable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analog...
I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ag... more I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ago. The festival celebrated Lachenmann's eightieth birthday in grand style, and the composer himself attended. During a backstage chat, Lachenmann, whom I've known for around 20 years, casually hinted that there were things ‘missing’ in the print edition of the work, published in 1985: that is, that performative information in the fair copy was not fully reproduced in the print edition. At that moment, my curiosity was piqued intensely, and the seed of a new edition was planted. While I understood the formidable challenges involved in properly preparing the part, rehearsing, and traversing this Everest of the guitar literature, I was not fully prepared for the astonishing array of hazards that awaited me. This article describes the labyrinth of sketches,…
This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the prese... more This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the presentation and explanation of contemporary guitar techniques. Relying on extensive use of tables, charts and musical examples as well as an accompanying CD, various novel techniques ranging form multiphonics to percussive actions are discussed in detail, including the analysis of salient passages from the literature of the 20th and 21st century. What is unique about this book is the historical contextualization of each technique along with discussions around the orchestration of the guitar in chamber and orchestral musical settings.
»Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavor... more »Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavors to explore and compare various formal outlines of Salut. There are aspects of the discourse on Lachenmann’s formal thinking which led me to the conclusion that discussing its musical progression by building upon research previously conducted would shed interesting light on issues concerning perspective, perception, and sensibility. The essay’s central question involves the notion of structural demarcation, or partitioning, and in connection therto, how the ear perceives beginnings and endings as concerns long-range progressions. The results of this comparative analysis – often striking in terms of the sheer diversity of opinion – will be aligned against a recently-discovered formal design by Lachenmann himself, which will in part support, but ultimately question the way the work is commonly understood, at least on a structural level.
I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ag... more I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ago. The festival celebrated Lachenmann's eightieth birthday in grand style, and the composer himself attended. During a backstage chat, Lachenmann, whom I've known for around 20 years, casually hinted that there were things ‘missing’ in the print edition of the work, published in 1985: that is, that performative information in the fair copy was not fully reproduced in the print edition. At that moment, my curiosity was piqued intensely, and the seed of a new edition was planted. While I understood the formidable challenges involved in properly preparing the part, rehearsing, and traversing this Everest of the guitar literature, I was not fully prepared for the astonishing array of hazards that awaited me. This article describes the…
»Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavor... more »Form can wait«. Consideration of form in Lachenmann’s »Salut fur Caudwell« – This paper endeavors to explore and compare various formal outlines of Salut. There are aspects of the discourse on Lachenmann’s formal thinking which led me to the conclusion that discussing its musical progression by building upon research previously conducted would shed interesting light on issues concerning perspective, perception, and sensibility. The essay’s central question involves the notion of structural demarcation, or partitioning, and in connection therto, how the ear perceives beginnings and endings as concerns long-range progressions. The results of this comparative analysis – often striking in terms of the sheer diversity of opinion – will be aligned against a recently-discovered formal design by Lachenmann himself, which will in part support, but ultimately question the way the work is commonly understood, at least on a structural level.
This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the prese... more This book by pioneering guitarist Seth F. Josel with composer Ming Tsao is dedicated to the presentation and explanation of contemporary guitar techniques. Relying on extensive use of tables, charts and musical examples as well as an accompanying CD, various novel techniques ranging form multiphonics to percussive actions are discussed in detail, including the analysis of salient passages from the literature of the 20th and 21st century. What is unique about this book is the historical contextualization of each technique along with discussions around the orchestration of the guitar in chamber and orchestral musical settings.
Considerable research has been made into the harmonic properties and playability of woodwind mult... more Considerable research has been made into the harmonic properties and playability of woodwind multiphonics, while the utility of string multiphonics has received far less attention. In recent years, however, there has been an increasing amount of interest in the topic, and several publications have been devoted to acoustic guitar multiphonics. Primarily written for non-guitarist composers, these studies range from the scientific to the practical. Variously, they describe the sonic qualities of the multiphonics, discuss methods of performing them, or examine their spectral content and morphology. Until now, published research into guitar multiphonics has been limited to the acoustic guitar and has examined only its three lower strings. In this study, we analyse multiphonics on all six strings of the electric guitar and present a catalogue of harmonic aggregates on strings 3–1. We test these multiphonics on five different guitars and examine their response to three commonly used analog...
I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ag... more I first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ago. The festival celebrated Lachenmann's eightieth birthday in grand style, and the composer himself attended. During a backstage chat, Lachenmann, whom I've known for around 20 years, casually hinted that there were things ‘missing’ in the print edition of the work, published in 1985: that is, that performative information in the fair copy was not fully reproduced in the print edition. At that moment, my curiosity was piqued intensely, and the seed of a new edition was planted. While I understood the formidable challenges involved in properly preparing the part, rehearsing, and traversing this Everest of the guitar literature, I was not fully prepared for the astonishing array of hazards that awaited me. This article describes the labyrinth of sketches,…
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