ACOUSTIC ISSUE 57 SEPTEMBER 2011

40 SIMON NICOL

Fairport Convention and The Albion Band guitarist Simon Nicol tells all about his remarkable career at the vanguard of folk-rock. We refused to go away, he tells Joel McIver.

RETUNE YOUR EARS 22 Listen to

Damian Byrne

something new

30 Ron Sexsmith

Admired by Paul McCartney, Elvis Costello and Elton John, Ron Sexsmith has avoided mainstream success. But is that about to change.

Eckie

50 Paul Brett

We talk to our resident vintage guitar expert about his new signature models by Vintage.

36 Preston Reed
The percussive pioneer tells us all about his new acoustic guitar.

Texan pop singer Amanda Stansky reveals her new custom Breedlove acoustic. Interview: Joel McIver

28 Mick Jones
With a new acoustic album in the o ng, we talk to the Foreigner guitarist.
06 ACOUSTIC MAGAZINE SEPTEMBER 2011

46 Still Moving
Govt Mule guitarist Warren Haynes talks acoustics to Joel McIver.

Danny Clinch

48 Amanda Stansky

Guitar Techniques

Gear Reviews
Acoustic keeps you up to date with whats hot and whats not in our gear reviews section.

CHECK OUT OUR TECHNIQUES SECTION!

66 PRS Tony McManus With different level specific techniques, whether youre a novice or Private Stock Signature Model an expert our columns have some- The words Paul Reed Smith and signature model should be enough to make even the thing for everyone.
Acoustic Techniques

most experienced of acoustic musicians sit bolt upright.

Biography
Gordon Giltrap is pioneer of acoustic music in the UK. His extensive discography gives evidence of a skilled musician whose expertise lay in composition and arrangement. His pieces have become acoustic standards, played and enjoyed by young and old alike.

NURSERY CHIMES

Techniques Skill Level

Suitable for intermediate to advanced players

A tune from the Giltrap archive that will help you develop and solidify your harping technique

Acoustic Techniques

GoRdoN GIlTRAp Instrumental Artist

70 Avalon L320 DBC

Biography
Chris is not only a guitar teacher but also a composer and producer having worked on many orchestrations for television and recordings alike. He has many years of experience both in performance and helping others develop their playing potential to their best.

When I first heard Martin Taylor using a harping technique it just blew me away and I was determined to master it. The most important thing with any technique is to do something constructive and meaningful with it and this, I believe, I have done with this piece. Whenever I lead a workshop I always try to pass on the mechanics of harping, and stress that it took me two years to really get to grips with it and before I felt confident enough to use it in a live situation. I also stress three very important factors when teaching this technique:

1. To have a reasonable thumb nail; 2. The correct gauge of strings makes all the difference. If they are too light, the harmonic wont speak; 3. Getting a good sound is most important. I know this sounds simplistic but its true. I remember a classical teacher telling me that half the battle with the classical guitar, for example, is getting a good sound and I believe that to be true. One only has to listen to the Greats to know the truth in this.

The basis of the harping technique is the use of open strings and harmonics. The harmonics have to be played with the right hand index finger placed over the appropriate fret with the thumb plucking the string. Example: open 4th string (D), harmonic 12th fret 6th string open 3rd string (G), harmonic 12th fret 5th string open 2nd string (B), harmonic 12th fret 4th string open 1st string (E), harmonic 12th fret, 3rd string

harmonic 2nd string 12th fret harmonic 1st string 12th fret. I suggest the use of the third (a) finger to play the open strings. Once you have mastered the above you can then move on to mirroring the shapes, twelve frets apart.

Djangled: Hot Club Gypsy Jazz

Always wanted to sound like Django? Chris offers up a little piece to brush up on your Gypsy Jazz skills

This is suitable for intermediate

Techniques Skill Level

NURSERY CHIMES

"This piece is taken from the Composer Skill level: Suitable for all publication 'TROUBADOUR' published jointly by Gordon Giltrap and Steve Marsh. Contact stevemarsh@ theguitarstudio.freeserve.co.ukmonth I have written a For this for further details." performance piece very much in the 'Hot Club de Paris' Django style, so the tempo is brisk and with a swing. Please pay very careful attention to the tab fingering, while giving yourself the freedom to choose an alternative way around the notation if you choose. All guitarists are individuals, those long fingered ones amongst us may prefer to stretch to 'out of position' notes, while less digitally endowed will prefer a series of neat shifts and slides e.g. bar 11 where the 4th finger will extend out for the B at the ninth

CHRIS GIBBONS

When does a comfortable acoustic guitar become more than just comfortable? When its Avalons Double Bevel Cutaway, of course.

fret and slide back to the Bb in normal 5th position. Also pay attention to passages which incorporate broken chords, e.g the Bb diminished chord starting at the Bb 2nd note in bar 4; The Bb major 7 starting at the Bb in bar 11; the Dm9, Dm7 and Dm descending arpeggios in bars 21-22. This piece should give you plenty

of scope to work up the performance from a slow rehearsal tempo to a fast jazz swing. Remember though, speed is a bi-product of accuracy, not the other way around! Slow and steady attention to detail always reaps big rewards, so until next month, 'keep on keepin' on' ( Curtis Mayfield).

All guitarists are individuals, those long fingered ones amongst us may prefer to stretch to 'out of position' notes, while less digitally endowed will prefer a series of neat shifts and slides

80 Ibanez Artwood AW3000 and AC3000

Can these all-solid wood guitars be as good as they appear?

Djangled

74 Alvarez RF12 and RD16SB

110 acoustic magazine JuLY 2011 24/05/2011 15:10 Gordon Giltrap DPS DPS_BC.indd 110
116 acoustic magazine JuLY 2011 Chris Gibbons DPS_BC.indd 114 24/05/2011 15:11

Our long waiting period for the welcome return of the Alvarez brand to UK shores now over.

114 Pierre Bensusan

This month Pierre addresses the issue of tuning.

120 Chris Gibbons

Develop your right-hand playing for single note work.

86 Tanglewood TW40 SD VS
Travelling back in time to a bygone age for another tribute to a classic design, David Mead wields the sonic screwdriver

116 Gordon Giltrap

Get to grips with another Giltrap classic.

123 Ray Burley

More tricks to improve your sight reading.

88 SR Jam 100 and Jam 150 Amps

SRs entry into the One Box PA category has slinky looks, but does it bring anything new to the mix? Sam Wise nds out

126 Simon Mayor

This month: Beaumont Rag

Special Features
56 Acoustic Anywhere
Planning your travels? We look at a range of compact guitars to liven up your holidays.

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18 Michael Sanden Construction Diary

This month Michael talks about creating and tting the neck.

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102 Arranging For The Guitarist

Chris Gibbons continues his series on using the guitar as an arranging tool.

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98 12-String Corner
Paul Brett looks at some important issues a ecting the 12-string guitar.
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SEPTEMBER 2011 ACOUSTIC MAGAZINE 07