WORMHOLE GUITAR | Compound Arpeggios No. 1

Posted in columns, wormhole guitar with tags , on 09.15.13 by dukewisdom
Compound Arpeggios No. 1

Compound Arpeggios No. 1

What about it?

“Compound Arpeggios No. 1,” as the name suggests, comprises a series of arpeggios glued together, a confluence of patterns which yields distinctive results, both melodically and in terms of fretboard execution. The chords outlined here are linked up based on neck geography: The last note of the first shape (Gm) is a half step away from the first note of the next shape (B) and so on. This mechanical closeness is what adjacent chords have in common, as opposed to being unified by key. Taken as a whole, then, the pattern is tonally ambiguous, lacking a gravitational center. If you dig in, however, you’ll notice that alternating chords go together: Gm, F and Am (chords 1, 3, 5 in the sequence) all belong to the key of F major; B, F# and G#m (chords 2, 4, 6) belong to F# major. This internal logic keeps the thing from sounding entirely chaotic.

Why bother?

First of all, these two measures function as an exercise. If you’re one who practices arpeggios, chances are that you’ve worked with straightforward major or minor triad-based patterns. Those sound great and are easy to apply. But here we have material with peculiar twists and turns which melds chords in various inversions. The unfamiliarity of the structures will make the music more challenging to perform at first. And honing dexterity never hurt any guitarist. Next—and more importantly—compounding arpeggios as a concept is meant to make you think outside the confines of standard guitar procedure. We’ve all heard those guitarists who out of habit—though dazzlingly—trot out the same old sweep patterns in solo after solo, which is ultimately as interesting as wallpaper. The idea is to get creative and fashion new patterns that work inside the music you’re playing. What’s more, the concept can be applied to composing ear-twisting riffs or unearthly melodies. This theory, by the way, was inspired by Nicolas Slonimsky’s mammoth Thesaurus of Scales and Melodic Patterns

A note on picking: There are multiple ways to approach this example; the indicated pattern employs a combination of alternate and directional (sweep) picking.

Click here to download a PDF of “Compound Arpeggios No. 1.”

Wormhole Guitar is a journey through time and/or space. Maybe. 

ARCHIVE | The TrueFire experience

Posted in archive with tags on 09.15.13 by dukewisdom

Dusting off a video lesson: In late 2013 I was fortunate enough to find myself among the ten finalists for TrueFire’s “Next Top Guitar Instructor” competition. For those who don’t know, TrueFire is a massive interactive guitar instruction site featuring (and operated by) some very talented and respected figures in the world of guitar—and once in awhile the likes of yours truly. The competition involved several weeks of voting on video lessons submitted by the ten contestants. In the end, I got utterly destroyed, but that’s alright; it was a great experience and I got to interact with some fascinating musicians as well as have my playing and teaching exposed to a large audience.

Featured here, for posterity, is the video I presented as an audition for the competition, an esoteric little lesson that did the trick. (The contest videos themselves are still live on TrueFire’s YouTube channel. Make sure to read the user comments for insightful arguments on music theory topics, remarks about my hair and so on.)

And while you’re at it, click here to download the transcription of “Hybrid-picked legato triple stops.”

VIDEO | Gentleman Echo – “Here to Inspect the Head”

Posted in video with tags on 09.15.13 by dukewisdom


Here is a preview to a forthcoming release by the ongoing project known as Gentleman Echo. (Read about the life and times of Resarch Arc if you’re into that type of thing.) The recording is an excerpt from the piece “Here to Inspect the Head,” a title inspired by a groggy reading of the book Herbie’s Game by Timothy Hallinan, if you must know. That number in its entirety is slated to appear on the album currently titled 1374, though who knows what it will be called in the end. (Release date unknown and … unrequested.) The video itself comprises time-lapse footage taken at five second intervals over several hours by a camera pointed out a window in Oxon Hill, MD. The clip and the available musical segment were nearly identical in length, resulting in a pleasing collision.. And there you have it.

MACHINERY | ’70s Fender Pro Reverb

Posted in gear, machinery with tags on 09.15.13 by dukewisdom


Sometime in the late ’80s (I think), a close friend of mind (and fellow guitar fanatic) traded some lesser amp and a couple of shotguns to my dad for this ’77 (I believe) Fender Pro Reverb. For years I told him that if he ever wanted to get rid of the thing, I’d need first shot. Well, he got rid of it, alright: He brought the amp to my place and gave it to me. Thank you, Dave Benscoter. This baby sounds gorgeous.

(In order to not really back up that last statement, here is an iPhone video of the amp in action with a Les Paul. The piece is called “The Human Voice.”)



ARCHIVE | Pop Zeus: The Compositional Conventions of Robert Pollard

Posted in archive, writings with tags , on 09.15.13 by dukewisdom

This is another article that appeared on the long deceased Grace & Fury website. Robert Pollard, of course, is the driving force behind the iconic Guided By Voices, a band that rose from lo-fi indie rock obscurity to bonafide rock stardom – sort of. Though they had some decent exposure, they were always a little too weird and contrary to become widespread darlings of airplay or promotion.

Around the release of the album Isolation Drills some friends and I had a band called The Official Ironmen. We played all GbV and Pollard songs at a time when “tribute bands” and “tribute albums” weren’t quite as overwrought as they have become. Basically it was just a blast to play this great music, hang out, and drink beer. Though the songs were not difficult or outwardly complex, the guitar teacher in me, absorbing a body of work, observed recurring musical themes. What follows is a discussion of my observations.

Interesting (?) footnote: Once upon a time this article was linked to from the band’s official website, perhaps imbuing it with some sort of historic legitimacy.


Songwriters, like artists working in any field for an extended period of time and producing a large volume of work, walk a fine line between self repetition and assertion of personal style via recurring motifs or compositional elements. A great artist is one who is prolific yet constantly inventive. Guided By Voices’ captain and chief songwriter Robert Pollard is one such person. If Paul McCartney or Andy Partridge hasn’t already written a certain great melody, chances are Pollard has. And prolific? Someday we may need to have a scholarly cataloging of his works, ala Mozart’s Kochel: Pollard himself estimates that he may have written 5000 songs! While all of these may not be fully realized and arranged, you can bet that most of them contain at least one great hook.

While Bob Pollard is excessively productive and owns a gift for mercurial melody, an essay of the material he has written nevertheless points out certain traits which may be seen as cornerstones of his compositional method. The following examples will outline several of the more common conventions that Pollard constantly re-disguises as great new songs.

I. Open String Drones/Arpeggios
This is a staple in the GbV galaxy. Ringing notes within a pattern or riff create a certain continuity of sound and lend an often simple pattern complex tonal and theoretical implications. The main pattern from “Tractor Rape Chain” (Bee Thousand) illustrates this clearly. The superimposition of simple dyads over a droning A yield a sonically dense series of chords.

The progression could be labeled simply E/A – C#/A – D/A – B/A – A. However, technically the inference which can be made is Aadd9 – C#m6 – D – B7 – A, a much more complicated reading which belies the riff’s simplicity.
This arpeggiated pattern from “The Official Ironmen Rally Song” (Under the Bushes Under the Stars) presents more of the same.

Here again, a rather self-explanatory sequence presents a progression which can be interpreted as Cadd9 – Fadd9 – Aadd11 – Dadd11 – G – Eb – F6 – G, the open strings providing added color to simple fifth shapes. A similar example of the open string arpeggio comes from “Wormhole” (Do the Collapse).

“Wormhole” also illustrates the use of dissonance and how in context (vis a vis the imminent resolution of the “unpleasing” notes) it does not sound incorrect. Further examples of this idea can be found in “Catfood on the Earwig” (Plantations of Pale Pink ep), “Cut-Out Witch” (Under the Bushes Under the Stars) and numerous other places.

II. The bVI
Another common harmonic maneuver of Robert Pollard is the chord change of a bVI. While not extremely uncommon in popular music, this can be a rather jarring modulation but one which makes complete sense in its surroundings. Again here, the context — the following chord, the vocal melody atop the seemingly “out of key” chord — allows the progression to work logically. Examples of this type of change can be found in the following:

“Surgical Focus” (Do the Collapse): the verse progression of F – C – Bb – F – Db – Bb – F contains said movement (F – Db). The bVI chord is directly followed by the IV which resolves back to the tonic of F.

“Much Better Mr. Buckles” (Do the Collapse): again the verse pattern, G – Bm – G – Bm – C – Eb – G, eventually lands on the bVI (Eb) which in this case directly resolves to the I chord, G.

“Underground Initiations” (Hold on Hope ep): The pre-chorus includes a progression similar to “Surgical Focus” above where the bVI chord is followed by the more theoretically “stable” IV: E – C – A.

As with any type of writing, be it composition of melody, chord progression or even rhythm, often the factor which seems to be angular or flat out incorrect proves to be a great hook. We just can’t wait to hear that odd element one more time.

III. Jagged Rhythms
Of course rhythmic themes can be inescapably catchy components of a piece of music. For all its brilliant harmonic content, when most people think of Ravel’s “Bolero” they think of its famous rhythm (a “bolero” being a Spanish dance form). Or to go in a completely opposite direction, some contemporary dance music may as well be devoid of melody all together, as long as the beat keeps pounding.

Throughout his work, Pollard has presented some rhythmic hooks which are as effective as his melodic ones. The best of these riffs are syncopated — full of holes and hiccups. While not exceedingly difficult to play, they are quite memorable. This theme from the title track of Pollard’s Waved Out is almost heavy metal in its relentlessness.

The great new album Isolation Drills features an addictive rhythmic pattern on “The Brides Have Hit Glass.” This motif which drives the songs verses becomes even more effective when contrasted with the other sections of the song.

The rather sharp rhythmic texture plays interestingly against the characteristically smooth maj7 chords which occupy the beats.

“Do Something Real” (Speak Kindly of Your Volunteer Fire Department) features another hard rocking riff as its backbone:

This is another case where the pattern isn’t a constant assault, but instead a very effective theme which when returned to between verses moves the song forward aggressively.

Recently Bob Pollard advised audience members to “remember the four P’s: Pop, Psychedelic, Punk and Prog.” Certainly in a recording career which began in 1987 he and GBV have embraced elements of all of the above. In interviews he has cited favorites from the Who to Wire to Genesis. No doubt this broad foundation and fascination with rock music in general has had an impact on the constant freshness of Pollard’s output. At times it seems that if you immersed yourself in the dozens of albums put out under various band configurations and aliases, Robert Pollard himself could teach you all there is to know about rock and roll. The above examples are the briefest of introductions to the work of a singular figure in pop music today. Enjoy these observations, and then go to the Library of Pollard and discover your own. And spread the word.

Coming soon: a Taoist reading of Robert Pollard’s lyrics.
(Just kidding)

All music examples above written by Robert Pollard.

RECORDING | The Great Vehicle – The People’s Cathedral of Wavelengths

Posted in recordings with tags , on 09.15.13 by dukewisdom
The Great Vehicle - The People's Cathedral of Wavelengths

The Great Vehicle – The People’s Cathedral of Wavelengths

This was the first (somewhat) proper recording of The Great Vehicle, a group started in the summer of 2011. This release is available at Bandcamp where the following “liner notes” lay it out pretty well:

The Great Vehicle – The People’s Cathedral of Wavelengths: A guided tour of performance, technical, and philosophical minutiae.

For your dancing and listening enhancement.

Bald Chemist
The People’s Cathedral of Wavelengths starts off, as so many great EPs do, with a quick reference to the Squeeze album Frank. And then we get down to business. It’s the business of pondering, what if Andy Summers accompanied Michael Karoli to a thrift store, what if Terry Kath had been born in Istanbul, what if you could overdub today’s version of yourself into last June, and who gives a fuck anyway? You too can ruminate on these and other closely related matters as the dense cube of sound hovers millimeters above your cranium.

By the way, the basic tracks for all of these songs were recorded using the following gear:

• 1974 Fender Stratocaster through a custom Scarlett Amplification 50 watt head and a Celestion-loaded Randall 4×12 cabinet with the logo removed and a bad caster. Additional flavoring and hiss from Boss, Danelectro, and MXR pedals.
• 1995 Fender American Standard Precision Bass through a custom Scarlett Amplification 200 watt head and handmade EV 15B-loaded TL606 cabinets. Additional tonal squeezing from Ibanez TS-9, GGG Tuned Big Muff Pi clone, and early 70’s Big Muff pedals.
• A recording-specific drum set comprising 10”x14” and 16”x16” Ludwig toms (green sparkle), a Pearl 16”x22” kick drum (black) and a 1980s Yamaha Stage Series snare featuring an Evans ST Dry head that’s been on for at least 12 years. Cymbals used: Whatever Gregg had lying around in an old Minsky’s Pizza bag that weren’t cracked.

The “Bald Chemist” guitar solo was performed on a burgundy ‘00s Gibson Les Paul Studio with a mirrored pick guard. That’s where it gets its tone. And if you think the reverb on the snare at 2:05 is reminiscent of that in Van Halen’s “Love Walks In,” well, that’s an unfortunate coincidence. The end of the song features a fan favorite sing-along. Actually, it’s amusing (for about 17 seconds) to shout “Bald Chemist” at the end of any song … by any band, really.

Black Mesh Object
The bass guitar riff from “Black Mesh Object” randomly fell out of Mason’s hands at a rehearsal and Troy wrote out the 7/8 middle section while stopped at a traffic light. This is how you write a song. And speaking of that middle section, it also features sleigh bells played in a way they’re not supposed to be played and a 10” rack tom run through an amp emulator for maximum Mitchell Froom-ian say what-ness.

The Gift of Weird Horse Bones
Music to dig a moat by. “The Gift of Weird Horse Bones” was the first song written for The Great Vehicle, the riff appearing in Troy’s head before there really was any manner of vehicle. Things to consider: The Brian May type harmonies that pop up were a studio embellishment. No astrophysics degree required, thank you. That part that might remind you of something David Gilmour played on Pink Floyd’s “Pigs” is derived from the whole tone scale. Also, the gallop-y middle section (referred to colloquially as the “Iron Maiden part,” though Erik thought it sounded like “Smokin’” by Boston) used to be another longwinded guitar solo before it became composed carnival ride music. Time signatures utilized: 3/4, 4/4, 5/4 for those transcribing at home.

This solo guitar piece was performed on a Di Pinto guitar (silver sparkle) tuned to an open augmented chord (F A C# F A F, it is believed). The tone was achieved by running directly into a Roland VS-880 Digital Studio Workstation and using its internal amp modeling presets. The results were just fine. And then Erik mentioned in passing a field recording he’d made in Australia of bellbirds (Manorina melanophrys). That’s what you hear in the background and that’s what made this piece come to life, such a life as it has.

Touched in the Head
A hot jam for your Ganymedian dance party, “Touched in the Head” is sometimes referred to as “Phil Rudd Counts to Five.” The first riff has been around since about 2006 and the “verse” chords are derived from an aborted song called “No Ape Chains.” So, yeah, it’s basically disparate mismatched junk glued together with industrial strength adhesive—in the best possible way, of course. Watching Gregg play the drum parts to this song is even better than listening to them. But you’ll have to see that for yourself.

Swan Meat (Slight Reduction)
If Nokie Edwards from The Ventures listened to Prong for three years solid he might … no, never mind. At any rate, “Swan Meat” is TGV’s version of garage-prog-surf. Deep info about the track: It has the diminished scale in its DNA (for those transcribing at home). The guitar solo was performed on a Michael Kelly Valor-Q with direct-mounted, zebra-coil Rockfield SCW humbuckers. And those Racer X sort of harmony arpeggios required fewer takes than you might think. (There was an over/under of 7,000 going into the session.) The breakdown following the solo features an unknown preacher from an unknown cable channel (we’re not saying anyway) and percussive whacking on a flask (empty).

ARCHIVE | Black Ops Guitar No. 5: Skeletons

Posted in archive, columns with tags , , on 09.15.13 by dukewisdom

Black Ops Guitar was a column that appeared on Hardenedmagazine.com starting in 2009. It disappeared in a mysterious site crash. Or maybe the feds got to it.

Figure 1

Figure 1


Figure 2

Figure 3

Figure 3

What about it?

Whereas Black Ops Guitar Nos. 1 – 4 are expressly devoted to making your fingers move in unfamiliar ways—even at the sacrifice of melodic/musical value—B.O.G. No. 5: Skeletons aims mostly to flex the brain. What’s displayed here is not a physical exercise, per se, but a mental one, designed to make you examine familiar material in a new light. There aren’t even any microscopically detailed picking/fingering instructions, if you can believe that. As is often the case, this subject presupposes that you know and understand how the diatonic modes work and fit together on the neck.

The gist of the Skeletons concept is to create new scale shapes by placing arbitrary spatial restrictions on existing forms. Huh? Take a look at Figures 1 & 2. By capitalizing on the guitar neck’s inherent geometric nature, you can derive some unusual sounding patterns by playing only the scale notes in, for example, a three-fret radius. So, while the base Ionian fingering (1.1) spans four positions (II-V), playing only the notes on the third through fifth frets yields a “skeleton” of the original (1.2).  The same goes for the Dorian mode (2.1 resulting in the very boxy 2.2) and all the rest.

Technical note: These forms are only “skeletal” insofar as they are mutations of guitar-based fingerings. There is nothing melodically “outside”: All of the scale tones are represented, just not in the normal order. For instance, in the case of G major, you’ll notice that G, A, B, C, D, E, F# are all accounted for, just juggled.

Why bother?

One of the goals of the Black Ops series is to inspire new guitar habits. These are often in the form of new physical gestures that come from practicing uncommon patterns, but also manifest themselves in new ways of thinking about the guitar neck. Because they cause the scale tones to appear in a peculiar order, these “synthetic” fingerings have unexpected intervallic jumps—which is entirely the point. By building wider leaps into the source material of the fingerings, you’ll likely play phrases unlike anything you’ve previously conceived. Figure 3 is an example of a line improvised using this method. Not exactly typical rock and roll licks, right?

Use this approach when improvising, creating melodic themes or riffs. As with most of the ideas laid out in this series, the present concept is merely a catalyst: While taking this essentially visual approach to playing, be sure not to miss the sound of what you come up with. Internalize the atmosphere of these new, alien phrases and how they resonate against a chord progression. Then call on these boxy shapes to help, uhh, break out of a box.



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