Pop Styles "Guitar Lounge"
"Pop Styles":
Drum & Bass; Funky; Guitar Lounge; Hip Hop; Techno
Was liegt der klassischen Gitarre ferner als Hiphop; Lounge, Drum&Bass oder Techno? Nicht nur stilistisch scheint sich die Sache zu beissen,auch kommen in diesen Stilen (ausser Funk) gar keine oder nur selten Gitarren vor.Gerade darum reizte mich die Aufgabe, diese Stile der Gitarre zugänglich zu machen. Ich fragte mich, ob es möglich ist, den "Geist" dieser populären Stile einzufangen mit der klassischen Gitarre oder ob die Aussage dieser Stile an laute elektronische Ambientklänge und drückende Bässe gebunden ist. So experimentierte ich insbesondere mit den rhythmischen Eigenheiten wie dem Amen Break, den ich immer wieder in anderer Form exponierte, mal melodiös mal perkussiv. Mit der Stimmung der vierten Gitarre ging ich an die Grenzen (Drum&Bass und Guitar Lounge 6=C).Es ist empfehlenswert, für diese Stücke anstelle der E- Saite für die 6.Saite eine C- Saite zu benutzen.
POP STYLES
What could be more remote from the classical guitar than hip-hop, lounge, drum & bass, or techno? Not only do they seem incompatible with the classical guitar stylistically, but guitars hardly or never appear in these musical styles (except for funk). Precisely for this reason I was intrigued by the challenge of making these styles accessible for the guitar. I asked myself if it
would be possible to capture the “spirit” of these popular forms of music-making on the classical guitar or if the essence of these styles was inseparably linked to loud electronic ambience sounds and thumping basses. So I experimented with their rhythmic characteristics in particular, such as
the amen break, which I repeatedly used in a variety of forms, sometimes more melodically, sometimes percussively. I took the tuning of the fourth guitar to an extreme (drum & bass and lounge guitar with the sixth string tuned down to C).
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GUITAR LOUNGE for 4 guitars by Jürg Kindle
Derek Hasted, Classical Guitar Magazine
This is from the “Pop Styles” series, though this is the only member of that series in the pile of review books currently perched precariously on top of everything
else that’s on my desk.
There are guidelines on producing the two percussive sounds, and the directive for player one to use a bottleneck will only be a surprise the first time it looms into view. Player four might curse tuning the bottom string down to C for a while longer, but there is adequate fingering to keep him focussed on what’s where and there aren’t too many fingered notes down there. The bass line has a very laid-back. almost bossa-style rhythm, and the ability to “let go” and play the phrasing, rather than count the beats is essential. The opening sees player two lazily playing with the left hand only before the introduction gathers a little more sense of determination. Guitar One, with bottle neck, then comes in. Although there is quite of a lot of movement, it’s more of a shimmering effect than one of forward motion. And because guitar one isn’t open-tuned, such chords as come from the slide are minor, which itself adds a pleasing trick to the soundscape. The bottleneck disappears and a rhythmic motif replaces it, but it’s still laid-back, hypnotic almost. That isn’t to say that the music proceeds at a monotone - there are extensive dynamic variations before the piece returns to a reprise with the bottleneck again. Overall standard? Curiously, it’s the bass player who has the toughest line, at least rhythmically and with the non-standard tuning. but once rehearsed and solid, it’s probably Grade 6-7. And the other lines are probably Grade 5-6.
It’s undoubtedly an interesting and diverting piece for an intermediate ensemble to try.
