ACOUSTIC ISSUE 59 NOVEMBER 2011

30 CLIVE CARROLL

After a triumphant performance at the London Acoustic Guitar Show, and with a new column launching in these very pages we catch up with the inimitable Mr. Carroll.

RETUNE YOUR EARS 22 Listen to

Photo by Rich Bull Press

something new

34 Roy Harper

A survivor of the British folk explosion in the 60s and 70s, Roy Harper has a tale or two to tell.

27 Stringer Bessant

Better known for their stomping rock in Reef, Messrs Stringer and Bessant also have an acoustic side.

When you write songs for Linda Ronstadt, Dusty Spring eld, the Dixie Chicks you need to have it together. We talk to the country legend.
06 ACOUSTIC MAGAZINE NOVEMBER 2011

Glen Rose

39 Matraca Berg

24Eleanor McEvoy

With a new album out we talk to Eleanor about her creative processes.

42 Gregory Alan Isakov

We talk to the fast rising sensation about life on the road.

Photo by Doug Seymour

Tina Korhonen

Guitar Techniques

NEW

Gear Reviews
Acoustic keeps you up to date with whats hot and whats not in our gear reviews section.
46 Moon OOO3CE
Moon - maker for the stars and luthier to the luminaries of rock and popular music. Will this guitar shed any light on your musicianship?

CHECK OUT OUR TECHNIQUES SECTION!

Acoustic Techniques

With 16 pages of different level specific techniques, whether youre a novice or an expert our columns have something for everyone.
Biography
Pierres compositions often feature syncopated rhythms, unusual time signatures and complex harmonic structures. Characteristically melodic and musical, Pierres column will help you develop some of his distinctive style and control in your own compositions.

Arpegiated Sequence #1
Copyrights: Dadgad Music (France) Level: Intermediate, advance Letters indicate the right hand fingering "p": thumb, "i": index, "m": middle, "a": ring

Techniques Acoustic Skill Level Techniques

Suitable for intermediate to advanced players

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

(Pierre Bensusan)
bass in the second half of that measure. After the quintuplet at the end of m. 6, we shall use the thumb for the rst time in m. 7. We'll start m. 8 with the "m" -- to not double the "i" used at the end of m. 7 -- and reestablish the "i" in the second half of that measure, like done earlier. From measure 9 until the end, please follow the indicated ngers for

PIERRE BENSUSAN Instrumental Composer

Skill level: Advanced

Hello! For this column, I would like to focus on a speci c aspect of the work of the right hand, taking as an example this arpegiated sequence #1; there will be more. The challenge is that through Measures 1 to 5, the rst bass string is picked with the index, instead of the thumb, which will rest/anchor on the

rst bass (that is what the triangle symbol and "p" mean), until measure 6 and then on and o until the end. The idea is to never pick two consecutive strings with the same nger, at the end of m. 5, the quintuplet forces us to use the "m" nger on the rst bass of m. 6, play the rst half of that measure like this, until we reestablish the use of "i" on the rst

both hands. Outside the challenge for the right hand, this sequence shows some interesting chords and inversions in DADGAD, that will constitute a Instrumental Artist into solid foundation for lookingSkill level: Advanced more of these on your own and for improvisation. This is one of the few pieces that really ENJOY! demands the player to explore the Pierre Bensusan dusty end of the ngerboard. The piece was written using a one second

GORDON GILTRAP

Looking to improve your timing and proficiency at 'the dusty end' of the fretboard? This song can help you with this, and a lot more

ON CAMBER SANDS

Techniques Skill Level

Suitable for advanced players

Andy Mansons guitars have been loved by Acoustic magazine since the rst issue and for good reason. We do our caps to this Magpie.

repeated delay and the great thing about using the delay e ect is that it is a good discipline for keeping in time, you MUST play in time with this piece

Arpegiated Sequence #1

ON CAMBER SANDS

otherwise the harmonies do not work and the whole e ect is lost. Special note should be taken with the bent notes in bars 32/33 and the hammer

on and pull o section to the open E string in bar 36. This composition can of course be performed without utilising a delay e ect.

54 Huss And Dalton OM Claro Walnut Custom

Have you ever played a guitar made with walnut? Acoustic magazine insists that you do.

58 Veillette Terz 12-String

2011 110 ACOUSTIC MAGAZINE NOVEMBER

Paul Brett gets to grips with this fascinating instrument from luthier Joe Veillette
110 ACOUSTIC MAGAZINE NOVEMBER 2011

62 Michael Sanden VRB-c TT

94 Pierre Bensusan
Some arpeggio work to impiove your right hand dexterity.

106 Clive Carroll

In his rst column Clive explores a lute piece by John Dowland.

Sounding a little like a performance sports car with the initials TT, will the Sanden get your musical pulses racing?

66 Taylor 416CE

96 Gordon Giltrap
Explore the dusty end of the fretboard with On Camber Sands

110 Chris Gibbons

Chris helps you develop your right hand picking technique.

Have Taylor produced a comprehensive guitar which is truly an all-in-one instrument to satisfy all players?

70 Cort Parlour 900P

Special Features

Professional period made instruments from one of the worlds most proli c places. Will you want to court the Cort 900P?

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76 Preventing injuries in guitarists

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