Pedal Points Part 3: Inner-Voice Fretted PedalsAugust 19, 2017
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This masterclass explores the inner (or middle voice) pedal point designated to fretted notes. Most often pedal points are employed either in the lowest or highest voice of a chord or chord progression. The use of inner pedals in one’s chordal playing adds a unique and very satisfying sound sometimes with an abstract harmonic underpinning. Working with inner pedals are great for building left hand technique and coordination between left and right hands.
These exercises can be used as intros/interludes and endings but also as compositional textures for original music. Once the concepts are studied it will be easy to create your own inner voice fretted pedals. The examples range in styles and consonance/dissonance. Some of the harmonies are purposely ambiguous yet harmonically interesting. There are a wide variety of pedals used in the examples, many are pedal 5 and pedal 1 but you'll notice pedal 2 (or 9) and more.
Many of the PDF examples in this class feature contrary motion between the outer two voices in the three-part harmony, a most satisfying sound. There are also chapters on diminished and whole tone exercises, as well as examples of minor blues and dominant blues progressions. Some examples demonstrate finger gymnastics of the fretting hand. The exercises will do wonders for left hand finger dexterity and right and left hand coordination.
The use of inner pedals can open up a whole other realm in one's playing. Learn a very useful concept that will inspire creativity and offer some new and exciting textures.
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Chuck M (Saturday, 26 August 2017)
Genius is a much over used term, but Steve Herberman is one of the few who is doubtless worthy of the epithet. His performances and educational materials have made me realize that he is the heir to the throne that George Van Eps left vacant when GVE moved up to heaven.
For years I have attempted to plow, though quite futile was my journey till now, a musical furrow in the land of pedals. In other words I thought a pedal was only a sustained note in the bass. Well, I was wrong. Steve has proved to me that pedals provide a way to express a bouquet of contrapuntal ideas. As I began to listen to Steve perform the perfectly transcribed and fingered sounds on the video material I suddenly realized that Steve was revealing, particularly in the open voice triads section the sounds of everything from Ed Bickert's wonderful harmonic concept to Jim Hall's colors to Bach's resounding contrapuntal soundscapes to Joe Pass' flights on his Virtuoso series. Steve has let the cat out of the bag and gives away the store. We all can now be our own chamber music group with just six strings on one instrument. Steve has revealed a way to play that mankind previously thought was only able to be performed by a piano or multiple instruments.
This material, while applicable to guitar, is also applicable to arranging, improvising and traditional composing. This class can serve as a lifetime of of ideas about how to make some very real, original honest and beautiful musical statements that others will be glad to listen to.
This class will change your musical life. You will be limited only by your imagination when applying this material to everything from the harmonies and melodies of Bach, Bird, Berlin, Gershwin, Paul Simon, Porter, Beatles........