
The prepared
guitar technique IÕm mostly specialized in is playing with a third bridge. With
this technique I mean you put in a pencil, screwdriver or whatever other
suitable solid object underneath the string. IÕve allready written quiet some texts about this
technique. A short introduction can be found in WhatÕs 3rd Bridge?.
In the article about the Moodswinger I
explain what happens and which tones appear if you play the opposed string part
at every possible 3rd bridge position. With the third bridge
technique you can create sounds reminiscent to a harp, piano, koto, clock, bell
or woodblock, depending on where the additional bridge is placed. The third
bridge theory became for me an eye-opener about the relation between physics,
music theory and the development of the logaritmic Western tuning
and Non-Western musical scales.
IÕm
especially intrigued by pitch bending heavily low pitched strings while I play
at the opposed part. Pressing the string up while strumming causes weird
overtones at certain moments. Very natural sounding screams, reminding of the
trumpets of an elephant. You can also get some kind of a similar effect on
tailed bridge guitar when you play it with a slide and strum it behind the
bridge. If the distance of the slide to the bridge is equal to the length of
the tailed string field, the tone increases a lot in volume.
Adding a
third bridge is mainly altering the sound when you struck the opposed string
part, it can also be used as a shortening of the string. Very short string
pieces, like for instance 10 cm, cause a dry sound, which is close to the sound
of wood blocks or other percussion instruments. This effect becomes more
apparent at thicker strings. Tuning strings very low causes interesting
results, changing the sound of the woodblock in almost the sound of a tom. John
Cage often used very short string piece preparations at his prepared piano.
Pat Noecker
of These Are Powers is playing a
Jazz bass with a rod put between the body and the strings and he plays it very
often on both sides of the additional bridge. Neptune
also have employed their self built instruments likewise.
In texts
about piano tuning sometimes the inharmonic sound of the higher notes is
mentioned. This is equal to this preparation technique with the very shortened
strings. At piano tuning this is an important aspect to solve as much as
possible, therefore the grand pianos are being developed with longer strings.
But inharmonic doesnÕt necessarily mean it sounds bad. As long as inharmonic
tones are very short we can handle them good. The sound of a woodblock is
pretty friendly. A metal bar on the contrary sounds more awkward, because the
sustain of the tone is much longer.
Like said, These are Powers is playing with a dowel in
between the two pickups on their Jazz Bass. Besides whatÕs mentioned above
their preparation leads to a shortened string length of the string field at the
neck side. This leads to a distorted fret board scale. The 12-tone scale is no
longer functioning as an equal logarithmic scale. The tenth fret for instance
has become their octave position. This leads to all kinds of interesting
intervals not present in regular Western music and might give the impression
the played tones on the fret board are more close to Eastern music. The added
rod is a third bridge preparation, but since he plays on the neck pickup it is
a direct playing technique and has, in case he plays a this side not very much
to do with changing the timbre with resonance, like happening on the
Moodswinger. He also plays at the opposed side or with the bridge pickup on,
which causes the Confusion is Sex link
on their last album. In that case it is similar to the Moodswinger technique
and the shortened scale is not what mainly causes the odd timbre alterations at
those situations. Therefore his technique is for me as a builder very
interesting, because it combines all kinds of 3rd bridge options in
only one preparation.
Go to Chapter 2 Š Prepared Guitar Techniques,
2.2 Weaved Bridge
Back to How to Prepare a
GuitarÕs Starting Page
Back to Chapter 1 Š Introduction
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