||Perfect Point is both a philosophy and an empirical approach to playing intervals on the guitar. Ultimately, they converge.
|The parameters of Lloyd Garber’s music changed after an interesting observation in the mid-sixties. He noticed the relationships between doodles on a telephone pad and fragmented sounds improvised on the guitar. Brain prints without borders. Music conventions and acts of containment gave way to a broader perspective of sound.
Systems were dismissed. Themes, motives and scales, avoided. Units of
two sounds making up “one interval” became the
basis of the working material. String mutes, harmonics, behind the
bridge plunks, and sonic thumps on the guitar body became the new
texture. A new vocabulary of proportions creating configurations of
relationships – “music of the
||Perfect Point is about
“total” guitar playing. Wide intervals with edge
bridges. Texture with new harmony tensions and mutant notes containing
head plings, string scrapes and reduced pitch. In short, prepared
playing as guitar technique without added alligator clips or other
devices. String sound as a regular part of the pitch, texture and
motion. Clusters are employed – two or more minor seconds
with cannibal tendencies. And in part six and ten, a collection of free
form compositions featuring interval sounds and string sound
Perfect Point. Ten
Parts. 260 pages.
Design Karen Houle Last Updated September 2014