I'm very glad to announce you the first volume of scores for electric guitar and delay for the italian editor Glissato Edizioni Musicali made by Pablo Montagne
with the interesting preview by Maurizio Grandinetti : "Pablo Montagne’s very unique musical history has determined over the years an innumerable
quantity of idioms, experiences and personal, creative journeys around the six strings.
In this way, around his music, many musical instruments and their extensions have accumulated
impelling him to transform or literally deconstruct and recompose the implement of his profession.
In order to make one his own, he is even prepared to dismantle or to modify the most precious
instruments, or, in some cases to make new ones. For him, experimentation is fundamentally an
obligatory route: the exploration of a musical territory, considered “off limits” by anyone else, but
not for himself.
Many composers desire the same thing, but the main problem is how to follow through this research
on such a traditional popular instrument as the guitar. Pablo is an extremist: he will go to great
lengths in his executions to avoid the risk of conforming with the traditional approach to guitar
playng. Whether composed for classical, electric or acoustic guitar, his music calls out loud for
attention, or, I would say almost a rhythmic and technical “re-education” for whoever wishes to
adventure along his pathway.
The “Mirrors” are compositions for electric guitar and delay. The parameters (that can have
different names depending on the type of delay) which are mostly used with this effect are: the
timing of the repetition (expressed in milliseconds) and the feedback or duration of the delay (in
these studies, only one repetition is foreseen). So if one pays attention to the metronomic
indications and the delay settings, it will be possible to enter into this set of studies.
Being as how the delay is a “mirror”, one will immediately realise what kind of rhythmic definition
and precision in the articulation of musical technique will be necessary: the smallest imprecision
will have repercussions on the musical “dough” for the duration of the delay. Eventually, one will
acquire the precise sense of the necessary “timing”. The rhythmic weaving, with the help of the
delay, stratifies the intricate polyrhythms and through study one should develop considerable
elasticity in following the overlapping levels of rhythm.
With “Mirrors”, Pablo Montagne accomplishes a leap ahead for the written electric guitar repertoire
picking up again the thread left by Fred Frith, Thurson Moore (Sonic Youth), Glenn Branca, Elliot
Sharo, Robert Fripp.
On my part, I strongly advise taking seriously these scores, not only for their musical and artistic
value, but also for what they have to offer from a formative point of view.
You can hear these interesting passages on Youtube: