Abstract
This chapter offers perspectives on the creative use of wah-wah techniques – and more general use of the guitar's imitation of vocals –a field underrepresented in the literature. The lack of prior research may be due to wah-wah's liminal positions of rhythm, timbre and pitch components; tone and effect; as well as its occupation of boundary between vocal expressive 'lead' and textural 'rhythm' guitar playing styles. The connection (and delineation) of the guitar with the human voice is explored as a foundation to an analysis of the primary musical parameters of wah-wah performance. This chapter offers four key contributions: 1) a mapping of vocal registers and timbres on the guitar fretboard and a comparison of vocal and guitar 'communicative channels', 2) a distinction between paraphonemic and zygonic expression 3) The wah cube – an analytical and practical model intersecting the a) fundamental frequencies, and b) 'mutedness' of input notes, with c) wah resonance position, and 4) an insight into the countless creative ways the respective rhythm of guitar transients, timbral patterns (through muting and other timbral modifications), and wah resonance contours interact in guitar practice. Case studies from the repertoire are used to illustrate key concepts. Guitar and Vocal Bonding The guitar and the human voice have long enjoyed a special relationship in the blues, rock and other guitar-driven popular music spheres. The traditions are replete with examples of the guitar taking on the role as a surrogate for the voice, or a loyal side-kick and 'partner-in-emotion'.