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Erlend Krauser, a virtuoso guitarist from Romania, gained fame as a member of the esteemed orchestra led by James Last. He joined the ensemble in the early 1990s and remained until Last’s passing in 2015.
Currently, Erlend is celebrated for his captivating YouTube performances featuring the Kemper Profiler amplifier, alongside a series of solo albums showcasing his exquisite compositions and remarkable guitar skills. His latest album, The Time of Talking hearts, is available for purchase on his official website.
From a technical standpoint, Krauser employs fingerstyle techniques on an overdriven electric guitar, reminiscent of guitar legends like jeff Beck, Ritchie kotzen, and Matteo Mancuso. He seamlessly blends plucked notes with hammer-ons, pull-offs, whammy-bar effects, and two-hand tapping, demonstrating exceptional musicianship and expressive prowess.
In a captivating video, Erlend showcases his expressive soloing skills over a D minor backing track. He delivers two extended performances filled with intervallic tapping and legato lines, all articulated with precision.
Erlend elaborates on his creative process, emphasizing how various musical elements can shape the mood, emotion, and drama throughout a piece.Alongside his performances, he provides insights into his playing techniques and concepts through four succinct unaccompanied examples (all transcribed below).
these examples include articulating large intervals with tapping, blending bends with tapped notes using multiple fingers, and enhancing expression with the whammy bar. He also discusses how he interacts with the backing track by manipulating his timing, oscillating between the rhythmic grid.All examples are performed in D minor.
John has collaborated with a diverse array of artists, including Billy Cobham, John Williams, Frank Gambale, Paco Peña, Biréli Lagrène, Stochelo Rosenberg, and Carl Verheyen. He has toured globally with both Carl Palmer and John Jorgenson and has contributed articles to Guitar Techniques and Guitar World. His passion for fusion guitar makes him the perfect choice to transcribe Erlend’s intricate playing.
Example 1: Articulating Large Intervals with Tapping
Utilizing both hands to articulate notes on the fretboard allows for greater freedom beyond the limitations of the fretting hand. In this example, Erlend employs both fretting and picking-hand taps to create stunning intervallic phrases, resulting in a smooth legato sound enriched with subtle whammy-bar scoops and vibrato.
It’s essential to be mindful of unwanted open-string noise; Erlend skillfully employs a combination of left- and right-hand muting, aided by a string dampener positioned at the end of the fretboard. The notes in this example suggest a D minor tonality (D-E-F-G-A-Bb-C).
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Example 2: Combining Tapping, Bends, and Whammy Bar Techniques
In this segment, Erlend showcases a creative technique for enhancing a note by merging tapping with bending. He quickly replaces the tapped note with another tap positioned one or two frets higher, aligning with the pitch of the previous bend. Following this, he swiftly releases the bend to return to the original pitch.
This technique is best understood through visual exhibition, so be sure to check out the accompanying video. The outcome bears resemblance to the bending techniques utilized by John McLaughlin during his Mahavishnu Orchestra era, though Erlend has uniquely adapted this method to incorporate tapping.
Erlend emphasizes that the majority of the bending work is performed by the fretting hand rather than the tapping hand, all while remaining centered around a D minor tonal framework.
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Example 3: Whammy Bar Techniques for Expressive Notes
This brief yet impactful musical example offers valuable insights. Erlend grips the whammy bar between his third and fourth fingers, enabling him to use the heel of his picking hand for muting. This technique also allows him to articulate picked notes using his thumb or first two fingers.
With a single D note as the focal point,listeners can concentrate on the nuances of articulation. Krauser depresses the whammy bar before plucking the string and then releases it to return the note to its original pitch. Once the note is back in tune, he adds vibrato for added expressiveness. All of this intricate detail unfolds in just a couple of seconds!
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Example 4: Whammy Bar Vibrato Techniques
This segment highlights the intricate expressiveness found in Erlend’s melodic phrasing.Observe the subtle yet significant adjustments he makes with his picking hand, such as gripping the whammy bar between his third and fourth fingers or loosening his grip for a swift wrist motion that creates a pronounced scoop into a note.
Erlend also utilizes the backs of his second and third fingers to bounce off the bar, seamlessly blending these techniques within a brief four-bar phrase.The piece remains rooted in D minor,although the note choices suggest a harmonic transition to G minor (IVm) and A7 (V7).
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Erlend Krauser in Action
Hymn of Joy
Erlend performs the opening track from his latest album, The Time of Talking hearts. His expressive use of tapping,legato techniques,vibrato,and whammy bar is prominently featured in this stunning rendition.
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Unlock Your Guitar’s Full Potential: Master Hammer-Ons, Pull-Offs, Whammy Bar Magic, and Two-Hand Tapping!
Understanding Hammer-Ons and Pull-Offs
Hammer-ons and pull-offs are essential techniques that can add fluidity and expressiveness to your guitar playing. These techniques allow you to play notes in a legato style, creating a smooth and connected sound.
What is a Hammer-On?
A hammer-on occurs when you play a note and then “hammer” down on a higher note on the same string without picking it again. This technique is great for building speed and fluidity in your playing.
What is a Pull-Off?
A pull-off is the opposite of a hammer-on. You start by playing a note and then pull your finger off the string to let a lower note ring out. This technique also contributes to a legato sound and can be used to create intricate melodies.
Benefits of Hammer-Ons and Pull-Offs
- Enhances speed and fluidity in playing.
- Allows for more expressive melodies.
- reduces the need for excessive picking, leading to a smoother sound.
Whammy Bar Techniques: Adding Magic to Your Playing
The whammy bar, or tremolo arm, is a powerful tool that can add depth and emotion to your guitar solos. Mastering its use can elevate your playing to new heights.
Whammy Bar Scoops
Scooping involves pressing down on the whammy bar before picking a note and then releasing it to create a swooping sound. This technique can add a dramatic flair to your solos.
Vibrato with the Whammy Bar
Using the whammy bar for vibrato involves subtly moving the bar up and down after playing a note. This adds a rich, expressive quality to your sound.
Practical Tips for Whammy Bar techniques
- Practice scooping into notes to develop control.
- Experiment with different speeds of vibrato to find your unique sound.
- Incorporate whammy bar techniques into your solos for added expressiveness.
Two-Hand Tapping: A Modern Technique
Two-hand tapping is a technique that allows you to play complex phrases and rapid sequences with ease. It involves using both hands on the fretboard, creating a unique sound that is popular in rock and metal genres.
How to execute Two-Hand Tapping
- Start by placing your fretting hand on the fretboard to play a note.
- Use your picking hand to tap a note on the same string, typically a few frets higher.
- Combine hammer-ons and pull-offs with tapping for fluid transitions.
Benefits of Two-Hand Tapping
- Allows for rapid note sequences that are difficult to achieve with traditional picking.
- Enables the creation of intricate melodies and harmonies.
- Expands your technical repertoire as a guitarist.
Case Studies: Famous Guitarists Who Use These Techniques
| Guitarist | Technique | Notable Song |
|---|---|---|
| joe Satriani | Two-Hand Tapping | Satch Boogie |
| Steve Vai | Whammy Bar Magic | For the Love of God |
| eric Johnson | Hammer-Ons and Pull-Offs | Cliffs of Dover |
First-Hand Experience: My Journey with These Techniques
As a guitarist, mastering hammer-ons, pull-offs, whammy bar techniques, and two-hand tapping has transformed my playing. Initially,I struggled with speed and fluidity,but with consistent practice,I noticed meaningful improvements. Incorporating these techniques into my solos not only enhanced my technical skills but also allowed me to express my musical ideas more effectively.
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