Hurler by Robert Maltais

By Robert Maltais

L. a. tentation était trop belle! Robert Maltais a passé une bonne partie de sa vie dans le monde de l. a. chanson : des berceuses de Perlin dans Passe-Partout, au concours Ma première position des Arts qu'il a créé dans les années quatre-vingt-dix. Il fallait bien qu'un jour, il succombe... Voilà qui est fait! Son nouveau roman, c'est l'histoire d'un chanteur. Et ce n'est pas un « gars ben ordinaire »...

Après Les Larmes d'Adam et Corps célestes, voici Hurler, le troisième opus d'un cycle qui en comptera sept. Avec toute l. a. verve qu'on lui connaît, Robert Maltais signe ici un roman empreint de spiritualité où los angeles musique joue un rôle déterminant.

Hurler, c'est l'histoire d'un gars entêté et débrouillard qui a décidé de laisser derrière lui sa petite sécurité de fils de fonctionnaires pour plonger dans l. a. vraie vie. Sa vie. Plus une cenne, plus une cigarette, le grand Stan half avec son clavier sous le bras, persuadé qu'un fabuleux destin l'attend...

Voici donc un fils de bourgeois qui quitta son Outremont natal pour les bars du Quartier latin, à Montréal. On était en 1980. Les Québécois votaient non au référendum. Enragé noir, le jeune Stanislas Jutras, grab ans, amorçait une carrière de chanteur.

On le suivra pendant plus de vingt ans, au Québec, en Suisse, en France. Des rencontres qui vont changer sa vie et celle des autres. Jusqu'à ce que, un jour, il entre en touch avec un jeune moine suisse qui a le pouvoir de faire des miracles; Ouriel Thiercy y laissera-t-il sa peau? Et Stan Jutras, son âme?

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After you get the buzz, increase the pressure on the string incrementally, until the sound is clean and clear. Go back and forth between buzz and clean note to learn how little pressure is necessary to produce the note. Do this with all fingers on all strings, and feel how your left hand lightens up as a result. indd 27 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 4 4 4 4 4 4 4 4 9/27/10 10:32 PM 28 Part I: Preparing to Practice Cutting down on excess finger movement For speed and dexterity, you want to play your bass with as little excess motion as possible, especially from your left-hand fingers.

Indd 14 3 5 6  b 3rd 5th b 7th 6 5  5   Root 3rd 5th b 7th 2 Chord Tones  6 5  5 2 5 3    2 3 5  2 4 5    2 4 5         5 Mode  b 5th b 7th 6 2 3 5    2 3 5     4 6 3 5 5    2 3 5    4 6 3 6  5  3 5 3    6    5 3 Dorian Mode  Mixolydian 3  5 3 3  4  Ionian 3  3 3 3  CØ C-7(b5) Cm7(b5) Root b 3rd  2  Aeolian  Chord Tones  Mode 3  Chord Tones 3          5 3 5 3 Root b 3rd 5th Root  4 5 Modes  3   3rd Chord Tones 6 3     3  Ionian  2     Root Mode 5 2 3 Chord Symbols  Root Chord Tones 3     3 CM7 CMaj Cmaj7   3  Chord Symbols    Mode  5 Locrian 3 3 9/27/10 9:14 PM Chapter 1: Reviewing Practice Fundamentals 15 Occasionally you encounter chord symbols that use numbers other than 7 — 6, 9, 11, or 13.

Indd 19 9/27/10 10:32 PM 20 Part I: Preparing to Practice Figure 2-4: Using a strap to join hands behind the back. Crossing the Strings with the Right Hand The right hand is responsible for striking the string — not only setting off the vibration that produces the sound, but articulating it, too. With all that in hand (pun intended), you want your right hand to be as coordinated as possible when it comes to finding the proper string. Your left hand is the one that chooses the notes to play, and you tend to be much more aware of the left hand than the right.

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