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And make no mistake, this is for all guitarists and not just for those eccentric classical players. So how do you get this great tone? OK, here it is.
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The great Zen teachers say that when one can find joy in silence and find interest simply in the feeling of the breath entering and exiting the body, then everything else will be powerfully stimulating. I am certain that when we understand how each note on the guitar sounds, from its birth until the time when our ears can no longer hear it, and how that sound makes us feel, then we will have some idea of what to do with the notes. The guitar is a magical thing with which we can access a very profound level of consciousness and communication not easily available in our normal existence. You don’t play a typewriter or a blender. The process of acquiring fine tone will define to you all the things that are possible when the union of your hands, ears, mind, and soul with the guitar occurs. If you play a simple melody with beautiful tone, you will touch the souls of more people than if you tear through Niccolò Paganini’s “Caprice No. Hearing a lovely sound is much of what is appealing about music. If you have lovely tone and have done the work that is required to achieve it, then it’s more likely that people will be moved by your playing and will want to hear more of it. I think that possessing beautiful tone is most of what it takes to play great. Strong statement? Not if you play guitar. That beautiful, sweet tone, which can soothe the ear and bathe the mind in a euphoria that is as close to bliss as sound can bring us. The good thing about the guitar-and it is so good that it makes us want to toil endless hours with our aching fingers and strain our ears and stretch our musical boundaries trying to overcome the aforementioned problems-is that gorgeous sound. And it is extremely difficult to play polyphonic music on the guitar, even though it is often used as a solo instrument. Bach violin and cello suite transcriptions. The acoustic guitar has several drawbacks: It’s too quiet, doesn’t have much sustain, and arguably lacks any significant repertoire from most periods before 1920, other than some lute, simple keyboard, and J.S. There are good and bad characteristics inherent to every instrument. Relearn your picking-hand approach by breaking it down into discrete steps. Your tone isn’t amazingly beautiful, like Andrés Segovia’s.
TRANSCRIPTIONS BY BACH FREE
This article is free to read, but it isn't free to produce! Make a pledge to support the site (and get special perks in return.) LEARN MORE.įrom the May/June 2020 issue of Acoustic Guitar | Michael Chapdelaine