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Dmitry Nilov|CREATIVE WORKSHOP "CLASSICS OF SOUND"DN


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#21 Sound

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Postad 20 november 2017 - 09:52

Hello!

I'd like to present to your attention new educational videos by Dmitry Nilov.

Hope, they will be useful for someone.

 

Skype lessons//M.Giuliani Sonatina №3 op.71 part I |English subtitle

https://www.youtube....Vru3jDWY&t=159s

https://vimeo.com/243607271

 



#22 Sound

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Postad 04 december 2017 - 16:10

   

Hello!

I'd like to present to your attention new educational videos by Dmitry Nilov.

Hope, they will be useful for someone.

Classical guitar. The independence and strength of the right hand's fingers. Dmitry Nilov

https://www.youtube....h?v=dvPu58-30wE

Classical guitar. independence and strength of the right hand's fingers. Dmitry Nilov Playing this exercise regularly, we develop the strength and independence of the right hand's fingers. It's often difficult for a performer to play combinations, like a-m-a, m-a-m, a-i-a, i-a-i, that influences negatively the technical freedom. It also affects the certain techniques: tremolo, arpeggio, passages. It's not a secret that any technique sounds better when all fingers are well-developed on the same level, make a sound of high-quality and don't loose the tactile contact with strings.

 



#23 Sound

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Postad 27 december 2017 - 17:33

Dmitry Nilov | Mauro Giuliani Etude №16, op 51. Skype Lessons. Mauro Giuliani Etude №16, op 51. [English Subtitles]



#24 Sound

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Postad 18 januari 2018 - 14:24

Hello!

I'd like to present to your attention new educational videos by Dmitry Nilov.

Hope, they will be useful for someone.

 

Francisco Tárrega-Capricho árabe. Dmitry Nilov. Skype Lessons [English subtitles]

https://www.youtube....h?v=gr8yFtbiEJ0



#25 Sound

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Postad 08 februari 2018 - 20:43

Hello!
I'd like to present to your attention new educational videos by Dmitry Nilov.
Hope, they will be useful for someone.

Francisco Tarrega. Recuerdos de la Alhambra. Dmitry Nilov. [English subtitles]

https://www.youtube....h?v=vyXuAb_e5Nw



#26 Sound

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Postad 22 februari 2018 - 08:44

  Dmitry Nilov: Georg Philipp Telemann - Fantasia no. 3 in F Minor [arr. Carlo Marchione]

https://www.youtube....h?v=qYE66RWuVHE



#27 Sound

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Postad 22 februari 2018 - 08:45

Дмитрий Нилов:



#28 Sound

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Postad 08 mars 2018 - 14:46


Dmitry Nilov: Flexibility of joints, independence of fingers, elasticity and strength of muscles. [Left hand]

https://www.youtube....h?v=T31S40N52nk



#29 Sound

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Postad 29 april 2018 - 03:41

Hello!

I'd like to present to your attention new educational videos by Dmitry Nilov.

Hope, they will be useful for someone.

 

Agustín Barrios Mangoré - La Catedral. [Dmitry Nilov, guitar]

 

https://www.youtube....h?v=bvQSbQ7vxSU



#30 Sound

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Postad 17 juni 2018 - 17:23

Thank you for your question!

Dmitry Nilov's working upon the cantilena technique is based on next approaches:

The right hand's position:

- In Dmitry Nilov's opinion, the classical right hand's position (of Tarrega and Segovia), that is based on the muscular freedom and plasticity, is compulsive. It's very important.

 

The articulation of sound:

- The classical right hand's position provides the following advantages while performing:

 

Classical positioning of the right hand. Dmitry Nilov (Part I)

https://www.youtube....h?v=9nw7p_8TLSo

 

Classical positioning of the right hand. Dmitry Nilov (Part II)

https://www.youtube....h?v=_XKWDQnsYGE

 

- The main aim of this technique is to provide as long as possible duration of each note of the piece that is performed, meeting strictly requirements of scores. The sound shouldn't be shorten by no means, but conversely each note should be left in a last moment. It depends on the left hand's ability (independence of fingers and lightness of a wrist). It's difficult to achieve on a guitar, but the music is worth the cost.

- The sound is made by a nail, but touching a string by a tip of a finger is obligatory (it will provide a tactile contact with strings). Playing with a finger on a string and "preparation" can be used either as a stage of practicing, either in those cases when it doesn't affect the duration of the sound, either is determined by articulation. Otherwise the full-featured sound is impossible.

 

Preparation as a stage of the practice. Part 1//D.Nilov/

https://www.youtube....h?v=2KuuKli9Rsc

Preparation as a stage of the practice. Part 2//D.Nilov//

https://www.youtube....h?v=Bbsj8AcaWvw



#31 Sound

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Postad 09 juli 2018 - 10:08

Enrique Granados. La Maja De Goya. Dmitry Nilov



#32 Sound

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Postad 09 juli 2018 - 10:11

Dmitry Nilov: Working at a program 

Responding questions that I occasionally receive in private messages.
Practice is a dialog with an instrument that consists of different stages. I'll point out just most evident of them.
1) You should have a precisely adjusted conception of a piece you perform. Otherwise I find no sense to start working with a text. This conception can later change, but it's strange if it doesn't exist at all.
2) Then comes the detailed study of the fingering which is based on your conception.
3) Scores' knowledge: it should be an easy job for you to write any fragment of a piece from memory.
4) While playing a piece you should name each note inwardly and accompany it with a visual control of your left hand.
5) You should be able to "play" a piece in a slow tempo without an instrument, but feeling it in your hands, looking in scores only and naming notes aloud.
6) ) You should be able to "play" all your program without scores and without an instrument with your eyes closed, naming notes inwardly and feeling a contact with an instrument.

It is a minimum.

It doesn't concern a music, but only a skill. Otherwise you'll have no freedom. These are only several examples of a practice while meeting which you have a chance to feel yourself freer. And also these is a technique. And it's also a minimum.

This should be a standard. At least for me it's a standard for last 15 years. Plus a technique and a literacy. And then it's possible to do smth if there is a background.

DN



#33 Sound

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Postad 05 september 2018 - 15:54

Dear all!

 The interview with Christopher Parkening appeared in the YouTube this August. It's very interesting in general. But I'd like to point out 2 replies of Maestro:

 GuitarCoop Interview Series - CHRISTOPHER PARKENING - Part 2/4

17:51  - The Sound

 

GuitarCoop Interview Series - CHISTOPHER PARKENING - Part 4/4

5:40 - Right Hand

In my opinion this is accordant to this theme...

 



#34 Sound

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Postad 13 januari 2019 - 16:31

Dear all!

 

How I make my videos.

https://www.youtube....h?v=VtvDtZ00GVE

 

Isaac Albeniz - Asturias [Dmitry Nilov]

https://www.youtube.com/watch?v=chN1Qda82xQ



#35 Sound

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Postad 19 mars 2019 - 07:37

Hello!

I'd like to present to your attention new videos by Dmitry Nilov.

Alonso Mudarra Fantasia X [Dmitry Nilov]

https://www.youtube....h?v=54-9-HS5Vls

 

Agustín Barrios "Un Sueño en la Floresta" [Dmitry Nilov]

https://www.youtube....h?v=ylgHt4j2IJk

 



#36 Sound

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Postad 10 september 2019 - 20:45

How to learn to distinguish a good guitar from a bad one? "Attack" [Part1]

 

Main criteria for choosing a classical guitar

 

Part 1

Attack

 

- We've got a new instrument today, we played it for a while.  The strings were put on just yesterday. You put the strings on yesterday evening, right?

- Right.

- And we have some questions from people who are interested. In fact, there are quite a lot of them here. We will announce some of these questions and some will wait until our next record. Here we go: "How to distinguish a good guitar from a bad one? What should be our guide when choosing an instrument?” What could we recommend, just the simplest things?

 

- The difficulty of this question is that, first of all, we have to define the ['kætəg(ə)rɪ] category of the instrument. Because...

- Of which class, right?

- Yeah, of which class the instrument is. I.e. a learner’s instrument, a professional instrument - not a student instrument - intended for a serious musician, for concert work. It is clear that the range of requirements for an instrument designed for highly professional concert work is very wide, but there are some general rules common for all instruments, i.e. the instrument can be simple, of a low price category, but at the same time it can be, as we say, the right one. Right in what sense: first of all, it should have the right sound generation. The sound generation is a...

 

- Yeah, many people don't understand what “the sound generation” means. I also often say to people "attack", "sound generation", and they ask: "What is it?”.

 

- The sound generation is all about how the sound occurs, how long it lasts, and how it fades out. And how these very sounds interact with each other. The notion of "sound generation" does not include the notion of "timbre". And this is a [ˌfʌndə'ment(ə)l fundamental thing, because many people, including professional musicians, do not understand it. Often the musician plays an instrument, for some reason he likes the instrument, and he says about this instrument: "it has a very good timbre," although the timbre there may be pretty mediócre. So, the sound generation consists of two main indicators: this is the attack you mentioned... Well, about the attack it’s very simple, because the guitar – as well as any musical instrument in general - is a kind of mechanical device, then from the moment you touch the string, that is, the moment of plucking, before the instrument’s body fully engages, i.e., our string plays a role of a generator, it vibrates and, because it is even and has an equal thickness and elastîcity, it generates the entire spectrum of harmonics. The harmonics are frequencies multiple to the main tone frequency of the note that you are extracting. And then the body amplifies it all, working both as an amplifier and as an equalizer, because depending on the instrument design, the guitar body is like, let’s say, the equalizer on your sound system... where you have 100 Hz, 200 Hz, 500, 1000, and you can make something lower, something higher, and you will in one way or other change the color of the sound. So the body performs this function as well as the function of an amplifier. And the problem is - since the pieces we play include switching fast enough from note to note - that the body works at maximum speed, i.e. this time interval, measured in milliseconds, which passes from plucking to fully engagement of the body, should be minimal. This time interval is called the attack speed.

 

- The speed of the sound arising.

- No, not the speed of the sound arising. The string engages earlier than the body does. The string is primary, it generates some sound there.

 

- It gives away its energy, doesn't it?

- Yes, it does. And the speed at what the body will engage after the string - this is the attack of the instrument. And the attack referred to the string depends on your plucking, on the technique of plucking. You can make quick movements or you can make smooth movements, depending on what you want to achieve as a timbre result, in particular, to soften the sound, to sharpen it - etc.  But the attack of an instrument is how much time will pass from the time you pulled the string before the whole body is fully operational. And, all other things being equal, the less time it is, the faster  is the body’s engagement, the more comfortable and convenient it is to play.

 

- I just wanted to make it clear: the attack can be not bad on quite cheap instruments as well?

 

- It doesn’t depend on the class of the instrument. The class of the instrument can affect the beauty of the sound, timbre flexibility, variability, the power, for example, can also depend on it. And the attack speed doesn’t depend on how high-end the instrument is. I.e., you can easily find an instrument that is just a factory-made one, for some three hundred dollars, which could have a fine attack. Just luckily made the right elasticity.

 

- Does the dynamics depend on the attack?

 

- I would say, not necessarily, there is no direct connection. That is, there can be an instrument with a relatively slow attack, relatively slow means up to certain limits. Why - I'll make a reservation:  if the instrument has a very slow attack, it will lead to the fact that when playing music it won’t have time to switch from note to note, and all this music will turn into such a mess, i.e., the following notes and the previous ones will overlap ...

 

- It must be especially noticeable when playing some lively music, isn't it?

- Yes. And even if not very lively, it is also appreciable, when we deal with open strings there.

- For example, it's hard to play passages on the guitar, and many people don't manage it. I guess it depends a lot on how it reacts, how fast it reacts?

 

- Not only passages. But the guitar passages are basically pretty hard to play. It is just connected with the complexity of the guitar playing technique. It's especially difficult to play – now I’m certainly leaving my home turf, but nevertheless...

 

- That's okay.

- It is particularly difficult to play upward passages when the effort goes towards oneself and the hand moves from the string in the opposite direction. When you play a downward passage, you can quasi drag your hand from string to string, but when you play an upward passage, you can't drag anything. You have to move your hand exactly by these 11 mm, which are the distance between the strings. But there is, for example, a technique where the speed of the attack has a fundamental impact, it is legato.

 

- Or some embellishments when we play melismata in baroque music.

- Sure. Now I'm playing legato: I don't make any effort at all. I can sit here and pull as long as I want. And when you face the fact that you need to play legato... I mean, I do not make any efforts now.

 

- Yes, I see.

- I just put my fingers on it, and everything is sounding. And when you need to smash a finger on it, than another one to make your legato sound properly - and the outcome isn’t as expected -  that means that the instrument doesn’t have time to response, because the effort for the plucking is much more than the effort for legato, and if  the instrument has a detained attack, it does not have enough time or energy to engage quickly.

 

- Is there another general test for choosing an instrument?

- We haven't finished yet. In this case, I spoke only about the attack. When we play the bass, for example, there must be a certain feeling that the sound appears as if by clapping, so to say. You can’t hear it when playing higher tones, but when playing bass you can.

 

- Now you have a little turned away from the microphones. So. I can hear it, yes. It’s like an explosion, isn’t it?

- Yes, there is a feeling of such a clap, a shot. It shouldn’t occur that you pulled - and after a while your sound starts to swell up and gain power. It's not okay. But again, we probably are talking about people who already have something to do with guitar...

 

- Absolutely, yes. Well, I mean, if someone is attending a music college, he has to make a choice regarding his instrument.

- A college is already quite a serious level.  The second story is also fundamentally important and also related to the sound generation, it’s the dynamics.

 

 

How to learn to distinguish a good guitar from a bad one? "The dynamics". [Part 2]

Part 2

The dynamics

 

- The dynamic range, the loudness range. That's an essential point. The mistake that most musicians make when they lay their hands on a new instrument in order to test it somehow, they start playing it very loudly and see how loud it can sound. This is not a test at all, because the first loudness function in a strict sense is not part of the definition of a musical sound. That is, if we think about by what criteria we distinguish between musical and non-musical sound, we will see that there is no loudness in these criteria, not in any form. That means that a musical sound differs from a non-musical one not by loudness. Absolutely not. Next point. The human physiologically adapts to loudness. Let’s take a trite example:  you have come to a disco. At the first moment, just as you came in - you get dazed by the bass sounds coming out of the loudspeakers, you can hear neither yourself nor anybody standing next to you. But in 10 minutes – there you go - you're used to it, you don't think it's loud anymore, you're already able to talk to someone, your ears adapt. What is the mechanism of this? We are in some environment; there is a certain - in decibels measurable - general level of noise, the loudness of the environment. Our ear assumes this average level as a reference point, so everything down from this point is regarded as quiet, and everything up from it is regarded as loud. This is the dynamic range. So, first of all, any instrument and guitar in particular as an instrument has an upper limit of loudness anyway (not infinitely, no). Secondly, the musician certainly has a limit of his physical resource, because when you play something fast there, for example, you don't have an opportunity to stress every note expressly. But this dynamic range width is determined by how well the instrument can sound quietly. When you play very quietly...

 

- By the way, the most impact on the public is produced by the extreme piano, pianissimo.

- ...as far as you can. Here I‘am playing.

- If the instrument doesn't allow you to do it, it's a significant disadvantage, of course. And, most importantly, it does sound in this dynamics, it doesn’t ….

- I'm playing now, without any effort, just by slightly touching it with my fingers.

 

- That is, how much effort you put into the instrument, so does it sound.

- Correct. First of all, as you just rightly said, it should sound when playing quietly. Here I’m playing quietly, but you can hear every note clearly.

- Absolutely distînctly, yes.

- Everything can be heard, the sound has a clear beginning, which is also a sign of the attack. When playing quietly - without making an effort, pulling the strings and creating so an illusion of the attack - but just smoothly pulling the string, your sound is coming out. I’m barely playing deliberately right now.

- The instrument should sound adequate to the efforts made.

- And this is the second question, I just didn't get to it. And then, moving towards a stronger loudness, you increase the effort. And now I’m increasing it slowly. And this gradation should be accurate. That is, it’s wrong that if you have been playing quietly, then slightly increase the effort - and the instrument suddenly sounds loud.

 

- Overall, it's like a good car.

- Well, the change of the loudness should be adequate to the change of the plucking force. And the wider is this gradation line, i.e. the finer tuning you can do, the better is the instrument dynamics. And this width of this range is to a great extent determined by pianissimo, i.e. how well the instrument sounds when played pianissimo.

 

- So, in general we got a sense of the attack and dynamics.

- Of the attack and dynamics we got a sense. Now... There is this wonderful notion called "evenness ".

 

 

 

How to learn to distinguish a good guitar from a bad one? "Evenness". [Part 3]

 

Part 3

Evenness

 

- Often musicians check this evenness, as they think. They start playing the scale.

 

- To check string buzzing, I guess. Or something else? All musicians love to check buzzing.

- It's not even about the string buzzing. On a good guitar, buzzing should not be too evident, sure, but because the instrument has its own resonances, there is some buzzing there anyway. But that's not the point. The point is that if you try to play every string from the beginning to the end, until you get from below here – up to here, you will 10 times forget what you had here. Too much time will pass, you'll adapt to the new range, so it’s not a way to determine the evenness. What is called evenness, in the music is manifested as follows: you play some musical texture, you’ve got a passage, a chord, an arpeggio there, in one range, in another range. And regardless the consonance and technique of the play, everything should sound at the same high quality level. Especially, of course, this applies to what is happening in the chord. That is, you can determine this so-called evenness only by playing a chord. So, you put any banal major chord. Walk your thumb through it.

 

-  Please closer to the microphone.

- You swipe with your thumb and see that you've extracted all the 6 sounds which constitute this chord. After that it fades out. One question: In the next fraction of a second after you've swiped, what's left of that chord? Do you have only the bass, droning with a blurred sound, and everything else is gone somewhere or turned into an indistinct mess, or do you have a smooth fading of all the notes in the aftersound?

 

- An even fading.

- And, if you listen carefully, you can hear all the intervals that it consists of. Here I take two middle strings, the 4th and the 3rd, and I've swiped, and if I focus my attention on those strings, I'll hear that this interval sounds sustainably. And this one. And this one. And this one. That's the way it should be in any range: I'm playing at the lower level and I'm playing at the upper level. Here it is - this chord. For example, this chord, strangely enough, doesn't sound properly on most guitars.

 

- Yeah, well, the first chord in the prelude by Lobos, for example. That is, the bass remains, yes, but the third string is not here.

- Yes, but it should sound...everything.  And here's this 3rd note - here it is. I.e. all 4 notes are fading out even. And widely spaced-apart consonances when being played.

When we play and here we hit this A, it's short, small, and when we strike the D – it’s large, bass, the whole open string. But all this should sound like a complete normal consonance, and not so, that this quiet and passed squeak was an A, and those terrible howl was a D. Here we have 3 notes of A, and it should not happen so that you can hear only one of these notes A, and the other 2 are not heard. And one more test, very essential, which is well run on the first etude by Villa -Lobos, where there is this very middle part, where...

 

- Where the chord is moving, huh?

- Where there is a pressed chord...

- And open strings.

- And the two open strings E, which, of course, due to resonance still support each other, but the chord should sound equally.

Well, doesn't matter. And here's this piece - it's just a testing one.

 

- Testing, yes, demonstrative.

- First of all, this chord is not purely major or minor, it is a seventh chord, in fact, and these are the two open strings. That is, there are dissonances inside the chord, which do not contribute in any way ... I.e., globally speaking, when you play a purely major consonant harmony, the notes there quasi support each other, due to the common harmonics. In the dissonant chords everything happens in a different way - there, on the contrary, a pulse occurs between harmonics. And here you have the dissonant chord, and here are these two open ultra-consonant strings, because it's the same note. And at the same time, the chord should sound in any part of the range, should sound evenly, as a normal full chord.  This is a test in relation to the evenness.

Next comes this slippery slope called "timbre". Because, what I've been talking about so far are actually objective criteria, then in the timbre, in the perception of timbre due to individual features, there is, of course, a hefty dose of subjectivity, but there is also objectivity.


 

How to learn to distinguish a good guitar from a bad one? "Timbre and sustain" [Part 4]

 

Part 4

Timbre and sustain

 

- Timbre is the very set of harmonics which make up each sound. When we hear some note, for example, an A, the fifth open string, so we hear not only its frequency of 110 Hz, but we hear a large set of frequencies that are multiples of these 110 – i.e. 220- ...

- Timophey, sorry for interrupting you. Did I get it right that we are kind of shifting into the category of a top class now? Well, not the top class maybe, but rather expensive instruments?

- No, you didn’t. The fact is that when we talk about the top class, we are talking about...well, that is, generally speaking, a quantitative characteristic.

 

- Well, I mean instruments not for 300, not for 500 dollars, but serious hand-crafted instruments.

 

- No, that's not true. An instrument for 300 dollars may also have a normal timbre.

- That is, it’s possible to find.

- But what is the point. The point is that the quality of this timbre - quality in the sense of "is it correct or is it not correct" - is determined by the fact whether these overtones that are above the basic tone of the note, whether these overtones are harmonics, that is, whether they are multiples of the frequency of this basic tone, or not. This is one point. And which of these overtones are activated, because there are octave harmonics, there are harmonics of fifths, which constitute a fifth over one octave from the basic tone. There are harmonics, which represent a major third, i.e. one major third over 2 octaves from the main tone. They are of deciding importance, because a third - and much more a fifth, and much more an octave - are consonant intervals, and when they enter the sounding of the very note, then, in fact, the note represents a kind of chord, and further it occurs that the higher the number of the harmonic, i.e., the more distant it is from the main tone, the more narrow becomes the interval between neighboring harmonics. And at some moment this interval comes down to a second. And if you have this low spectrum of harmonics, for example, up to the tenth (i.e. we have the fifth tertian harmonic and the tenth tertian harmonic, well, and also the twelfth harmonic of the fifth) and if this low spectrum of harmonics does not work, but only the main tone of the note is working and these high dissonant overtones are active, the sound is in the result sharp, empty, there is no depth in it, but there is a nasty ringing, it comes across  as glassy, ugly, hard, dirty - you can describe it as you wish.

 

- Is that dictated by the guitar design? Well, that's another question, of course...

- That's another question, we'll answer it later.

- But in general it depends on the design of the instrument, doesn’t it?

- It does, of course. Of course, it depends on it. Well, even if only a few harmonics, closest to the main tone, well, those consonant harmonics, are active and if they have a sufficient amplitude, then you will have a correct timbre. It won't be disgusting, it won't be harsh, it will have some correct character. Simple, maybe, but not disgusting. And a top-class instrument is set apart simply because he has much more of such working harmonics, they build well, and the very consonant harmonics are active in a higher spectrum. Well, and this is an instrument of another class.  Furthermore, there is timbre mobility, i.e., to what extent the instrument responds to some changes in sound extraction.

 

- For example, vibrato, right? Timbre changes...

 

- Not necessarily a vibrato.

- You can just simply carry your hand from the stand to the fretboard, let’s say.

- You can carry your hand. But the point is that when you play something agile, you don't have time to carry your hand - you have to manage to hit the strings in time. So you don’t really have much time at your disposal. But you can adjust the sound color...

- Through the angle of attack, of course, yes.

- Through the angle of attack, yes. And a distinguishing feature of a high-end instrument is that the slightest small change in the angle of attack...

 - It’s reacting...

- Yes, it's reacting. And you can play like this. And it's like two completely different sounds.

- But it's also a matter of playing techniques.

- Well yes. But you can possess a wonderful technique, but if the instrument...

- No-no, it’s the understanding of what you want.

- Well, yes. But it could be that you have a technique, but the instrument doesn't change its sound in any way. Yeah, well, there's also a brief comment about everyone's favorite sustain...

 

- Oh, yeah, I just wanted to ask.

- You should understand that... sustain is a big trouble for a guitar.

- I think it's just a killer for a performer.

 

- Yes.

- If the music is slow, so it’s ok, somehow it can be... handled....

- Because guitar is an instrument with free fading. Unlike piano, there are no dampers, no pedals, etc. …

- There's a direct contact with the string.

- Yes, a direct contact with the strings: how you have pulled it, so does it sound. Therefore, if an instrument has a very large sustain and as a consequence it switches poorly from one note to another, because it also requires some effort, the music turns into a mess and it’s very difficult to play.

- Very difficult.

- That's why this effect - the effect of melodiousness of a guitar, which exists, of course – this effect is connected not with sustain, but with the rapid flow of one note into another...

- Well, I get it.

- And it causes the fact that there are no holes (but all this also relates to the attack, by the way) and there is a feeling of this melodiousness. Plus the controllability in the sense of the same vibrato, i.e. you can swing with your left hand and prolong the sound, amplify it a little bit. But in the very sustain of a single played note and some other single played note - there is nothing good in it.

 

- I remember our meeting with Romero, as he took the instrument - a high-class instrument - the first thing he said was: "I wish the sound was shorter.

 

- Yes. That's right. That's right.

- And in the environment of a hall, especially of a good one, it provides a finish sounding by harmonics.

- But, yes. So you shouldn’t strive for any sustain...

 

- But there is some actually in this guitar, too, isn't there?

- There is some in any guitar, of course, because you have time of fading. The point is, simply, how does this very fading look like? If you, for example, press a key on the keyboard of a synthesizer, a note will start sounding. You are holding the key, and this note keeps on sounding. This effect has to be avoided.

- Playing is awfully uncomfortable.

- That is, the guitar should have a fast attack...

- And then a fall.

- ...and a rapid fall in amplitude. And a finish sounding already with essentially smaller amplitude, mostly by harmonics instead of the basic tone - and then such a guitar is comfortable to play. Because otherwise you will experience tension, you will have to control plucking all the time, muffle and damp something...

- Well, it just doesn't feel good when you are playing a technique, for example, or a legend or a tremolo. You always feel – because the tempo is fast, actually, despite all the simplicity of all these playing techniques, that there are a lot of sounding notes there. I mean merely the technique. And when it all blows up to such an extent, it's absolutely impossible to control. Very, very difficult, at least.

 

- Exactly right, yes.  And, by the way, speaking about "blowing up", another criterion belonging to the part of dynamics is how easy it is to change from forte to piano.

- Switching.

- It’s not a problem to change from piano to forte: you hit it harder – and here it is, forte. But to switch from forte – it should be the instrument itself that switches. Because when there...

- Oh, you just hit it!

- I just stepped with my heel, in a manner of speaking... I'm going from forte to piano. And there is no trouble with that.

- Well, I think we answered this question in sufficient detail, you answered it.

- Yes, I guess so.

- I think we will finish with this question for today...


 



#37 Sound

Sound

    Nykomling

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Postad 14 september 2019 - 12:46

Conceptual differences between "fan bracing" and "lattice bracing" design. Questions to the master.

 

 

About forecasting and designs

 

- What question do you think we should choose? Look, there is a question like this: "Is it possible to foresee (forecast) the level of an instrument before you put strings on it? It means to understand in advance what it will be like and how it happens. And there is a question: "In your opinion, what are the principal differences between the design of classical guitar and the design with a lattice, and what are the advantages of both designs?“ Which of them should we better answer, because they're actually quite difficult questions, I think.

- Not really...

- No, aren’t they?  Well, let's talk about forecasting.

- The answer is short: the forecasting is possible. Moreover, it is necessary. Moreover, just the ability to foresee the result (namely, by means of purposive actions to pursue this result and get it as you have planned it) - that is what professionalism in this work is. That is, if you just know how to assemble the body – well, any cabinetmaker is able to make it, there is no problem here. It's a difficult work, but not deadly difficult one. But, in the sense of sound, if every time you assemble it you are simply waiting for what comes out, it just turns out like working in the dark, it is something like a bear riding a bicycle in the circus. He doesn't know what a bicycle is, he doesn't understand why he's riding, he doesn't understand the meaning of this action, how spinning pedals is connected with the turning of the wheels, he doesn't understand anything - he is just performing some mechanical action. So - to answer it very briefly, because a long answering doesn’t make sense -  the body of the instrument, or rather the instrument, like a string, for instance,  has its own set of resonances, i.e. its own set of notes. That is, it has its basic tone and it has a set of harmonics. And you can hear it all.

- And at what stage can you forecast the instrument?

- Before you started making it.

- In your opinion, what are the fundamental differences between the classical guitar design and the guitars where a lattice is used, and what are the advantages of both designs?

- The point of designs with different types of lattices - from such a primitive physical viewpoint, i.e. if you take a certain abstract plate and set yourself the task of achieving a uniform distribution of elasticity on this plate, then the lattice is a very great thing: it covers the entire plate evenly, over equal distances, it becomes thinner towards the edges and you get a plate that - on its basic tone (attention!), i.e. on the large form of vibrations - works as a whole like a diffuser, it works extremely effectively. It also works exceptionally effectively on the small forms of vibrations which appear in these very cells. And what do we have? We have a low spectrum expressed with a high intensity and a very high spectrum expressed with a high intensity, but in the very middle spectrum of harmonics, which I already mentioned, up to the tenth or twelfth - here we just have a lapse. And such a sound will have only one advantage: this design allows us to achieve some abstract loudness, simply measured in decibels.  But the sound itself regarding its timbre will be poor, sharp and won’t have great mobility. That is, no melodiousness there - it will be perceived as a cold sharp sound. And so, actually, it is. Such instruments can be loud by relatively little effort. If you simply would measure in decibels, such an instrument can be very loud and create an illusion of brightness due to these high frequencies, but, in fact, this depth or what is called a warm timbre, it is not there. And here, by the way, it is necessary to understand, that beginning to invent any strange designs, we absolutely forget, what guitar has won the entire world. To what does the guitar owe its popularity all over the world? And, in fact, there aren't many of such instruments - the violin can also be mentioned here - which in different cultures have taken root as folk instruments.  That’s all of Europe, all of Latin America, they adore this instrument in Asia: Japan, Korea, China. So it’s this warm, lively, mobile sound that attracts people. It is not the only plucked instrument in the world; after all, people have their own folk instruments in different cultures. Nevertheless, the guitar has conquered the world. And, actually, the classical design is just focused on showing this middle spectrum of consonant harmonics in the maximum degree. As a rule, they have a better situation with the dynamic range - not with loudness, but with the very dynamic range - the space between piano and forte. And the sound is warmer and livelier when talking about timbre. It has arisen from a chase of loudness, but, mainly, it has arisen from a complex of guitarists, that the guitar should sound like a grand piano. Somewhere someone has born it in the head, and began to invent something to make it sound like a grand piano. So you have to tell yourself once and for all that the guitar will never sound like a grand piano.

- There is no need to.

- …...and its advantages lie in a completely different area, absolutely. And the values of the piano... By the way, the piano, unlike the guitar, has a very low efficiency factor. There are a huge number of strings there, he weighs Goodness knows how much, there is a cast-iron frame and on each note there are 3 strings. And also a very complicated mechanism of sound extraction. And with that in mind you have no possibility to work with the timbre on a grand piano. It's only possible by varying the attack. There's no other way to work with the timbre on a grand piano. The grand piano wins over through its mass, so to say. And the guitar is a unique instrument, because both hands are directly contacting the string and participate in sound processing. Such possibilities of working with the timbre as the guitar them has, still have to be searched, if at all possible to find. Than even the violin has a go-between – it’s the bow, and the guitar has both hands directly contacting with the string and that is its advantage and that explains its popularity. So it doesn’t make any sense to strive for a piano, you have to make a guitar, trying to use the resource of this design as much as possible, not try to make a piano without legs.

 

- Yes. By the way, I see a grand piano in the background - what piano is it?

- A Steinway.

- Made when?

- A Steinway of the year 1940. A very good baby grand.

- Okay, I think,  it’s enough...

 






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