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Having moved to Spain at the beginning of June I am attempting to absorb myself in Spanish music generally. However, having been introduced to a (famous) Spanish Classical guitarist and after a rather stilted discussion (he has very little English and I currently have even less Spanish) it transpired that he has invited me to compose something for him to perform in public and/or record. I gather he has volunteered to insert all tablature and other mysterious fingering elements to make the score publishable so the appended score and MP3 are still in the very early experimental stage and obviously look rather naïve (but hopefully the actual music is less so).

Any constructive comments would be welcome and, for those of you who take the trouble to listen to and critique the music, very many thanks.

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Socrates,

You are not only erudite but also, as your name so aptly suggests, wise. Thank you for your comments and for sharing your knowledge with us. It's a pleasure to read such well considered comments and would wish that such high standards could be maintained across CF; I will certainly try a bit harder to match the quality of your input.

Thank you for your advice and encouragement - I will for sure do as you suggest and look once more at the process of writing for such a fine instrument....now let me see if Sibelius will provide me with a guitar chart in tablature and show me appropriate chord diagrams and scales/modes in single notes and the intervals you mention.

Don't hold your breath, but it goes without saying that when I do produce something you will be the first to be asked to pass judgement on it.

Very many thanks.

Hi Stephen,

I just thought that building a guitar chart by copying notes to tablature hexagrams  may be confusing a little at first so I came up with this (see attached PDF).

 

A FEW (preliminary) COMMENTS

 

  1. Up to the 12th fret the guitar has 3 8ves range all very usable in any string and any fret. After fret 12 the 3 upper strings are utilised for melodic playing and in combination with open strings, but the left hand adopts the thumb position (similar to the cello) and it is not quite so agile, but use it if you want and experience will accumulate of what is possible and what is not.
  2. Regarding chord diagrams, there are thousands of possibilities. You can manipulate them from Engraving Rules => Chord Symbols or => Guitar. A more practical solution is just to copy-paste any chord you write in a tablature staff and see what suggestion it gives. Sibelius defaults tablatures in open strings and low positions but you can vary this in File => Preference => Note input => Guitar Tab fingering, where you can find various options regarding tablatures in the right side of the page.
  3. There are 3 main tonalities/open positions on a guitar in normal tuning, for both major and minor versions, namely E, A, D, with 2 more open positions C & G but slightly less easy, imo. All these tonalities are used very effectively in both classical and flamenco styles. Any chord that uses up to 3 fingers of the left hand and a combination of stopped and open strings in these tonalities can be re-fingered and transposed chromatically up the fingerboard according to the principle 1-2-3 = 2-3-4, thus freeing the index finger to apply the bare technique.

Barring on fret with the index finger can be from 2 to 6 strings at will.

When the left hand plays by holding a bare, fingers 2,3,4 don’t lose any significant agility, but stretching beyond 4 frets can be problematic in some cases. In general stretches can be difficult or sometimes impossible for small hands/short fingers.

 

Regarding scales in 3rds, 6ths, 8ves * 10ths, I think is best if you had a look at Giuliani's op.1 where he has a lot of studies and technique points for both hands. Downloaded it and look how am old master proceeds in clarifying technique.

http://maurogiuliani.free.fr/en/

 

Right hand technique is a separate quite complicated subject, but usually we employ index and middle fingers for fast passages (in two main strokes, apoyando (rest stroke) and tirando (free stroke)), and any combination of three fingers and thumb for arpeggios and chordal playing (the little finger is not used normally except in flamenco style rasgueados). You will observe a lot of this right hand combinations in the Giuliani op.1

 

If I think of something else I will come back. :-)

Attachments:

Giuliani op 1

Op. 1 Mauro Giuliani

Sorry, some confusion there...

Op. 1 Mauro Giuliani

Looks like pdf is to large and this board is slow (let alone my connection which is hopless at present :-) )

but you can download op. 1 from the link above.

Mr. Lines, this is a casual, general, and minor league comment.

Where's the hook?   and, as I listened, I heard no sense of conceptual

continuity. I found the section at about the 2:40 mark, until the teeth

started to chattering again, lol   very interesting, and worth developing.

I thought that was its best attribute.  Happy harmonies,  RS

Many thanks Mr. Stancill for your interest and for your comments which are anything but minor league. Hook......what hook? I only use those for fishing. But you're right about there being little or no continuity and I agree with you about the material at 2.40 which I am keen to develop.
My name, incidentally Roger, is Stephen....what's with all this formality my friend?

handshake accepted Stephen   

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