New Technique for Playing Classical Guitar (I)

Abstract
Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

Introduction
In this paper, based on published arrangements of Classical Guitar masterpieces, invention of new techniques by the author, for escalating musical capabilities of the Classical Guitar in playing classic pieces is introduced for the first time. There have always been restrictions for arranging pieces of other instruments for the Classical Guitar, which have notes with far-away intervals. This paper is a new impression of playing Classical Guitar, which may improve competence of this instrument for those interested in listening classic music.

Necessity of Applying a New Technique for Playing the Classical Guitar
Any professional player of Classical Guitar or those with adequate understanding of playing this instrument know, for playing different chords and melodies, there should be proper placement of fingers and selecting the correct position by the left hand. However, all considerations for the left hand, finally requires suitable sounding by fingers of the right hand.
A practical example may assist comprehension, before going into the main issue; while you have gotten a chord on the tenth position (X) and simultaneously take a bass note on the 4th position of the 6th string; do you have any solution how to play this? Consider this situation for even further-apart intervals and while preserving chord of the 10th position try to play F# (F-sharp) note on the 2th position of the 6th string; what could we do then?
Experience answers these questions: “it is possible to play notes which such wide-apart intervals without re-tuning the instrument”. Accepting this issue, the necessity for new techniques for playing the Classical Guitar is the objective of this manuscript.
Development of these techniques by the author, began by working on arrangements and masterpieces of Ronald Dyens, which should be considered a contemporary pioneer in Classical Guitar, recognizing much potential of the Classical Guitar by rich and coherent harmonies in his plays; you can recognize in many cases the complicity of harmonies in pieces for the closed mode for positions, and this actually his talent. But if the interval between voice types would be too much wide-apart (referring to the aforementioned question), and tries to prevent this and fulfill the audience within that closed position, by applying a rich harmony. The second artist, generating the idea of these new techniques, is the great artist of Classical Guitar Kazuhito Yamashita.
This manuscript is not trying to review characteristics and thoughts of artists, but it should be mentioned how they led the author to develop these techniques; about two years ago while the author was reviewing arrangements of Yamashita for “Pictures at an Exhibition” by Modest Petrovich Mussorgsky, he realized its unusual character in compare to all other arrangements for Classical Guitar. Positions and finger-placements were very difficult, or as musicians say “uneasy to fingering”, applying vocal colors and various techniques in each page of this arrangement, and the further you go over this arrangement, you will face a combination of all elements a Classical Guitar player avoids. These conditions raised the question in the mind of the author: is this arrangement with all these details and complications playable for all musicians?
With no doubt the idea of Yamashita was not providing an arrangement to be playable for all musicians; but who could play such an arrangement?!! It seems this did not care for Yamashita, because the major concept among all musicians “that the standard interval between the fingers of the left hand” are neglected in this arrangement. However, even if you have sympathy with Yamashita, even with the most flexible and powerful hand, it would not be possible to get and interval more than 6 or 7 fret on the head of the guitar.

The Lip Technique

By this technique of playing a Classical Guitar your could get a half position at the 10th position on the 6th string of the guitar near the headstock, and get the note with your upper lip (you should get the note completely hard and strike in order to prevent a buzz-sound). This note should be played with the outer part of your upper lip in a while your upper lip is supported by pressing your upper teeth behind your upper lip.
The Lip Technique
This is the first approach for listening improper wide-apart intervals, which was not possible to play with a guitar, without this technique. However, for playing any technique, intended daily exercise is necessary, which the author provides his personal experience as follows, in order to be as a guideline and basis for development of this technique:
1- Before getting the notes with the upper lip for applying this technique, it is necessary to inspect the upper part of the fret on the fingerboard of the guitar not to have any sharpness or rough edges, by gently rubbing the hand on these surfaces, in order to ensure its safety for the lips. Unfortunately some guitars do have such problems.
2- Continuous application of this technique needs care to prevent contact of the inner side of the lips with the string; a soggy string with saliva gives an unpleasant feeling to the musician, also from the health and neatness point of view is not acceptable (as illustrated in the picture, the upper lip is curved into the mouth to prevent contact of the inner side of the upper lip with the string).
3- Sudden moves of the neck towards the fingerboard of the guitar, is a significant point to care about. While the author was busy with working on “Prelude in C# minor [Op.3 No.2]” by Sergei Rachmaninoff, it was needed to have sudden moves of the neck on the positions on the guitar. If such movements would needed to be used continuously, physical exercise and warm-up for the neck and upper parts of the body is suggested in order to prevent spasm of muscles, because this could be the worst condition to occur for the neck of a musician.
4- In the case of having dry skin of lips or shucks on the surface of the lips, it is suggested no to apply this technique.
5- Finally, exercises such as playing scales (chromatic scale and diatonic scale), playing intervals and adding different rhythm patterns is suggested, in order to preserve readiness of your upper lip to play notes with different shapes and values. However, it is recommended to exercise on the 6th string.

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Parviz Meshkatian’s Heart Beat for People (I)

Amidst the popularity of traditionalism in the Iranian music, Parviz Meshkatian (1955- 2009) moved from Neyshabur to Tehran. He learnt to play Santour and became educated in the Radif of Iranian music at the Centre for Preservation and Promotion of Music which was at the forefront of promoting the return to musical traditions. Despite his studies at a centre which promoted the use of the phrase “traditional music” in Iran, Parviz Meshkatian emerged as a creative artist whose innovative and unique ideas attracted the admiration of Iranian artists and people from different walks of life. This article studies the reason behind Meshkatian’s deviation from the wrong approach of traditionalism strongly promoted by the Centre and argues that apart from the issue of theory of Iranian music, he can be considered as Ali Naqi Vaziri’s successor.

Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End

Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

From Past Days…

Payam Taghadossi: Talented Iranian-Austrian Cellist

Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.

Polyphony in Iranian Music (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

Principles of Violin Playing (VIII)

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

Quality Decline in Regional Music Festivals

Regional music festivals are organized to, firstly, introduce the music of different regions and, secondly, to support its performers. Regional music festivals are held in large cities for various reasons, including the availability of financial and executive facilities and the presence of an audience. However, the organization of these festivals has always been one of the challenging issues of ethnomusicology. The reason is that the presence of regional music performers in large cities places them in a context other than the context they would normally perform in their homes; consequently this change in situation leads to changes in the quality of their performance.

Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

Behzad Abdi’s opera Rumi was physically released by Naxos

Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.

Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End

Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

Principles of Violin Playing (X)

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

Violin’s inner mold, an essential factor in developing the idea of violin

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.