New Technique for Playing Classical Guitar (I)

1 July 2015 – 11:05 pm Posted in Instrument & Playing, Western Classical Music

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.

This entry was written by Mehrdad Mahdavi
Tagged: Chin technique, Lip technique, Nose technique, preserving tonality in arrangement, unplayable intervals by Classical Guitar.

Bahma Rajabi Passed Away!

Bahman Rajabi, the renowned tonbak (Persian goblet drum) player and educator, passed away at his home at the age of 86 due to a heart condition. He was the founder of a distinctive school of tonbak playing, and his teaching methods have been widely used by instructors of the instrument for decades..

Reza Vohdani; Unveiling unpublished works, preservation of Iranian classical music

Reza Vohdani is a renowned name among tar (traditional Iranian instrument) players, especially within the Iranian music community that values the meticulous practice and teaching of traditional music. While Vohdani honed his skills in music theory and tar playing under the guidance of masters like Ali-Naghi Vaziri, Ali-Akbar Shahnazi, Hossein Dehlavi, and Ahmad Forutan-Rad, it is his unwavering dedication to studying, documenting, and teaching the Iranian classical music repertoire that has solidified his prominence in the field. Recently, Vohdani’s family decided to make his preserved works accessible to the wider art and music community. In this regard, The Persian-language newspaper ‘Iran’ spoke with Sadjad Pourghanad, a musician, university instructor, and music researcher, who shared his opinion into the project, as detailed in the interview below.

Latest posts

From Past Days…

Banan: the Artist of the Age

Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.

A Look at Ali Tajvidi’s Manifold Musical Activities (I)

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

The Role of Arts in Development of Societies

Mr. Mohsen Ghanebasiri, author and critic in the field of economy, culture and arts, as the next speaker, highlighted the role of arts, specially the music, in development of societies: “As far as the individual upbringing is concerned, a newborn baby is absolutely dependent. The relation between the baby and the parents is based on orders. There is lots of relativity in these orders; therefore, they are political orders. In the economy, however, the relations are mutual and based on common logic; hence, the formation of the concepts of democracy and individuality.

Music education in third-world countries

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (1)

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets* Basic Ideas and General Structure The Enlightenment, an epoch of intellectual fervor marked by reason, individualism, and cultural evolution, indelibly left its imprint on the arts. Mozart, a luminary of this transformative era, intricately wove these ideals into his compositions, particularly his string quartets. This article…
Read More »

Interview with the Makers of the New Qeychak (II)

Regarding the classification of a new instrument in an instrument family, one can point to a number of fundamental issues, one of the most obvious of which is the instrument’s visual features. If we look at how the new instrument has changed compared to its historical versions, the set of visual elements that link the instrument to the Qeychak family becomes apparent. But other characteristics such as the geometric dimensions of the instrument, characteristics of the instrument’s various parts and how they relate to each other, its systematic performance, its sound range (compared to modern versions), the material and color of the sound, the way it is played and the like, can be considered in order to classify the instrument in the Qeychak family.

The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

The Structure of Kurdistan Daf (II)

With its simple physical structure and captivating sound, the Daf never belonged to a particular culture or location, and every nation had different usages for this instrument considering their dominant customs and traditions.