9

In English, it's called closed score. Open score means one instrument or voice per staff, as with most SATB choral music. Open score is easier to analyze, but often harder to sight-read because the shape of the fingering hand (guitar) or each hand (piano) isn't immediately visible on the page. Open score also occupies more space on the page, so it ...


8

You fell victim to the horrible inconsistencies of harmonics notation. There are lots of ways of notating them, for example: Notating the actual sounding pitches (which is, in my humble opinion, the only good way to do it). Notating the open strings that need to be sounded, and placing a number that says at which fret the harmonic needs to be sounded ...


5

"Anon" here does not imply there is no "exact version." The composer or copyist referred to as "Anonymous of Schwerin" was most certainly a particular individual from that town. The only "anonymous" thing about him (almost certainly him, not her) was that we don't know his name. I would guess that the original manuscript was written in tablature. The piece ...


5

This can be a rather complex process. If you want to infer something about the geometry and materials of the bracings and the quality of the tone produced you had better make sure you have all the guitars in the exact same set up in the lab and that the microphone or other device is mounted at the same location relative to the guitar. The acoustic field ...


5

If the saddles are staggered, it's due to intonation. One may think that each of the six strings ought to be exactly the same length, but from a physics point of view that isn't so. Due to each string being a different density, and gauge, each one needs its own speaking length, which when adjusted accurately will make each fretted note sound better in tune. ...


5

In my opinion, if you're playing it as fast as you want and your hand does not hurt, then it's absolutely okay. (I think that when I played this piece (a couple of years ago), I actually used only one finger for the B string, most probably m. Alternating p-m-p-m-... is quite natural.) Alternating two (or more) fingers is very good if you want to play some ...


5

A bit more detail following piiperi's good suggestion. First play a good clean chord. Try to have at least some fingers touching others. Then release pressure, but still keep fingers touching the strings. press down again, and strum, to check the sound is still clean. Do this with each chord several times. Next, play a chord, but this time, take your ...


4

NH and <> both mean the same thing. They're natural harmonics


4

Flamenco requires very crisp response for fast, powerful melodic play even in the bass register (as well as for parts that would in other styles be played on specialised bass instruments). That requires high-tension bass strings: lower tension strings would clatter a lot against the frets, which would obscure the actual notes played. On the other hand, for ...


4

Everything Tim said in his excellent answer is exactly right. But I would like to expand on what he said for those who may encounter this question in the future and want a more detailed explanation. Almost all guitars provide some type of "compensation" at the saddle (part of the bridge) as a means of adjusting the intonation so the strings stay ...


3

Using a curved capo on a flat fretboard or a flat capo on a curved fretboard may not damage the instrument, but it definitely will not work correctly as previous answers have detailed. For others who may read this post seeking the answer to the same question who are like me (visual learners), I have provided some pictures below to illustrate the problem ...


3

I suppose you might scratch the back of the neck if using a clamp-on that is too small (i.e. meant for thin neck, used on thick neck). But that might happen anyway if you are not careful. As you say, the curvature of capos is different for different applications. So when using a capo meant for a curved fretboard (e.g. electric) on a flat fretboard (e.g. ...


3

Fluorocarbon have a harder, more direct response and feel, and less of a “singing” tone. In some sense, switching from nylon to FC has a similar effect as switching to a longer scale length. For an electric-guitar analogy: it feels like switching from a Les Paul to a Strat (though obviously the difference is not so extreme). Most of that difference is just ...


3

I'm assuming you're talking about fretting-hand information here, since picking fingers are usually as p-i-m-a, not numbers. Given the size of the internet, there surely must be some resources, but a generalized one? Doubtful. It's more important to keep in mind that all fingerings in sheet music are partly hints & guidelines. No two hands are the same,...


3

No advantages for guitarists. They are used to reading everything on the treble clef, even though they play an octave lower than written. If they had to read bass clef as well, te notes would only go as low as the third space up, so there's no advantage.


3

The top package has silver and/or nickel windings on the bottom three strings, the bottom package has 80/20 bronze windings on the bottom three strings. That’s why the packages have those words on the front. I’m not sure but I expect the top package has a brighter tone and is intended for classical style guitar. The bottom package probably has a darker ...


3

Specifically for playing triplets, where the music is counted in 3s. Don't know why the middle finger isn't used instead of the ring, though. Might have something to do with the length of fingers - some players (not me!) have similar length i and a, but m is much longer.


3

There is a wide spectrum of rasgueados in flamenco. Perhaps the most basic aspects to consider are 1) wether the finger pattern matches the rhythmic pattern of the music, 2) the difference in sound between various strokes, 3) the final placement of your fingers at the end of the rasgueado and 4) personal idiosyncracies. Note: please note that in all the ...


3

I don't know whether you are counting bars so that "-where" falls on bar 2's 1 or on bar 1's 3. Your description is not quite right either way, but seems to be closer to the mark if "-where" falls on bar 2's 1. Very well then, I make it that the first four bars are: So the chord in b.3 is Em9, so b.2's second chord (beats 3-4) is B13m9. So the so-called E♭ ...


2

When you hear the buzzing, try touching small bit of string between the bridge and the peg. If this is the case, you can install a dampener (bit of rag) or restring that string (do an image search to find different ways of tying a classical string). Another possibility is the string between the nut and tuning pegs, but that shouldn't be as loud. Last, it ...


2

When played without an accent on the second 3/4's downbeat, then you're right in hearing it as 4/4 + 2/4 or, more pedantically, 3/2. That accent may often be omitted because it would distract from the melody, which is more interesting than the straightforward harmony. Why do "they" still notate it as 3/4? Because how it progresses from teacher to pupil ...


2

I have the same problem. I see this is a very old post, but thought I may contribute anyway. It may help someone. I have the problem not because of a lack of calluses. I have played for 40 years, and for the past several have played for hours every day.I have had well developed calluses for a very long time. But I also have an autoimmune disease which has ...


2

The harmonics on fret 7 give notes that are the 5th of the open string. So - on 6th string, tuned to D, the harmonic sounds like an A note. The 7th fret harmonic on the A string will sound like an E, and theat on the 4th string will be another A note. One finger across all three strings will do it, unless you favour 3 fingers. I guess the piece is in D ...


2

Most proper classical guitar music, arrange by guitarists for guitarists, will contain numerical indicators in the sheet music for (1) the position, (2) which left hand finger to use for a note, (3) which string the note should be played on, and (4) which right hand finger should be used to pluck the note. This is a lot of information and is essentially TAB....


2

My guess would be that the parentheses indicate that something is optional. Since most of them occur on a dot before a lower note I'd say that they indicate that its up to you to decide whether to hold the first note over the lower one or not. Also since the piece is Anon, probably there's no exact version and so on the top line in your example the parenth ...


2

You look at the notes in the scale. Whichever of them happens to be E, A, D, G or B, (or an enharmonic equivalent) can potentially be played with an open string, at least from the one octave. And assuming that your guitar is tuned to regular E A D G B E tuning. The C major scale doesn't have any sharps or flats, and its notes are: C, D, E, F, G, A, B From ...


2

Most listeners can't tell the difference between bronze-wound strings and silver-wound. It is often said that the silver-wound strings (actually silver-plated copper) sound warmer, and that the bronze-wound strings are punchier. I say 'silver-plated copper wound' because pure silver winding would be prohibitively expensive. It all comes down to that ...


2

One can pick using any number of right hand patterns. For really fast tremolo it is usually better to alternate because it makes no sense to think that one can use the same finger twice at a high speed. Of course there are exceptions to every rule. I would request that you post a picture of the sheet music so we can see what you are doing. It is diffcult ...


2

Practice the instantaneous pressing-down of the chord shape with your left hand fingers, without doing anything with your right hand. The pressing-down of strings makes a "hammer-on" sort of sound. It can't be as loud as fingering normally with your right hand, but try to make it reasonably loud, or at least loud enough to hear each of the fingered strings ...


1

Yes, most properly-built classical guitars should handle standard high-tension strings without problem.


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