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 ...


4

It's not really fretting two fingers on the same string for any purpose. The chord at that point has four notes (that's what I hear), and the index finger is easier to use if it strays onto the 3rd string as well. No reason other than convenience and comfort. It could have been put on the top/second string with the tip lower, but that didn't happen.


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

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. ...


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

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

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

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

Oh boy, this is a can of worms. I suggest trawling around youtube for advice. There is also the Delcamp classical guitar forum which has various long disussions about nails. The best shape for the nails depends on so many factors that little general advice is possible. For most players it's a long process of experiment. If you're using standard flamenco ...


3

Can't think why any string needs to go through the hole twice! Difficult to describe in words, but here goes. Put one end of a string through the hole in the bridge, pushing away from the soundhole. Pull 3-4" through. take that end over the bridge, round the long part of the string, and wrap it round itself a couple of times. One more wind takes the end ...


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

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

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.


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

It's not essential that you go through the tuning roller twice - that's just a general instruction, and the gauge of your string might prevent you from doing it. The purpose is to increase the friction so the string doesn't slip. If you can't go through twice, go once with enough of a 'tail' to place under the next wrap or two of strings - then the string ...


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

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

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

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 ...


1

So finally I've found the answer. The piece in question is Chaconne in G major by Anonymous from Schwerin. It's from the book Guitar Music from 16th - 18th Centuries, vol. 2 edited and transcribed by Adalbert Quadt. In the book he gives instructions on how to play ornaments: Ornamentation constitutes an important element in music of the seventeenth and ...


1

It's not possible to generalize, since the overall tone is shaped by many different variables (as Tim mentioned in the comments), and in the specific case of spruce vs cedar, the difference seems to be subtle. Given two identical guitars, one with spruce tonewood, and other with cedar tonewood, there will be differences in tone, albeit small. Spruce is the ...


1

Unless the guitars are individually built guitars and not "shop" produced, then they likely follow standard, traditional construction. I have personally never run across building instructions that take into account different string tensions in regards to the face and bracing, although I am not a classical guitar maker, and things may have changed or be ...


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