Guitar chord playing and mute practice essentials

Hi, my friends, in the last issue, we talked about the essentials of guitar chord performance and muffler practice (1). In this issue, we will continue to talk about it, hoping to help new guitarists.

3. Noise-cancelling technology

There are two types of sounds that need to be eliminated in music performance, one is noise, such as the sound of the left and right hands rubbing against the strings, when touching the strings and moving on the strings. The left hand pressing the strings incorrectly or the right hand wrongly hooking the strings. And the fret sound produced, the noise produced by the left hand without pressing the sound, the humming sound of the left and right hands touching the vibrating strings, unnecessary glissando, and other sounds such as the foot beat, heavy breathing sounds, as well as various noises caused by unqualified instruments, should be consciously avoided and resolved during the learning and practice of basic techniques.

The second type of sound that needs to be eliminated is the unnecessary sound in the performance. The muffler technology in the guitar performance mainly refers to this one. The muffler technology is one of the most frequently ignored technologies in the guitar technology. How to control a sound in music performance is more important than making a sound, and when to stop the sound is an important part of the control, which is exactly what noise cancellation technology should address.

The common situations that need to be eliminated are as follows:
① Rests, rests can not be understood as just not playing, except for the rests at the beginning of the music, the beginning of the paragraph and the rhythm, and most of the rests actually use eliminated technology;
② When a piece of music ends or a paragraph or a phrase ends;

③ To strengthen the clauses of the melody and the places where there are potential rests when the musical sentences tease and breathe;
④ Eliminate the influence of the bass on the clarity and harmony of the harmony when changing the chord bass, which also includes the resonance sound that the open bass string is aroused when playing a strong tone.
Staccato or paragraphs that require a pause to enhance the sense of rhythm.

The methods of eliminated vary widely. In principle, methods that can stop unwanted musical sounds from sounding can be used as silencing techniques. In general, the silencing technology can be roughly divided into two categories according to the different parts of the hand used for eliminated : the first is the direct eliminating method that uses the right finger of the plucked string or the left hand finger of the string to directly eliminate the sound, such as the right hand. After voicing, use the pads of the fingertips of the plucking fingers to press the strings to mute the sound, or the pressing fingers of the left hand resolutely relax and float on the strings to mute the sound. The second type is the indirect eliminating method of eliminating the sound with other parts other than the fingers that are pressing and plucking the strings. Common ones include: pressing the string with the little finger of the right palm or the base of the thumb to silencing; The fingers on the side touch the adjacent bass strings to muffle the sound; the fingers of the left hand straighten and quickly touch the strings to muffle the sound.

4. Muffler practice

⑴ Silence Etude

①This silencing etude is mainly used to practice the direct silencing of the left and right hands. When silencing the sound, try to use the direct silencing of the left and right hands at the same time, and make the left and right hands coordinate with each other to complete the silencing action together, so that the left and right hands can be directly silenced for balanced training.

②When the chord is an open chord, just use your right hand to muffle the sound directly.

③ Please use your right thumb to strum the four chords in the fourth and fifth bars, and use the palm of your right hand to silence them indirectly.

④After the duration of the ending chord is prolonged enough, use the palm of the right hand to muffle the sound indirectly to stop all the strings.
2. Use Kalkassy’s twenty-five pieces to practice silence.

Carry out the following two rhythm changes to the harmonic backbone of the Kalkassi Etude No.2 that we have already learned. This Etude can become a very good silence and chord Etude. When practicing, pay attention to the coordination of the left and right hands. , while practicing direct silencing of both hands.

⑶Other silencing etudes

There are very few pieces of guitar music that can be used as practice silencers. Students who have a certain level can practice No. 9 of the twenty Etudes of Sol compiled by Segovia (the original number of Sol’s works is Op. 31). Etude 20), this is an excellent exercise for muting and chord playing. Another well-known etude for practicing silence is the twenty-second “Etudes in A major” of the twenty-five Etudes by Coster.

5. The muting of the bass in the music

The silencing technology has important practical significance in the application of the silencing of the bass of the music. The bass is the basis of the harmony. If the overtones of the bass and chords are not eliminated in time during the chord progression, the harmony of the music will be turbid and dissonant.

There are several types of bass silencing depending on how the bass is connected. The first type is the silencing of discontinuous basses. The discontinuous basses are often separated by rests. At this time, except that the bass and other upper parts have the same rhythm, the whole strings can be stopped by indirect silencing with the right or left hand. The right thumb uses indirect or direct damping to precisely control the timing of the bass notes. Special attention should be paid to the many discontinuous basses that are often “continuous in shape and meaning”, and attention should be paid to the continuity of music between the discontinuous basses.

The above-mentioned discontinuous bass generally does not affect the harmony due to the limitation of time value. This type of silencer is also more inclined to the method of rests. What really needs to be paid attention to is the silencer between continuous basses. This type of silencer is not careful. Processing will often seriously interfere with the harmony. From the perspective of “instrument acoustics”, generally lower tones have a much greater impact on harmony than higher tones, so in the continuous bass process, special attention should be paid to the bass. After ascending, the residual sound of the previous sound must be eliminated in time. The most commonly used method of silencer is the direct silencer of the right thumb.

When the bass goes down, if the two tones are on adjacent strings, the previous tone will be eliminated when the thumb is on the string. Since the bass goes down, even if the previous tone is not eliminated, it will not have a great impact on the harmony. In actual performance Can be ignored. In addition, due to the characteristics of the guitar instrument itself, when the bass changes on the same string, it is not necessary to consider noise reduction, so it is not difficult to master the seemingly complicated bass noise as long as you understand the principles and laws.