Balance
by Daniel Nistico
On the guitar, we can highlight different notes within a chord or texture.
We don’t always want to bring out the top note; sometimes it’s the middle, or bass, or other that is more important.
Mazurka Appasionata by Barrios is a beautiful example of melodies being in the inner voices of the texture, not always on the top. The very first phrase of the melody shows this clearly, with the melody being in the middle of the texture (starting where it’s marked “Mazurka”). The recording is by yours truly, from my album A Mystical Journey (click to view/purchase album).
by Daniel Nistico
On the guitar, we can highlight different notes within a chord or texture.
We don’t always want to bring out the top note; sometimes it’s the middle, or bass, or other that is more important.
Mazurka Appasionata by Barrios is a beautiful example of melodies being in the inner voices of the texture, not always on the top. The very first phrase of the melody shows this clearly, with the melody being in the middle of the texture (starting where it’s marked “Mazurka”). The recording is by yours truly, from my album A Mystical Journey (click to view/purchase album).
The triads in Fundamental Harmony make for a great exercise for practicing balance. All you have to do is bring out one voice for the entire exercise. For example play though and just bring out the bottom voice, then play through again and bring out the middle, and finally the top. Now this sounds simple and straightforward, but actually doing it consistently is very difficult.
I’ve made a video (below) to demonstrate what I mean - how do you think I did? I used the A minor triads.
I’ve made a video (below) to demonstrate what I mean - how do you think I did? I used the A minor triads.
So how does one achieve this from a technical standpoint?
1.Hear the note that you want to bring out.
2.Sing the note you want to bring out.
We can only sing one note at a time (unless you can sing multiphonics), so you’ll have to choose which note of a chord or texture to sing.
3.Play the note you want to bring out with a different touch.
This is a subtle and delicate topic, but here is a basic way to start thinking about this:
Flex the tip joints more when you pluck the notes you want to bring out more. The opposite applies too – pluck with less tip joint flexion for the notes that you want to be softer and in the background. It’s like the difference between scooping (lots of flexion) and lightly scratching (minimal flexion). I’ve made another video to demonstrate this.
However, in order to bring out one note you need to flex the tip joints of one finger (scooping), while the remaining fingers are not flexing (lightly scratching). This is like your right hand’s equivalent of rubbing your belly and patting your head!
So I’d like to know if there are any pieces you’re working on where you can apply this. Please leave a comment, I’d love to know!
1.Hear the note that you want to bring out.
2.Sing the note you want to bring out.
We can only sing one note at a time (unless you can sing multiphonics), so you’ll have to choose which note of a chord or texture to sing.
3.Play the note you want to bring out with a different touch.
This is a subtle and delicate topic, but here is a basic way to start thinking about this:
Flex the tip joints more when you pluck the notes you want to bring out more. The opposite applies too – pluck with less tip joint flexion for the notes that you want to be softer and in the background. It’s like the difference between scooping (lots of flexion) and lightly scratching (minimal flexion). I’ve made another video to demonstrate this.
However, in order to bring out one note you need to flex the tip joints of one finger (scooping), while the remaining fingers are not flexing (lightly scratching). This is like your right hand’s equivalent of rubbing your belly and patting your head!
So I’d like to know if there are any pieces you’re working on where you can apply this. Please leave a comment, I’d love to know!