Angela Zhao wrote:Hello Moderator
In the Leccion 1, at 11 and 14 bar, is the" \p damp " mean use finger P paly the B and D then rest the P on the string 6th and 5th to damp the previous sound? is it first paly then damp or first damp then play? and the teacher use the contrast way to display different tone, first put the right hand near the bridge then above the soundhole, and in the second paly at 14 bar,use slow speed, is there any guide to know when we can use the way to paly the song, or just according to somebody's will, or according to the song display? Thank you guide!
Damping Question in measures 11 & 14:
The damping symbol that looks like a flower means to dampen the preceding note that is in the same voice range. For example in measure 11 the damp symbol is positioned underneath the A bass note and there is a line pointing out a preceding E bass line note in measure 10. After playing the notes in measure 10 dampen the E Bass note just before playing the A bass note in measure 11. Notice that the dampening symbol also indicates to use (p) the thumb. This is because it will be easy to dampen the open E bass with the side of the thumb as it is next to the open A bass note. This dampening technique is useful for dampening open string notes that can tend to ring out and sustain for durations longer than called for and produce dissonances with other musical phrases. The same principal applies for measure 14 D bass note and the preceding A bass note in measure 13.
Maestro Delcamp's tone/timbre contrast:
Cao mentioned a general rule of thumb that is introduced to students with respect to repeated sections of music and using expression techniques to vary the music, give it life, and make it more interesting to listen to and play.
In the Cano-Curriella Leccion #1 video, Mr. Delcamp does use some tone/timbre variation to contrast the sections of music that is repeated. He first plays in standard position, plucking hand near the soundhole, then plays the repeated section above the soundhole just over the fingerboard, also called 'sul tasto'. One could also play the repeated section with a thinner/brighter sound holding the plucking hand close to the bridge, also called 'ponticello'. Another variation could be to vary between ponticello, sul tasto and standard position based on taste and the guitarists interpretation and imagination. These techniques you can develop and refine over time.
Generally speaking, if a musical score has no expression markings, the interpreter has some leeway in executing a tasteful, expressive, and perhaps memorable rendition
If the composer has indicated expressive markings, then there's some valid reasons to follow them
Imagine listening to the introduction to Beethoven's 5th symphony without any of the dynamic volume variations and strict rests/dampening between the bass, treble, and upper voices. Imagine a monotone same volume delivery, it would not sound as interesting and powerful.
Experienced musicians are known to inject some of their personality and style into a piece. You can listen to two different professional musicians playing/singing the same piece of music and detecting some or major differences in expression or phrasing.
Keep in mind, this lesson primarily focuses on rest stroke and finger alternation, but some of the exercises employ expression such as dynamics/volume variation (Polyphony) and rhythmic/tempo variation (Donne-Moi La Fluer)
All of these expression techniques are early building blocks and exercises that will be in your expression toolbox (tone/timbre, dynamics, rhythm, harmonic, melodic ) to continue developing and using in your musical interpretations. Future lessons will continue to build and add more depth in these areas.