Playing Different Velocities on Multiple Strings?

A "classroom" environment for exchanging Technical Questions & Answers, How-To's, music theory concepts, etc.
twistedblues
Posts: 152
Joined: Sun Feb 05, 2017 7:48 pm

Playing Different Velocities on Multiple Strings?

Postby twistedblues » Mon Feb 13, 2017 1:54 am

How hard is it to play 2 or more strings at the same time each with different volumes?

User avatar
lagartija
Moderator
Moderator
Posts: 9730
Joined: Thu Apr 02, 2009 5:37 pm
Location: Western Massachusetts, USA

Re: Playing Different Velocities on Multiple Strings?

Postby lagartija » Mon Feb 13, 2017 2:33 pm

You can practice doing this with block chords or on open strings.
Place ima on each of three strings, pluck all equally. Then for the next beat, push down a bit more with i than the other two before you release the strings. This will make the note plucked by i sound louder. Next, do the same thing, but push down more with m before releasing the strings. Then do the same thing with a.
In this way, you can train yourself to bring out any note of the three you wish. Start with that simple exercise, then try it with a melody played by one finger while the other two play the accompaniment. Then you can practice playing a melody where the finger playing the melody changes.
Like any technique we learn, it gets easier with practice. As for your question of how difficult it is, that depends upon the ear and coordination of the person doing the exercise.
When the sun shines, bask.
__/^^^^^o>
Classical Guitar forever!

twistedblues
Posts: 152
Joined: Sun Feb 05, 2017 7:48 pm

Re: Playing Different Velocities on Multiple Strings?

Postby twistedblues » Mon Feb 13, 2017 3:39 pm

Thanks so much! I find it really hard to do. Anyone else? Fun though!

User avatar
lagartija
Moderator
Moderator
Posts: 9730
Joined: Thu Apr 02, 2009 5:37 pm
Location: Western Massachusetts, USA

Re: Playing Different Velocities on Multiple Strings?

Postby lagartija » Mon Feb 13, 2017 4:06 pm

twistedblues wrote:Thanks so much! I find it really hard to do. Anyone else? Fun though!


In the beginning, I found it challenging to coordinate. This technique will be of tremendous help when you try to control the voices in advanced pieces.
With practice, it will get easier and at some point you will use it without thinking about it, but letting your ear guide your body to do what you want to hear. Another way to reinforce the control of voices is to play each separately so that you do really hear them as separate voices. Combined with the exercise above, it will help you to control individual voices in a piece.

I am still working hard on this for all of my repertoire pieces. Balancing the voicing is to me, one of the great challenges of playing classical guitar. :D As you said, challenging, but fun.
When the sun shines, bask.
__/^^^^^o>
Classical Guitar forever!

Jack Douglas
Posts: 982
Joined: Wed Aug 19, 2015 2:37 am
Location: Ashland, Va

Re: Playing Different Velocities on Multiple Strings?

Postby Jack Douglas » Mon Feb 13, 2017 4:19 pm

Hi Twisted Blues,
By your name it suggests you might benefit from a not so often use of rest stroke P and free stroke I, M, A. It sounds simple but is not. However, it's use allows you to bring out a powerful bass line with lighter trebles. It takes discipline and practice to pull this one off, but you would benefit from a strong bass along with your twisted blues.
Jack
Hauser III 2014!

twistedblues
Posts: 152
Joined: Sun Feb 05, 2017 7:48 pm

Re: Playing Different Velocities on Multiple Strings?

Postby twistedblues » Tue Feb 14, 2017 5:25 pm

Great advice guys

Luis_Br
Posts: 2091
Joined: Sun Apr 23, 2006 2:50 pm
Location: Brazil

Re: Playing Different Velocities on Multiple Strings?

Postby Luis_Br » Wed Feb 15, 2017 11:48 am

Rest vs free strike is a good basic tool for this, but learning to control volume alone as mentioned by Lagartija is also important.
You can also detach voices through color and articulation, like you play one voice brighter with center of nail or pulling more the string, and the other with more angle and darker. You can also use thumb flesh or work fingering to put one voice in metal strings and other on trebles, so you use the string personality. This is used a lot by Bream or Segovia. For example, you listen to Capricho Arabe by Segovia or Bream and each voice is loud and clear, but detached through its caracter, the guitar-orchestra, while with some others you listen to a melody with some distant accompaniment and unnoticeable bass.


Return to “Classical Guitar Classes”

Who is online

Users browsing this forum: CommonCrawl [Bot] and 11 guests