Quite so...and when the music is "busy", it moves on so quickly that this effect usually goes by unnoticed; not to mention I may have no fingers available to damp the sympathetic harmonic. A helpful point about damping when the notes are more exposed which is also used when damping a bass note in a passage to allow the next phrase to speak separately. I will explore using the effect to support the music.Stephen Kenyon wrote:Being in tune generally, helps bring this out - not sure whether an action adjustment would make a noticeable effect or not.
Its one of the (many!) things to bear in mind in terms of the sound we make. Quite often we are too busy to deal with sympathetic harmonics, but when the sound is more exposed we might either damp, to avoid inappropriate dissonances, or encourage, to bring out more sustain ... or just to make an interesting sound!
Thanks for reminding me of Narciso Yepes and his 10 string: it did have a very rich sound when I heard him perform Concierto de Aranjuez in Montréal back in the 70s.Adrian Allan wrote:The guitar player Narcisio Yepes recognised that the six string classical guitar was unbalanced in the way that it produces overtones, and some notes were noticeably weaker.
He claimed to have solved this issue by his 10-string guitar with so-called Yepes tuning, which reinforced all of the harmonic series more evenly, even if the lower strings were never actually struck by the right hand. So this is an important issue to some people, but as Stephen says, there is so much to think about in just mastering the guitar, it is an issue that is rarely given much attention.
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