Hi David V. and thanks very much for your kind comments. I agree with you that music is mainly the "fun of playing" as you mainly expressed it so nicely. If we take the fun of playing away from our guitar or from music we are left with too much academic or even non-academic boredom that sometimes refers to "tradition" as a means of torturing the newcomers and the young at the field of guitar devlopment. However, tradition as well as the whole history of the guitar is equally important as the guarding of the "fun of playing", as long as these are not approached on a surface basis but are studied in depth and in a serious manner. For example in all the posts of my pedal guitars you might see innovations that seem to be irrelevant with the history and tradition of the instrument. Some are, but most of them are directly linked to historical trends, traditions and forms of stringing, tuning, lutherie practices and many times are brought to life with new materials and new approaches in lutherie practice. So, the revival of the many guitar forms and guitar tunings and guitar stringing that my work brings as "Kertsopoulos Aesthetics" would not be possible to be achieved without the deep study of the history and all traditions surrounding the interpretation, the composing, the stringing, the tuning, the making of the instruments in all the periods of the guitar's life. It took me five and a half years of very hard work to design the "Kertsopoulos Mathematical Model of the Guitar" which is the one connected directly with Antonio de Torres and the tradition of the guitar. That helped so much in all my aspects of my construction and in all my innovations, it did not keep me back and it did not subtract anything out of the "fun of playing or constructing". It only helped me because it is the tradition studied in depth not on the surface. I post it right here for your reference and I wish you the best progress in guitar and music. Thanks again for your wonderful comments. Also, Vincent Van Gogh might have saved the cutting of his ear if he didn't argue with Paul Gauguin that night (as some but not all of his followers claim).dgutowski wrote:As a beginner with the classical guitar, I have found it very helpful to play different guitars and different sizes of guitars and it actually helps to relax and not take playing so seriously and to remember to have fun while playing. After watching the video and reading the comments, I realize you can be creative and play music that is beautiful and artistic and still be free of "traditional" instrument restraints...why not be innovative and explore the musical medium. It's a lot like modern art or impressionism. Thank you for your creativity and innovation-it helps me to remember not to let my guitar playing hobby become an obsession. And because it's a struggle to get better and is difficult to learn and you instinctively want to improve, you can easily become obsessed with learning to play...and that's not a good thing-but I'm not going to cut my ear off. Thanks again.
Thank you daryl993manggip for your kind comments.The "Kertsopoulos minimal guitar" idea is endless in the capabilities it offers to variate with different forms of "amplifiers-resonators bodies" that will be attached to the "minimal guitar" and according to each different body's characteristics we can have different colors and timbers of sound, while we keep the "minimal guitar" the same. So, we just detouch-unscrew the "minimal guitar" from one "amplifier body" and connect/screw it to another "amplifier body" within two minutes and we have another guitar by using the same "minimal guitar" but different "resonator-amplifier body" for each case. Of course, when we say pedal effects we mean exactly what the term defines, it is similar to the piano, yes. However, the pedal effects that I have introduced on my guitars in the different constructional manner for each case over-pass the capabilities of the piano pedals. The pedal effects produced on my guitars are much more than the possibilities of effects given by the piano pedals. Soon, I will post here a "Kertsopoulos carton box pedal guitar" where we will have the "minimal guitar" connected/screwed to the "carton box" and I will sound the "minimal guitar" alone with no amplifier and then sound it with the amplifier "carton box" so you can compare the differences. I will play some pieces on it and then I will also explain in a simple manner the different pedal effects produced. Stay well and happy playing, all best!Yorgosdaryl993manggip wrote:The idea of a "miminal" guitar attached to what is essentially an amplifier would never have occurred to me! Makes me wonder what could be achieved if the idea was expanded and developed more. Yorgos, bravo for daring to innovate and experiment! By the way, when you say pedal effects, do you mean similiar to the pedal effects of a piano pedal?
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