String Damping Criterion

Classical Guitar technique: studies, scales, arpeggios, theory
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Daniel Penalva
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String Damping Criterion

Post by Daniel Penalva » Thu Jul 20, 2017 9:15 pm

I was trying to understand the damping practices of D02 and D03, hoping to learn general criteria and apply to any (or many) other pieces.
Most of the damping seems to be trying to cope with undesirable 4th intervals but, in D02 ex.4 2nd compass you have a damp to cope a minor 3rd (C# - E), in D02 ex.5 2nd compass you have a damp to cope with a 5th and a 2nd (arbitrary to me). In D03 ex.5 4th compass you damp a 2nd and a 3rd minor interval.

Thus look to what in a piece to determine dampings ? As far as i understand you damp string to rule out dissonances that may undermine polyphonie.


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Stephen Kenyon
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Re: String Damping Criterion

Post by Stephen Kenyon » Thu Jul 20, 2017 9:30 pm

Without looking at the scores in question, while it is true that we seek to avoid bad intervals, most of the time it is more to do with avoiding inappropriate basses ringing beyond their proper duration, e.g. a bass E string that keeps ringing when the harmony changes to A, with a bass A string.
The interval of a 4th is not normally wanted in the bass, it is true. It is also worth pointing out that the point of the exercise is to encourage good habits in the cultivation of good hygiene, so one has the choice to damp as one sees fit.
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Re: String Damping Criterion

Post by kmurdick » Sun Jul 23, 2017 3:12 am

You learn how to damp with both the right and left hand and then experiment. Sometimes you damp for phrasing and sometimes to knock out an undesirable note. It's a matter of judgment.

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