The dilemma of timbre on the guitar crn rete ing Scientific definition of sound. Timbre tx so norty. Differences of timbre tn every insta ment. Factors affecting appreciation of sound. Tendencies that determine ts classification, Di lemma of tinbve om the guitar The studios mucin, anatous to cove the fnermos! secret of his rt would sek in vln © saliafacery defintion ‘ound in sient bolas His sarc mold en in dapat tment below the bewildering aay af worde and figutes meant te explain thing which the sik only cam ponent These books tellus, a a highsounding. scholarly manner ‘hat sound ts something produced by the vibrations of «ody sn anlatic med treagh ich Wt propagated tn sonorous waveg and that ite inbee or quality, intent, vlume and timber of whratons are extenely variable Evidently. allthis must be conect a far a8 goes, bt it te incomplete Thee tr sting mee than thi, someting sfwvich eur const snability it aware, which Jee not appear Ta thoe scent enthy and dey defination. Something shove Ite verter encedingly.mbrcing the most tiling a8 well the mest tonsrendntal sapet of our mind. Somethieg which the mind of tan can tranform sean tsimateril word of ‘wonder nd ancy, weld evpable of enifvering and comfr he spt au rnaie ten comfort the bad "The fcaty of Healing which is natural to ux i» oubiet to ts much deny a te the pyieal or orl nate of the Fore Tle i to concent all senaaity m oue hearing owes arnt which Is dlreat In every individual wccor ‘ing tobi tempera espeience nd powers of diceramet The heeer pects, simatanevedy with tbe sound te particular timbre {ibe esl of soond, ar Heumotre termed Fy en experiences i this lth, intensity wed duration ws 2 ain ipect: ‘Timbee fn fac, the characte element of evry sound and jas as calor isto an biel, scent to's Hower. form fo the bd, sol nbre to sound ‘When ee conde, separately the importance ofeach is trumental group ate unit in an chests, together ith the avclar quality af each typeof isrument we Bnd tet each thee groups rpmeene w definite element. made up of al the tonal dite f ech iaroment "Now, no nsramentl grup of an orchestra can yield each ‘voy sf tine nr the packed Sostument, am account ther diverity In thope and sae the thickness type. and “qualy of the sings, andthe feet methods eoplayed {emake them wate ‘Timbre may be considered good ot bad, beter or worse fo woportin tothe higher or wer value act pon it by each s Individual eile. The pronouncement of the cate may be alleced by fapemenble causa, such oe his gudtve and emo Alona seatveness imprestnabiity, sia ad tated ‘sisatio, force of hab prejudice, tadlon and enwtmament thar clacton of sovod ree exceedingly. ‘We have however within lint, « prevailing clsacation which emey be considered a rlble guid the reel of te ‘ncoler of nestbtes gradually evlved cartllyalted, and Ftnllyetaliabed by the most eacting sholece inthe beet school ‘ed the mt eminent Interpreters and craftmen, “The cnuclousapolicton af there principles led tthe st vend sed lating vecoaition ofthe voles of famous singers ack ar Gussie denny Live. Adelinn Par, Mutan, Gass tne, Canoen. Cusas, cte The sane spit hae fiwly aa Elind the sapenonty sf Stasi, Anta, and. Gvsenn fm bowed tnsruments; simlay, pianos made by Burin Bronsran, Puevel. Enno end. Sramwar have been en fit yen. and quits by Phot, Bewzoe, Run, ALziuea pinches vide am sti tn the only ‘Tone tht he sees to produce, OF the Town instrament. surdy none has offered greater rasta for contonery than the goiter This ciel on seccont ofthe possaity of placing the slag a two dito ‘ways ter withthe sal o with the Hedy pat of the ger ‘The sound diflers wording to the technique wed aod a Wt ts not praeable forthe same et of fingers to wie wo techniques the player sust maken choice; hence the lemmaPreferences of timbre omong the Ancients ‘The latenste ofthe 17th Century. Dilerama of ple of playing among gultarsts of the. 18th ‘antury. Sox's and AcuADO's theorles. Proba- Ble determining couse From the mot anciet times tothe preset day the dems of sound has been the cause af impantoned crateveny. To the guitarist the quan of round fe nt iportant arn eile of fh 16 morta Ie is intrestig to noe that the nsec entinent — nite, almost fn every cate ~ thereat I every patsan of a patclar timbre, reveals ow ret extent ble tom peinalys Fer, whales chloe te made: impli a ‘ivertng mentl standpoint lending sometine to damstcaly pposed conclsons “Among the anclet Grees, two disint ates of atiking the stings were favoured. sme player sang” the Tage thee ecto In “Apothegmi Lacon", Puvrasct rates that one tn ‘Spot, n that was punished fr plecking the sng with fingers, and nt with a pectm. dutog the celdet of asta commony im a tomple- And yt he ads he nae lacked with the fingers proce « much sweeter and pleas fer anand than the plc, "Amunazes, 300 B.C. slong to Eronos, says He was fone ofthe grat mutes of muni: he racked the sing ith Ine fingers. ot wih plato! ‘Ansrocents and Avcaron also conidered the sound of singled ith he Fines beet that rode by ‘Some players used etter styl, according to the charcer cf the msc Ihey hd to tere. Tatu tn one of is lege, Sanity thar fhe ng es a rr ape oe ee ty ag al, Mou 8 ol nh a TES TRE ET tse mc sa co ning the ser Terps “ ac Mle har ned nen le odecena Mle Ne ited we lee, src ee Fad at atom ed sce Fe ct ee Sal cod hese ee “Orkener Lyn aie orang near be Onl ali snot, i sa a ld ey ak sh eg ak tle hcl we Sue Inarments with metal sgh deere te ree a ice od A ct a bd si ar tec A ge nak a ie a it dn seh oo Wie etn ely sig arly ech ck ad ira ya| oe ohn sty ee by nt emo ae ; Sabet he | te Seen age ak emt ld | is ae ay cece aa ale \ SEE Sh am Mae ay Sen TiS Neer Stars when a el san he aa Nin Gate Canal one Gna de i Sos Gren cer co tars Oe tae | rca rer cane orks Somes ae “malatein ithe best way of play, bat I'd at and far tis “reason: been the mall cannot draw “onert W mlght do well enoagh, where “Gwich ts the moat excellent stilton from « ht) lot in the cow but alone, [ould never sodve sgh cle “rom the alle fm the Hes ‘The teatnes on the gtr, which appeared down to the ‘od of the Eightecath Contty, didnot tele Yo ve hints fr eprom any opinion on tne, they Kt the mde of ts pro ‘duction to the fee chalce of the rxeitat. I was oly when the guitar was finally ited witha sage stcng, that the two tendencies became dirty mani ‘Acvica, Grotugs. Camus and others used end secomem- mended the we af finger wae: wht So, Canc, Mineo tame and others proscribed them. What might have been the reason for the dileret cies? The aetetic Ideas of each tater may fave been a sllicent juifcation, Would the LS Ser Mme Peele a a Ds tn (2) Ea Lain el Le Laan Ps 9 “ force of heredity explain #? Let wx tae, ot examples, Son and ‘Aocioo, who ate the most exc othe mater ‘doce not appeer from soy bicgraphcal accoont af Sow that be eve played with tails Only tn hy Metbod, tn which bis fondoentl theoler on technique are fll analyte, dis. ced and clay explated, he declare that when he wished {fo mate the nasal tone af the abc, he bends hi ger, and Attacks the stags neat the bidge with his sort nase "Ths i the only ttanea” he adds when I thought of wing a “li cold ever ar © test whe ole wth He made a single exception, however inthe ce of Acs an secant ot his lant sxecatons “Actes technique bed to panei the exalt quater It did posta” says Sox “for me to condone histo of nay deed, he hell would willingly Bove given up the nae of nals had he nt scuied “ith them yack reat destnty, and hed be not reached = period tm fe when i as to dificult to ater the babu ‘elon of ie fingers No sooner had Acco hewd some af ‘my composts than he set himuelf to study them, and aod ‘my advice ast thet Interpretation. Bat, alibough I ws too 2 ett ated) elke the conceptions of the gla ‘Tpetod: Some year Isler when we met, be acknowledged “tht fhe were able ost over aga, be oul ply without ‘This statement doesnot agree, however with Acwioos own words as insted te the Tat tion of his Matbod which Sppeteed In Madd in 1803, four years ater ‘Sort death Jn‘ he says, "Thave always used them (oa) on all my 6~tngern = intudiog Ye Vm ~ but after easing my fend Moet Seno tous the amb all any lee, and So TST hve done am, becuse playing withthe Heh ME tomb ts no sing the stings at» eight ands wet a geeas and pleasant Tone whic wats the base or generally played on the bess sting” iy Tong expertenee may allow ae. I Bape, to express sy cand apinion on the wat Tomer i peeable to play withthe mails tn order, to Beanies eater slags» lone lhe that of ery other sane To my nd. the altar has a charcter pecaie Instr Ty Tact. harontone, manele. at tes 1 [Rebs majetie and, although tr does not adaat of the ct Sia har er plano. yields on th oer band eet mcs, and Hs sounds ore susceptible to such « sees Sditations that gies the impression of & rao iment lending ial admatoble to expreston Td the secomperying of the voice onder to produce there fects T preter to play with Tee cia beat propriy seed the realting tne Ice thei ad ect ft mt he undetood however, tht the Teese not rack th the sail ony, Beene then the sa ould nat be very plesact ‘The srng i otaced Tiara the feger tps the sey pert of that faces, the {Kind with the fingers somewbet sched ost (oat 20 bent (Bee Tavng withthe tip an) sliding ever the ting 0 Feu Tc mils mt note to hurd: they mt be thm ta ts ou sap ad barely over Ue aufce of the Tesh fw they no Tne hey Steere th the dente cE Slatably delesing the action of the stings. and, me: Packet touch fe re: sad Inthe abt way they ne ery fs ame toe execute wi Acwaoo's musical education war quite alike that of Som ‘riot won ected nsec ater srvoandings tthe Monastery ef Monserat, where. besder Tearing slfesto Fhamony tod connterott fi studied the vino and war teember of the fie chek, for which that monastery bs ‘hveyr been batly Tamed. In spite ofall thete ocspatons Son td ot neglect the guitar, Padre Marron. So's school. Ste daring hs five years say Jo the monastery, relates the rodiges Son performed on bis guar, keeping spellbound all “Tho beard hin pyr On leaving the monastery. he continued Ris anadies te singing snd fsramentation tn areloa, fredaced his opera "elemacs™ wih eet succes the San Gor Theatre Towards 1803, wen an lfc tn the army ‘Soe played x cocet anenged tn Malags by M Quirara, fhe Auarian Censel fr that iy. He amared all who beard Fin. peefcrtnals and ethers, by his brillant peformance on the dole bee of theme with vasiatons “asta say Laie Brisesaon In hie logic detonay, shel very xy an excellent spade for sty, and began “ight to rary Latin gammr, philosophy and Pench ia that nabs be made great progress ta short tne: oer Fe plied himself to dhe nady of Paleogrhy and his “nung industry won him the tle of Panera of the ‘Coumel of Caste” By way af tlasation and reretion he ceed the radimente at guitar playing, and was tht “fy Fry Miguel Garcia « mek fv the Mosatey of San “Bhallo whe made him rele the reat ponies of the "Son imal tls us aboot his wowed colegus shat hs ecco played with the nails at lime when the genial (cathy Seas to eneut blast aed spi passages ode "oreahibt witwasty and power and thos dee the publ: 6"they did et aprette any other munte but that which we olayed on the tar and they called «sting quae, church “rime: Fortuately he personel tedination to wok oat bis ‘own way independently af oer Ted hm tx mach higher “moc lowever, is conceit pieces, ot wall at his Method, reveal ‘mada mind tending to brillany Jn tesheigue afer an depth of feling snd elevated conception Both Sor and Aovaso were grat gules the mpentty the former is principally due to the mural sed’ aii Supest of hi works The clue sit of heir Sonate, Fata tien, Stads, and Minsets i beter exprested by plying with the fngetipe (without nal), which ie more stable for Ghenber oe om the summit of his knowledge apd expeince, sep eying an evr widening mil horiacn, Son ence net Ail the departments of mane, whit Aocuoo,« captive uit is confined to the small wold of Ht sonorous body. 8 Prange lo al ottide mst expen. ‘Son lived an eitted and tntense le: be was rotlets and pusionate-tnlensely ses, wnrly and pouceag = fey Femperament. war « bom fighter. He travelled « grat deel tend Knew the Inteicaing pleasure of peat aucea tnat, love tte fortune, as luo the gre of flue, abivon and poverty Fe ded tt yur of wet poor and wetin to pla donee stubuted by some te bis wal pasions ‘On the her hand. Action’ ie war mene, fective and Indasuous, His eater beat for sted. hi Bne asia! sem slaty andthe sit of order and matod tn bie Men, sade lien the fine teacher we low hi to ave been ‘The death of ie mother, fiom whom he hed never been ‘pasted, flected the wenqaliy af ha province he moved 6 to Paris, where his lest aan arta and ie personal qualities ‘won him the admiration ofthe greatest att, and the Tove of [ovho came in contct with Min, Returning to Spain on the cloging to Cabren's army. Aovano was robbed af all be possesed nd togetier wih the remaining pessengre rs taken {o the mount, being told that wales be poids cetain tam of money asa fencom he would be put fo deh: Howevet, Tis ld ge and gentle dnporton ncceed ny eltening ther ‘en, hardened by a lng war, end he was the Dit tobe se Fre ‘inconditonally. "ie great Kindoet as well asthe lve and Intelligence be poured info is work t evident tne ltrs to Monsieur Be Foss ‘We may now enque whether the diately diferent styl plying ofthese two tit wan dae to eri. ‘The rajoriy of devotecr of the gutar mn ch cies as Vieana, Berlin, "Motor, Lasdon, ‘Copenbages, ee, play senconacouly, maybe wth the Aesby pe of tte ingu: ‘wtf tome ater pars the malls ae generally used. Once they have Tene the tasal procedae of the pacar Inwhich they happen to ive, they lll. without questioning {he rales exalced by custom. ‘So might be ten that Sows sease of sooty was infuen cad by stle probably general im Catalonia: and AcvAaos by the ale posably prevalent tn. Cottle Bat this doe not scm pebble: when wwe bear In mind that we we dealing trith atte whose cerning minds sed tll show the highest ted mom dhctrted epi of ttligent gentry end si cere Tove of te at ”Influence of Aousbo, Ancss and Tnascn’s Schools. Tone produced with finger ti. Diffe rence between Tina's system and his prede fcresor. Tineca’s arte evolution and rea sone for his choee From the tine when these prominent figs stod oat In sch bald alee Aotne's Mod rca neue to fate (purists nd ran inidently, on effctive means of «wider pion ofthe nail syle cern in the excepliona cae af ‘Tianees, who, wp to 1900, He the other gutters he bnew. Including Anche, ed the nals He did not realize In those dlgs the posality of producing beter tone, This wae daring the psi of hin youth when he concert tours brew hin ‘ach gent Tame, But ie vases sod lngutog mind ad one day te face the ved question of tone. When he decided to shi, he put aside not without doubts and. mioivogs. ‘eying that stood in hi way. nod in onder to plane at nce ita the deep and wrdous serch for e means of puting Firat he abtaned for Tong time rom planing in public ‘wich tn his pecaous oancal pose demanded. fom Fim great ocifier He bad to work constantly tn order to conquer the difictes ofthe new tecboiqe in whic he wus te be maser and pull at once, and when at lst these dif ties were overcame, thowe who Dard Theo play will never Toret the wondetally pure sound his gute produced Im order to abla the tore wth the Retin that Thtton iL doce not fie to cut on’ ol sat He toe to be famed: Le a cetin balance between touch, relleney tel resistence mast e developed in he Mesh of the fgets sbi con oy be somred by constant practice and cov Iadabisbly the tone Son prdced “without is” mast Irae been quite dine fom the tone Tiautcn obtained, sly Atvasds te “wilh nail” mast have, differed. fom ‘Thanton's before the Latter alto Bi ale af plucking the “Thantoa without wing the salle at all, generally stacked the aningpependcalay, and afer the tack mated on the texto, Tht procedure, which ives © maxtoum of aml fade, ntenaly and purty of tone on account of the with ‘teethnese and fomnen ofthe body which diplces the sing. trot net api ether by Som, Aounze or ny of thet com empress thi eam be’ dedaced rom the wings and i 1 fate to suppor thet had it eon othr, they would Fave mentioned tt tht spective eatin ‘At the betoning of hi eter, Téaaaca wat Influenced by 1 period of bd taste. His programmes were made up a were those of his contemporaries playing ster tstrumets. of works ‘whove musta velar conatedsalely thelr serdog” a4 8 frctet Tor the most daring fess of vito Fortunately FRowene, a had bon the ete of Aouabo before hm, heat val diostion, hur kee perepion and. good taste, tmpcled fin’ towarde'« puter atmesphee. is evolution is marked by a gradual proces in mustalty Fit he wan absorbed tn ‘Monare Hasow, and Beervvess then Chore, Mra, sod Scena flowed thee in his sadn. Filly be was Invpived by the spitalty of Bac mate. Slecting thre works best sited to the Inatment he achieved the mace ‘Fioterretiog them of the gla’ ix angle stage, even the FFague ofthe It. Sonata fo vila alo. Moreover texas his 3 compositions fled» depersapraion towers »‘Thu “paren” was bond toe mflested in is te, The strings arock witout the we of tals gave him the sonety oF his deans: a pore, immatesel and smtee timbre, With foatant work he ciated «perfect uty tm the nots plucked srith any finger wed on wry suing. Having thos mastered the pail’, he proceeded to dacorer new Umber and sable of executen, which gore to hi nterrtation greter rele and 1 persuasive cochantnent “Toansr's preference for tne withoat the fct that sack sn unrponaive medium as wal iterees sorchow sls the dct contact of the at's sensi to the srng. The glia plasked withthe Hlesby Bingen becomes ‘na wey « prolongation of our own sensi. and in the ese cf an cvsentally emotional temperament like Tiassa’, this frgument appears to ot teeta ‘The change fm the tle of stking the strings adopted by "Tiensan cannot be'atdbcied in the Katto the Snluens of Amtatine or coneeatonal feeling? # was tesaton taken she mach tougit and aed at gradually aftr sarmocnting { tecceaon of diflntes, and wat the rel of i Tonging fot peection. 1 founded oo [Conses which hinder a proper appreciation of sound. Intervening factors in the formation of ental judgement, Subjective classification of sound. The lack of oficial recognition and protection which has Iban ad ail dhe let of the guitar fn nat exer county Ihr unfataately browgbt about the most deplomble onary coccernig iy tecelgoe * For evry Lind of tntument taught t2 our consereasres, there eit a suitable method or system adopted by the te cher. which helps the student te get result In proportion to Ais individual abut. When thee occm some dicrepaney mong diferent teachers on any paticlar pole af technique ‘eating tothe same Kind of tntrament, such m dacason, very Seldom, if eve, eds to any radial change im the general rralt of sta ‘The teaching ofthe guitar is done monly by teachers whe have picked ap whatever Ile they kn, et random, in me- thode'f fly schools or rom milleding hint sf toca raters. They teach in tets own way “what they know” The pupil wocons to etlage is lnowledes. rest wih inna ‘mountable ebutecle and there sno method of modem tea ‘que capable of matting his longing for knowledge aed the few mater qulifled forthe task ae not always at Bande ‘The wouldbeleamer i fated to ope blindly to find the rad that may best take him trough so many dificle. (A nator rat of thie tate of things te that cal cptnon ford under these ccumatances te likely to be une ‘ware ot nly of the importance of diflerence in sono. but ren of there being any difference a all ‘Oar perceptive faculty Ia developed and shaped by the laflences which warn ws. tndacog wr almost slaye to langree ith everthing nat ta sympethy with them. Only the chosen few saneed tn Leping an open mind, a0 that ee ‘own previous convictions do ot hinder them from the under teoding of new facts and ather people's opin Questions sf aethtics ave somtimes beter sted through this channel ff inteligent perception, then by ur experienced ratoning awiththe forming of an opinion on sound which would not exit without ove faculty of heuig tro cannot estab any eter sasieation but that which ted tur by our individal appreciation, In sccordance ‘with our auditve power, which cts in» dict manner on crated Physical character of sound. Is clasfication (in ingtruments ond siples, Sound ofa srng atta ced sith nails Sound of a string sruck with fleshy fingertips. Superorty of the wound pro duced with no nal, Intenty, pitch and ttre ae the paticlar atttbates of scund'tn toutes Whenewr tre or mere notes of ike inten ‘ity and pitch prodace an walle seston, they must be of ‘Bferent quality ‘This difeence, which may vary ad Sfinitum. comes under the Jadgmest of our esa! Tally and le sacepble of ‘auction. A. proof the iy Tound in the fact that the ‘chuiation of certain Instruments of the same type Bos fon the conditions of thei sononty. That which made the in Troments af the Cromonn crftenen se auch more vaiable than thee of ther makert — and this may alo be aid of Pats and Tomes gute and 1 few lines ~ wat not only ‘he volame, bt the beety af the sounds they could produce. ‘Similar stings, pt on diferent guitars and plucked by the tame person at he sme place on the sting, will produce, ‘ferent sony on each Inatrament The sound we think the Irate wil cetnly be the one produced on the guitar that owes the bet conditions af sono: therefore, we should ‘nly thie gitar a "better than the thers st Now. fet we note that the mmo instrament én snilar con Atons, doc not snd ale ta the ands of diferent peso. trem Casa ell Katsu’ vila orn pane of am evpcily food make would net yield the tame Kind of ansnd when led hy ifleent handy ‘Thereorer we can tar from thie Tht tho ete 90 one and the some tnarement «Lind af soneity of a higher clase which rere fom the prea octane of each arti ‘The stand af the sting depends on: (1) the manner of tacking Mi (2) the apat where It In attacked and (3) ie Shame tension and clatcly. "At the wall tn body with hard srlace. af von'ng thickness and conten. He Impl son giver thea ‘metalic bat wtied in amp the impel bys ah ody bil, senutive and sf gster thickness and. sface than the edge Ai The nail yilde mdse time of rete some, ee Ines floes tod py The diferent ways of atacing the singe ar characterised by the quantity and Intent af the higher harmonic which accompany th fardamentl wud, more cnstdcable to pro parton 10 the more numerous and mathed. dicestinities ‘wich exe i the ibatry movement. The finger on ting 2 aiag aes fo motion i all ts lenght before Tesing ‘A heey occur oly the more or les wide opening of ‘he nl whlch obtain ln the exact place where it hae eon struck by the finger. This anal i more cate when the sing fe altecked wath the mall han whe i stared by the finger tin Toth Tomer ease we get a more percing zound togeber with great umber of bigh harmonics giving the ibe nme Talc Tone: ke the Titer ext, the vibraons arent sharp the armani alluded to arene lnger bead aed the tbe ssfs nat 0 brent, bat avest and sonorous, Fusth the fandamental sound i more Serepetveaaaiary sounds yt the bards the tacing body tuted, the more auble there become tothe detent ef the endamentalsooed. "This may be teed by dom sacha the nll of sharp and metalic sound ts the ‘we Uiten wth daw ‘teaton we can ears number af high noes sbove toe prin: al sound, I nove we str the same aring withthe finger, thee notes cease and the reeting sound i oto balan, but spreter and feller, “ance the thin tone produced by the mail. which destroys the fandamental sound and Increases the aulay sounds ‘guia the fll and pore tne brought aboot with the Fingertip “The change of timbre on one loge ating within «single ‘stem of pletion iv equally related tothe theory of natal IKamenice The port tone i obtined on the bal lent ofthe ftrng on which ts foued the note of tt ft harmonic the farther we a0 from that pont towerds the extremities The wen [er and more nase becsmes the fone The matt foc the nee made a hd sean alo has a tllance‘n the timbre, Very tight st etal yn igh hamonts en oun of te cess Inflation tn small divisions af thst teal Tenth Cut sings are lighter and ther clei ia not so rest ne that of wie ‘wrapped strings: hence the shorter dartion of snd inthe Fert witht Kamen and hier ulry sounds i we tue into account the accepted standard for the cast teation and grouping of toatumenty ofthe sume Kind. nad for sonore proced on the same iatrument, we shall evidently ‘eal inclined to aive our preference tothe sound witheat ral, ‘which i clover Yo the pure tone ofthe harp o the piano than ie i sound prodaced with nal The odecd nts wey, seems to ting the pei ofthe plctrom. A Tate ited wth engl sings ‘and a utter payed with the malls ate oth inadequate for Interpreting ceain peas af expreive tie: And. in the case ofthe phnofotesepplating the hapichord the quality of tone proce by KE baer most hee gly lene capping oro ston of sonerity wth nal St valor cpet fe sroae ry. Te pale Gnd tceigue, Proper ond Genes af ech proce: Elo et Cenclasin (Our preferences muts tae into account that as sound serves musi, 50 does musi sree the mi which ts subject fo the onsen elution of Me 1K we put aside our esd reasoning power, when consdeing sound under Its physical aspect. and give carcives upto that Aivine faculty of evocation belonging tc minds an hich the highest coesption of ase ren, cach woot wl suggest In ort subconsioumens dtinc fling which will be the spill, te mest convincing factor. mye, Yn coming dein on the remaining aepect of ost lemnn, The vith the sal cach note wer « vary smal, aherp aro pl once car os ng our seni. slay, Tee contest pungent and nal, remiaicet of the Ise tnd the barpichord, with an odour of frankincense and a ‘tour of ancient ballads calle up gothic lar puttings and Five te, and ike an echo of the poetical Wdelony of {he toubadours and minnesinges. Thi ye soome to reall Tong and distant pas fall af sch and noble exaltation of the toint tie the sonrty which Fatsa haa. expanded in well balanced propentne tn his “Conoot fr Harpsichord” gent ‘elation of the Sain ofthe Middle Ages. austere and profand Iy Chron “The tape of rng stack withthe Bgertip poweaes an Intrinde beniy. which alles the deepest feelings ef eu ses Dilys fst nae and Tight permeste apace. Is motes are Incr poweh ag might be the notes ofan dellyexprive and rex onsve arp It has, ax wall at thieftinate charter, some of {he Rowan strength and. Greck balance. Tt reall thr grviy ‘fan organ am the expresineneer of vain, Th. eta feates to he feminine nad basomes a lstament of ave lity. Finally, thie ale stands forth tans, haut bm tin of the deapet vibrations of oor emetions "The mudienes who listen tothe guitar, genelly speaking sre fr fom being In potion to ndertand thee dilereee. ‘They can seme realise the masa and nstromestal pos Ties hich the guttarallorde nn artist. "The appreciation of Aeckniqor and te aesthetic quater te Keited To 6 very small tmber af experts and Ill be long beloe it reaches the per Ceoton of great pat of the publ ‘Although both methods of Impalaion fr the artist paral Siclds sf cane ned remces of expresion. the mtu of this fal iferncr marks wal ctnin pata popes of each. "The mall gies prominence to, colearpropetin of the nse ment (commonly called “elecs”). We get crystal clear harmo 1 thing ibs: inlets cam be played st amazing je neal tendency of the eng ‘rad legato pasager cane taken extly andthe aspucedo™ In bilan and showy. A vey iterating bas of tucks which the quien abaald we with moderation i be these avld the danger of musing ito « deplorable mu Teal ion. "At the stings yield instantaneously to the action ofthe nal thefingen of the abt band con tur ela the eflct dese ‘wih iniom ells. and. consequently, the restance of The lagers af the elt hand comes covatderblydininsed 9 We longer necessary. Since dininatin of weight (or ce Sitter) is typonymeus with speed he spe favours open po- ‘ns af th linge, pesenges ol ary, legatos. Jumps ws he iti hand. te. together ith reciion and elaress af tone and tty In the movement of both hands. “These nulites allow quitsits to pefrn with lee Aificly and greet bullance Tests af agity. which ar adbed by. & Mate pnt of the eaence at chewing 3 rater mastery of The sdmotion the publ howe the ats By iat comes eich between the pas ation af he Titer nod the sctie atenton of the dhe best confmation in the later of his com Tidence aod tat hina THe quale comected wth playing with the Fagen end ithe nals ne ferent. The volume, ufomsty and Tasion Fost on the hole extenlon ofthe srngs are welded toe ‘her and dveced with fering of eal sory. The chord ttownckewe the tsa of ty, Intenaty and volume 4 Whale ie longer metalic awd brillant bot segs am ‘Mera soqeitys the paseato ls leer and acute on all the The sincegen and salen eblat al the volume of peed, embossing thushich they are capable, toguther with equality and reesanty ‘ST tone between the notes Thi ale of attacking the stings aes not fed tall to showy elect: the contay. although the ort com find fall necesary cements of expretion. be ros wilae ie resources when requred, If he dows ot wha the unity to degenerate Ito manatony As the fingetip i a relent body, wider than the nal t ‘most ape more senth to dinlace the sting. and ht Crensedsrength inthe right hand regis tur = greater ‘lot af pear and estencr in the Ll forthe production ‘the held notes. Hence, ony posoge of bare, slur or slides, “pen ot clove poston, snd lao some pnaages of vant, sre move dic to mater, Each atl, however embodies a diatinct mentality: the ore spectcolar and tending Yo extras ones personality, end the ther intimate and sincore. deeply penetated by the pint af ‘We should bear i mind that amongst ll the popes of the gut, the moat important of them in which reapet t obably not surpassed by any other instrament ie He power ‘f adaptatian tothe eit of the at which llega Eeleticun In att can wondeally change delete into qos ies nthe same ys an ere sone ay elt a cant rascals, = bith sonorty may impart more authority totem {hin mats sf'» petit syle ot chrater ould be pty i we cencladed our canny winout sing ‘a opoion on our old lemma. What satis iat the ‘pian Let ue be glad, them thatthe uta should oe this Akality of eapecs whch el low each att to else his ewe work with snewty and gather thai the jut reward of ee mets, # EMILIO PUJOL Le dilemme du son 4 la guitare Traduction de Jean Giodon