〖Tone Production on Classical Guitar /古典吉他音色的产生及影响因素〗

〖Tone Production on Classical Guitar /古典吉他音色的产生及影响因素〗
.........
　　Since the guitar is nothing without its sound, one might expect all the instruction books to be full of useful information on how to produce and vary the tone. However, this is not the case. Most of the books fail to give any detailed instructions on the action of sounding a string, and the ones that do contradict each other at every turn.
........
此部分共[5]页： 1>> 2>> 3>> 4>> 5>>
〖Tone Production on Classical Guitar /古典吉他音色的产生及影响因素〗
INTRODUCTION（前言简介）—续
　　I cannot claim to be the first to have reached this conclusion. It was a realisation that technique as a whole is bedevilled by such vagueness that prompted John Duarte's admirably clear and concise little book, The Bases of Classic Guitar Technique. My debt to Duarte will be apparent in my many references to his book; but equally obvious will be the radical differences between his account and mine. The reader is urged to compare the two arguments; in doing so he may conclude (as Duarte himself has indicated to me) that the difference is only one of emphasis, but he will at least begin to understand the paradox whereby a player can get quite good results by believing one thing while actually doing another.　　
　　It is my belief that the closer one gets to understanding exactly what goes on between finger (or nail) and string, the more positive one's control of the sound is sure to be. Let me quote John Williams, speaking in a slightly different context2:
　　"It's a question of knowing what sort of sound you're going to produce before you make it. It's not that you intend to make a particular sound. It's because you've put your finger there, that is the sound that will come out."
　　This is a useful insight from a guitarist who has set hitherto undreamed-of standards of technical control. The utter certainty of which Williams speaks cannot be attained without a great deal of practice, it is true; but must every student therefore go through years of trial and error in order to find out what works for him?
　　It seems to me that most serious students would prefer to expend a little effort on understanding the basic principles of tone production than to waste time groping in the dark. A student who knows how the instrument works, and who has a clear idea not only of what he is doing but also of why he is doing it, has a head-start towards gaining that confidence in his ability to produce exactly the sounds he has in mind which will leave him free, during actual playing, to concentrate fully on the music.
　　In order to serve this ultimately musical purpose, I have deliberately kept my argument within specific technical limits, attempting only to unravel the various influences on the sound of a single note. Since one cannot get very far in such a quest without bringing in some physics, I take the physical characteristics of a single note as my starting-point and move gradually from theory to practice. Roughly speaking, the first three chapters establish the basic principles and the last three show how the principles apply to actual technique. However, the division is not rigid. In the earlier chapters I include only what is relevant to guitar playing and do not hesitate to mention practical applications of the theory as and when they arise. Accordingly, many of the means of producing different sounds are explained in Chapter 2, "The Plucked String". There, a string is considered in isolation, and the reader who already knows something of the physics of plucked strings will find much that is familiar. However, the strings of a guitar are not isolated; if they were, we should hear no sound from them. The sound comes almost entirely from the guitar body, and it is only by considering how the strings' vibrations are passed on to the body that an adequate picture of tone production can be obtained. This is an area where much experimental work is still to be done, but even with the scant information available at present, I believe it is possible to gain a clearer idea of the nature of the plucking action than has appeared in print before. This has been my aim in the latter part of the book.
此部分共[5]页： 1>> 2>> 3>> 4>> 5>>
〖Tone Production on Classical Guitar /古典吉他音色的产生及影响因素〗