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84-528: (Redirected from Spanish Guitar ) Spanish guitar may refer to: Classical guitar , a six-stringed guitar with nylon strings Flamenco guitar , similar to a classical guitar but commonly found in Spain and Latin America "Spanish Guitar" (song) , a 2000 song by Toni Braxton "Spanish Guitar", a 1971 song by Gene Clark from his album White Light "Spanish Guitar",

168-517: A 1978 song by Gary Moore from his album Back on the Streets Duets with Spanish Guitar , a 1958 album by Laurindo Almeida with Salli Terri and Martin Ruderman Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Spanish guitar . If an internal link led you here, you may wish to change the link to point directly to

252-514: A C major triad according to the overtone series, using partials 1, 2, 3, 4, 5, 6, 8, 10, 12, and 16. In the 20th century, exposure to non-Western music and further scientific acoustical discoveries led some Western composers to explore alternate tuning systems. Harry Partch for example designed a tuning system that divides the octave into 43 tones, with each tone based on the overtone series. The music of Ben Johnston uses many different tuning systems, including his String Quartet No. 5 which divides

336-430: A bassoon, the first few overtones are quite close to integer multiples of the fundamental frequency, producing an approximation to a harmonic series . Thus, in music, overtones are often called harmonics. Depending upon how the string is plucked or bowed, different overtones can be emphasized. However, some overtones in some instruments may not be of a close integer multiplication of the fundamental frequency, thus causing

420-401: A broadened body, increased waist curve, thinned belly, and improved internal bracing. The modern classical guitar replaced an older form for the accompaniment of song and dance called flamenco , and a modified version, known as the flamenco guitar , was created. The fingerstyle is used fervently on the modern classical guitar. The thumb traditionally plucks the bass – or root note – whereas

504-412: A different bracing (fan-bracing) from that used in earlier guitars (they had ladder-bracing); and a different voicing was used by the luthier. There is a historical parallel between musical styles (baroque, classical, romantic, flamenco, jazz) and the style of "sound aesthetic" of the musical instruments used, for example: Robert de Visée played a baroque guitar with a very different sound aesthetic from

588-452: A double-course guitar. The authenticity of guitars allegedly produced before the 1790s is often in question. This also corresponds to when Moretti's 6-string method appeared, in 1792. The modern classical guitar was developed in the 19th century by Antonio de Torres Jurado , Ignacio Fleta , Hermann Hauser Sr. , and Robert Bouchet. The Spanish luthier and player Antonio de Torres gave the modern classical guitar its definitive form, with

672-447: A four-course instrument illustrated on its title page – was published in partnership with Michel Fedenzat, and among other music, they published six books of tablature by lutenist Albert de Rippe (who was very likely Guillaume's teacher). The written history of the classical guitar can be traced back to the early 16th century with the development of the vihuela in Spain. While the lute was then becoming popular in other parts of Europe,

756-507: A guitar string. Its idealized 1st overtone would be exactly twice its fundamental if its length were shortened by ½, perhaps by lightly pressing a guitar string at the 12th fret ; however, if a vibrating string is examined, it will be seen that the string does not vibrate flush to the bridge and nut, but it instead has a small “dead length” of string at each end. This dead length actually varies from string to string, being more pronounced with thicker and/or stiffer strings. This means that halving

840-532: A high sound and is rather large to hold. Few have survived and most of what is known today come from diagrams and paintings. The earliest extant six-string guitar is believed to have been built in 1779 by Gaetano Vinaccia (1759 – after 1831) in Naples , Italy ; however, the date on the label is a little ambiguous. The Vinaccia family of luthiers is known for developing the mandolin . This guitar has been examined and does not show tell-tale signs of modifications from

924-419: A listener hears an audible pitch that is higher than, and different from, the fundamentals of the four pitches being sung by the quartet. The barbershop singer's "overtone" is created by the interactions of the upper partial tones in each singer's note (and by sum and difference frequencies created by nonlinear interactions within the ear). Similar effects can be found in other a cappella polyphonic music such as

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1008-407: A note is played, this gives the sensation of hearing other frequencies (overtones) above the lowest frequency (the fundamental). Timbre is the quality that gives the listener the ability to distinguish between the sound of different instruments. The timbre of an instrument is determined by which overtones it emphasizes. That is to say, the relative volumes of these overtones to each other determines

1092-420: A plucked guitar string to a flute that is blown, will naturally vibrate at a series of distinct frequencies known as normal modes . The lowest normal mode frequency is known as the fundamental frequency , while the higher frequencies are called overtones. Often, when an oscillator is excited — for example, by plucking a guitar string — it will oscillate at several of its modal frequencies at the same time. So when

1176-422: A small dissonance . "High quality" instruments are usually built in such a manner that their individual notes do not create disharmonious overtones. In fact, the flared end of a brass instrument is not to make the instrument sound louder, but to correct for tube length “end effects” that would otherwise make the overtones significantly different from integer harmonics. This is illustrated by the following: Consider

1260-495: A tenor trombone (E2). The analysis revealed which overtones were most prominent from that sound, and Partiels was then composed around the analysis. Another seminal spectral work is Tristan Murail's Gondwana for orchestra. This work begins with a spectral analysis of a bell, and gradually transforms it into the spectral analysis of a brass instrument. Other spectralists and post-spectralists include Jonathan Harvey , Kaija Saariaho , and Georg Friedrich Haas . John Luther Adams

1344-564: A tone that consists very nearly of the fundamental, alone; it has a sinusoidal waveform. Nevertheless, music consisting of pure sinusoids was found to be unsatisfactory in the early 20th century. In Hermann von Helmholtz 's classic "On The Sensations Of Tone" he used the German "Obertöne" which was a contraction of "Oberpartialtöne", or in English: "upper partial tones". According to Alexander Ellis (in pages 24–25 of his English translation of Helmholtz),

1428-435: A trigger key that opens other tubing and is pitched a perfect fourth higher; this allows for greater ease between different registers of the instrument. Valves allow brass instruments to play chromatic notes, as well as notes within the overtone series (open valve = C overtone series, 2nd valve = B overtone series on the C Trumpet) by changing air speed and lip vibrations. The tuba , trombone , and trumpet play notes within

1512-542: A variety of databases documenting modern guitar works such as Sheer Pluck and others. The evolution of the classical guitar and its repertoire spans more than four centuries. It has a history that was shaped by contributions from earlier instruments, such as the lute, the vihuela, and the baroque guitar. The last guitarist to follow in Segovia's footsteps was Julian Bream and Julian Bream will be 73 years old on July 15th 2006. Miguel Llobet, Andrés Segovia and Julian Bream are

1596-473: A variety of tones, but this finger-picking style also makes the instrument harder to learn than a standard acoustic guitar's strumming technique. In guitar scores the five fingers of the right-hand (which pluck the strings) are designated by the first letter of their Spanish names namely p = thumb ( pulgar ), i = index finger ( índice ), m = middle finger ( mayor ), a = ring finger ( anular ), c = little finger or pinky ( meñique/chiquito ) The four fingers of

1680-531: Is a partial (a "partial wave" or "constituent frequency") that can be either a harmonic partial (a harmonic ) other than the fundamental, or an inharmonic partial. A harmonic frequency is an integer multiple of the fundamental frequency. An inharmonic frequency is a non-integer multiple of a fundamental frequency. An example of harmonic overtones: (absolute harmony) Some musical instruments produce overtones that are slightly sharper or flatter than true harmonics. The sharpness or flatness of their overtones

1764-421: Is impossible to play a historically informed de Visee or Corbetta (baroque guitarist-composers) on a modern classical guitar. The reason is that the baroque guitar used courses, which are two strings close together (in unison), that are plucked together. This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an integral part of an interpretation. Additionally, the sound aesthetic of

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1848-490: Is known for his extensive use of the overtone series, as well as his tendency to allow musicians to make their own groupings and play at their own pace to alter the sonic experience. For example, his piece Sila: The Breath of the World can be played by 16 to 80 musicians and are separated into their own groups. The piece is set on sixteen "harmonic clouds" that are grounded on the first sixteen overtones of low B-flat. Another example

1932-400: Is my constant companion in all my travels". He also said, on another occasion: "I do not like this instrument, but regard it simply as a way of helping me to think." The guitarist and composer Francisco Tárrega (November 21, 1852 – December 15, 1909) was one of the great guitar virtuosos and teachers and is considered the father of modern classical guitar playing. As a professor of guitar at

2016-424: Is notable for specifying the thumb to fret bass notes on the sixth string, notated with an up arrowhead (⌃). Scores (contrary to tablatures ) do not systematically indicate the string to pluck (though the choice is usually obvious). When indicating the string is useful, the score uses the numbers 1 to 6 inside circles (highest-pitch sting to lowest). Overtones An overtone is any resonant frequency above

2100-447: Is often referred to as throat singing or khoomei , though it should not be confused with Inuit throat singing , which is produced by different means. There is also the possibility to create the overtone out of fundamental tones without any stress on the throat. Also, the overtone is very important in singing to take care of vocal tract shaping, to improve color, resonance, and text declamation. During practice overtone singing, it helps

2184-418: Is one of the elements that contributes to their sound. Due to phase inconsistencies between the fundamental and the partial harmonic, this also has the effect of making their waveforms not perfectly periodic. Musical instruments that can create notes of any desired duration and definite pitch have harmonic partials. A tuning fork, provided it is sounded with a mallet (or equivalent) that is reasonably soft, has

2268-448: Is one of the key identifying features of timbre, or the individual characteristic of a sound. Using the model of Fourier analysis , the fundamental and the overtones together are called partials . Harmonics , or more precisely, harmonic partials, are partials whose frequencies are numerical integer multiples of the fundamental (including the fundamental, which is 1 times itself). These overlapping terms are variously used when discussing

2352-614: Is today mainly associated with the modern classical guitar design, there is an increasing interest in early guitars; and understanding the link between historical repertoire and the particular period guitar that was originally used to perform this repertoire. The musicologist and author Graham Wade writes: Nowadays it is customary to play this repertoire on reproductions of instruments authentically modelled on concepts of musicological research with appropriate adjustments to techniques and overall interpretation. Thus over recent decades we have become accustomed to specialist artists with expertise in

2436-519: Is why the timbre of a note may be perceived differently when played staccato or legato . A driven non-linear oscillator, such as the vocal folds , a blown wind instrument, or a bowed violin string (but not a struck guitar string or bell) will oscillate in a periodic, non-sinusoidal manner. This generates the impression of sound at integer multiple frequencies of the fundamental known as harmonics , or more precisely, harmonic partials. For most string instruments and other long and thin instruments such as

2520-685: The Contraguitar ). This was localized in Germany and Austria and became unfashionable again. On the other hand, Segovia was playing concerts around the world, popularizing modern classical guitar—and, in the 1920s, Spanish romantic-modern style with guitar works by Moreno Torroba, de Falla, etc. The 19th-century classical guitarist Francisco Tárrega first popularized the Torres design as a classical solo instrument. However, some maintain that Segovia's influence led to its domination over other designs. Factories around

2604-403: The didgeridoo are highly dependent on the interaction and manipulation of overtones achieved by the performer changing their mouth shape while playing, or singing and playing simultaneously. Likewise, when playing a harmonica or pitch pipe , one may alter the shape of their mouth to amplify specific overtones. Though not a wind instrument, a similar technique is used for playing the jaw harp :

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2688-436: The frequencies of these tones are the same as (or close to) the harmonics. Examples of exceptions include the circular drum – a timpani whose first overtone is about 1.6 times its fundamental resonance frequency, gongs and cymbals , and brass instruments . The human vocal tract is able to produce highly variable amplitudes of the overtones, called formants , which define different vowels . Most oscillators , from

2772-413: The fundamental frequency of a sound. (An overtone may or may not be a harmonic) In other words, overtones are all pitches higher than the lowest pitch within an individual sound; the fundamental is the lowest pitch. While the fundamental is usually heard most prominently, overtones are actually present in any pitch except a true sine wave . The relative volume or amplitude of various overtone partials

2856-456: The tanbur and setar are distantly related to the European guitar, as they all derive ultimately from the same ancient origins, but by very different historical routes and influences. Gitterns called "guitars" were already in use since the 13th century, but their construction and tuning were different from modern guitars. The time where the most changes were made to the guitar was in the 1500s to

2940-556: The trumpet has 3 valves, and the French horn typically has 4 valves. Each instrument can play (within their respective ranges) the notes of the overtone series in different keys with each fingering combination (open, 1, 2, 12, 123, etc). The role of each valve or rotor (excluding trombone) is as follows: 1st valve lowers major 2nd, 2nd valve lowers minor 2nd, 3rd valve-lowers minor 3rd, 4th valve-lowers perfect 4th (found on piccolo trumpet, certain euphoniums, and many tubas). The French horn has

3024-543: The 1800s. Alonso de Mudarra 's book Tres Libros de Música , published in Spain in 1546, contains the earliest known written pieces for a four-course guitarra. This four-course "guitar" was popular in France, Spain, and Italy. In France this instrument gained popularity among aristocrats. A considerable volume of music was published in Paris from the 1550s to the 1570s: Simon Gorlier 's Le Troysième Livre... mis en tablature de Guiterne

3108-508: The Spaniards did not take to it well because of its association with the Moors. Instead, the lute-like vihuela appeared with two more strings that gave it more range and complexity. In its most developed form, the vihuela was a guitar-like instrument with six double strings made of gut, tuned like a modern classical guitar with the exception of the third string, which was tuned half a step lower. It has

3192-464: The acoustic behavior of musical instruments. (See etymology below.) The model of Fourier analysis provides for the inclusion of inharmonic partials, which are partials whose frequencies are not whole-number ratios of the fundamental (such as 1.1 or 2.14179). When a resonant system such as a blown pipe or plucked string is excited, a number of overtones may be produced along with the fundamental tone. In simple cases, such as for most musical instruments,

3276-492: The acoustically lower (d-A-E in standard tuning) strings. A guitar family tree may be identified. The flamenco guitar derives from the modern classical, but has differences in material, construction and sound. The classical guitar has a long history and one is able to distinguish various: Both instrument and repertoire can be viewed from a combination of various perspectives: Historical (chronological period of time) Geographical Cultural While "classical guitar"

3360-493: The art of vihuela (a 16th-century type of guitar popular in Spain), lute, Baroque guitar, 19th-century guitar, etc. Different types of guitars have different sound aesthetics, e.g. different colour-spectrum characteristics (the way the sound energy is spread in the fundamental frequency and the overtones ), different response, etc. These differences are due to differences in construction; for example, modern classical guitars usually use

3444-435: The baroque guitar (with its strong overtone presence) is very different from modern classical type guitars, as is shown below. Today's use of Torres and post-Torres type guitars for repertoire of all periods is sometimes critically viewed: Torres and post-Torres style modern guitars (with their fan-bracing and design) have a thick and strong tone, very suitable for modern-era repertoire. However, they are considered to emphasize

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3528-476: The beginning of the 20th century, the older forms eventually fell away. Some attribute this to the popularity of Segovia , considering him "the catalyst for change toward the Spanish design and the so-called 'modern' school in the 1920s and beyond." The styles of music performed on ladder-braced guitars were becoming unfashionable—and, e.g., in Germany, more musicians were turning towards folk music (Schrammel-music and

3612-436: The body (see Dreadnought ) and is commonly held with a strap around the neck and shoulder. The phrase "classical guitar" may refer to either of two concepts other than the instrument itself: The term modern classical guitar sometimes distinguishes the classical guitar from older forms of guitar, which are in their broadest sense also called classical , or more specifically, early guitars . Examples of early guitars include

3696-435: The body and is properly held up by the left leg, so that the hand that plucks or strums the strings does so near the back of the sound hole (this is called the classical position). However, the right-hand may move closer to the fretboard to achieve different tonal qualities. The player typically holds the left leg higher by the use of a foot rest . The modern steel string guitar, on the other hand, usually has 14 frets clear of

3780-524: The bow or by plucking. Scores and parts for Western violin family instruments indicate where the performer is to play harmonics. The most well-known technique on a guitar is playing flageolet tones or using distortion effects. The ancient Chinese instrument the guqin contains a scale based on the knotted positions of overtones. The Vietnamese đàn bầu functions on flageolet tones. Other multiphonic extended techniques used are prepared piano , prepared guitar and 3rd bridge . Wind instruments manipulate

3864-408: The conservatories of Madrid and Barcelona, he defined many elements of the modern classical technique and elevated the importance of the guitar in the classical music tradition. At the beginning of the 1920s, Andrés Segovia popularized the guitar with tours and early phonograph recordings. Segovia collaborated with the composers Federico Moreno Torroba and Joaquín Turina with the aim of extending

3948-448: The equal tempered acoustic scale : When this scale is rendered as a chord, it is called the lydian dominant thirteenth chord. This chord appears throughout Western music, but is notably used as the basis of jazz harmony , features prominently in the music of Franz Liszt , Claude Debussy , Maurice Ravel , and appears as the Mystic chord in the music of Alexander Scriabin . Because

4032-400: The fingers ring the melody and its accompanying parts. Often classical guitar technique involves the use of the nails of the right hand to pluck the notes. Noted players were: Francisco Tárrega , Emilio Pujol , Andrés Segovia , Julian Bream , Agustín Barrios , and John Williams (guitarist) . The modern classical guitar is usually played in a seated position, with the instrument resting on

4116-434: The fingertip but also with the outer, fingernail side. This was also used in a technique of the vihuela called dedillo which has recently begun to be introduced on the classical guitar. Some modern guitarists, such as Štěpán Rak and Kazuhito Yamashita , use the little finger independently, compensating for the little finger's shortness by maintaining an extremely long fingernail. Rak and Yamashita have also generalized

4200-502: The first few octaves of the overtone series, where the partials are farther apart. The French horn sounds notes in a higher octave of the overtone series, so the partials are closer together and make it more difficult to play the correct pitches and partials. Overtone singing is a traditional form of singing in many parts of the Himalayas and Altay ; Tibetans, Mongols and Tuvans are known for their overtone singing. In these contexts it

4284-547: The fundamental too heavily (at the expense of overtone partials) for earlier repertoire (Classical/Romantic: Carulli, Sor, Giuliani, Mertz, ...; Baroque: de Visee, ...; etc.). "Andrés Segovia presented the Spanish guitar as a versatile model for all playing styles" to the extent, that still today, "many guitarists have tunnel-vision of the world of the guitar, coming from the modern Segovia tradition". While fan-braced modern classical Torres and post-Torres style instruments coexisted with traditional ladder-braced guitars at

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4368-416: The guitar had numerous composers and performers including: Hector Berlioz studied the guitar as a teenager; Franz Schubert owned at least two and wrote for the instrument; and Ludwig van Beethoven , after hearing Giuliani play, commented the instrument was "a miniature orchestra in itself". Niccolò Paganini was also a guitar virtuoso and composer. He once wrote: "I love the guitar for its harmony; it

4452-434: The guitar repertoire with new music. Segovia's tour of South America revitalized public interest in the guitar and helped the guitar music of Manuel Ponce and Heitor Villa-Lobos reach a wider audience. The composers Alexandre Tansman and Mario Castelnuovo-Tedesco were commissioned by Segovia to write new pieces for the guitar. Luiz Bonfá popularized Brazilian musical styles such as the newly created Bossa Nova, which

4536-437: The guitars used by Mauro Giuliani and Luigi Legnani – they used 19th-century guitars. These guitars in turn sound different from the Torres models used by Segovia that are suited for interpretations of romantic-modern works such as Moreno Torroba . When considering the guitar from a historical perspective, the musical instrument used is as important as the musical language and style of the particular period. As an example: It

4620-468: The illusion of the scale being in-tune with itself across multiple octaves, and for tonalities based on all 12 chromatic notes to sound in-tune. Western classical composers have also made use of the overtone series through orchestration. In his treatise "Principles of Orchestration," Russian composer Nikolai Rimsky-Korsakov says the overtone series "may serve as a guide to the orchestral arrangement of chords". Rimsky-Korsakov then demonstrates how to voice

4704-410: The instrument while playing a note at the same time, causing the two pitches to interact - if the sung pitch is at specific harmonic intervals with the played pitch, the two sounds will blend and produce additional notes by the phenomenon of sum and difference tones . Non-western wind instruments also exploit overtones in playing, and some may highlight the overtone sound exceptionally. Instruments like

4788-424: The intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Spanish_guitar&oldid=1146981617 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Classical guitar For a right-handed player, the traditional classical guitar has 12 frets clear of

4872-431: The left hand (which fret the strings) are designated 1 = index, 2 = major, 3 = ring finger, 4 = little finger. 0 designates an open string—a string not stopped by a finger and whose full length thus vibrates when plucked. It is rare to use the left hand thumb in performance, the neck of a classical guitar being too wide for comfort, and normal technique keeps the thumb behind the neck. However Johann Kaspar Mertz, for example,

4956-412: The left lap – and the left foot placed on a footstool. Alternatively – if a footstool is not used – a guitar support can be placed between the guitar and the left lap (the support usually attaches to the instrument's side with suction cups ). (There are of course exceptions, with some performers choosing to hold the instrument another way.) Right-handed players use the fingers of the right hand to pluck

5040-465: The little finger semi-independently in the Flamenco four-finger rasgueado , that rapid strumming of the string by the fingers in reverse order employing the back of the fingernail—a familiar characteristic of Flamenco. Flamenco technique, in the performance of the rasgueado also uses the upstroke of the four fingers and the downstroke of the thumb: the string is hit not only with the inner, fleshy side of

5124-403: The loudest vocal overtones, it is one explanation of the development of the triad and the idea of consonance in music. The first step in composing choral music with overtone singing is to discover what the singers can be expected to do successfully without extensive practice. The second step is to find a musical context in which those techniques could be effective, not mere special effects. It

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5208-578: The music of the Republic of Georgia and the Sardinian cantu a tenore . Overtones are naturally highlighted when singing in a particularly resonant space, such as a church; one theory of the development of polyphony in Europe holds that singers of Gregorian chant , originally monophonic, began to hear the overtones of their monophonic song and to imitate these pitches - with the fifth, octave, and major third being

5292-452: The octave into more than 100 tones. Spectral music is a genre developed by Gérard Grisey and Tristan Murail in the 1970s and 80s, under the auspices of IRCAM . Broadly, spectral music deals with resonance and acoustics as compositional elements. For example, in Grisey's seminal work Partiels , the composer used a sonogram to analyze the true sonic characteristics of the lowest note on

5376-490: The overtone series rises infinitely from the fundamental with no periodicity, in Western music the equal temperament scale was designed to create synchronicity between different octaves. This was achieved by de-tuning certain intervals, such as the perfect fifth . A true perfect fifth is 702 cents above the fundamental, but equal temperament flattens it by two cents. The difference is only barely perceptible, and allows both for

5460-428: The overtone series significantly in the normal production of sound, but various playing techniques may be used to produce multiphonics which bring out the overtones of the instrument. On many woodwind instruments, alternate fingerings are used. "Overblowing ", or adding intensely exaggerated air pressure, can also cause notes to split into their overtones. In brass instruments, multiphonics may be produced by singing into

5544-455: The overtones. Western string instruments, such as the violin , may be played close to the bridge (a technique called " sul ponticello " or "am Steg") which causes the note to split into overtones while attaining a distinctive glassy, metallic sound. Various techniques of bow pressure may also be used to bring out the overtones, as well as using string nodes to produce natural harmonics. On violin family instruments, overtones can be played with

5628-411: The performer amplifies the instrument's overtones by changing the shape, and therefore the resonance , of their vocal tract . Brass instruments originally had no valves, and could only play the notes in the natural overtone, or harmonic series. Brass instruments still rely heavily on the overtone series to produce notes: the tuba typically has 3-4 valves, the tenor trombone has 7 slide positions,

5712-502: The physical string length does not halve the actual string vibration length, and, hence, the overtones will not be exact multiples of a fundamental frequency. The effect is so pronounced that properly set up guitars will angle the bridge such that the thinner strings will progressively have a length up to few millimeters shorter than the thicker strings. Not doing so would result in inharmonious chords made up of two or more strings. Similar considerations apply to tube instruments. An overtone

5796-403: The pictorial arts) is a very individual and personal matter. The origins of the modern guitar are not known with certainty. Some believe it is indigenous to Europe, while others think it is an imported instrument. Guitar-like instruments appear in ancient carvings and statues recovered from Egyptian, Sumerian, and Babylonian civilizations. This means that contemporary Iranian instruments such as

5880-404: The similarity of German "ober" to English "over" caused a Prof. Tyndall to mistranslate Helmholtz' term, thus creating "overtone". Ellis disparages the term "overtone" for its awkward implications. Because "overtone" makes the upper partials seem like such a distinct phenomena, it leads to the mathematical problem where the first overtone is the second partial. Also, unlike discussion of "partials",

5964-466: The singer to remove unnecessary pressure on the muscle, especially around the throat. So if one can "find" a single overtone, then one will know where the sensation needs to be in order to bring out vocal resonance in general, helping to find the resonance in one's own voice on any vowel and in any register. The primacy of the triad in Western harmony comes from the first four partials of the overtone series. The eighth through fourteenth partials resemble

6048-523: The six-string early romantic guitar ( c.  1790 – 1880), and the earlier baroque guitars with five courses . The materials and the methods of classical guitar construction may vary, but the typical shape is either modern classical guitar or that historic classical guitar similar to the early romantic guitars of Spain, France and Italy. Classical guitar strings once made of gut are now made of materials such as nylon or fluoropolymers , typically with silver-plated copper fine wire wound about

6132-406: The sound is somehow distorted. The sitar has sympathetic strings which help to bring out the overtones while one is playing. The overtones are also highly important in the tanpura , the drone instrument in traditional North and South Indian music , in which loose strings tuned at octaves and fifths are plucked and designed to buzz to create sympathetic resonance and highlight the cascading sound of

6216-452: The sound. This has important consequences: Different tone/ timbre (of a single note) can be produced by plucking the string in different manners ( apoyando or tirando ) and in different positions (such as closer and further away from the guitar bridge). For example, plucking an open string will sound brighter than playing the same note(s) on a fretted position (which would have a warmer tone). The instrument's versatility means it can create

6300-416: The specific "flavor", "color" or "tone" of sound of that family of instruments. The intensity of each of these overtones is rarely constant for the duration of a note. Over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note. This

6384-471: The strings, with the thumb plucking from the top of a string downwards (downstroke) and the other fingers plucking from the bottom of the string upwards (upstroke). The little finger in classical technique as it evolved in the 20th century is used only to ride along with the ring finger without striking the strings and to thus physiologically facilitate the ring finger's motion. In contrast, Flamenco technique, and classical compositions evoking Flamenco, employ

6468-421: The three performer personalities of the 20th century. Do not understand me wrong, we have many guitarists today that are very excellent performers, but none with such a distinct personality in their tone and style as Llobet, Segovia and Bream. In all instrumental areas, not just the guitar, there is a lack of individualism with a strong tendency to conformity. This I find very unfortunate since art (music, theatre or

6552-490: The use of the upstroke of the four fingers and the downstroke of the thumb (the same technique as in the rasgueado of the Flamenco : as explained above the string is hit not only with the inner, fleshy side of the fingertip but also with the outer, fingernail side) both as a free stroke and as a rest stroke. As with other plucked instruments (such as the lute), the musician directly touches the strings (usually plucking) to produce

6636-403: The word "overtone" has connotations that have led people to wonder about the presence of " undertones " (a term sometimes confused with " difference tones " but also used in speculation about a hypothetical " undertone series "). In barbershop music , a style of four-part singing, the word overtone is often used in a related but particular manner. It refers to a psychoacoustic effect in which

6720-594: The world began producing them in large numbers. Composers of the Renaissance period who wrote for four-course guitar include Alonso Mudarra , Miguel de Fuenllana , Adrian Le Roy , Grégoire Brayssing  [ fr ] , Guillaume de Morlaye , and Simon Gorlier  [ fr ] . Four-course guitar Some well known composers of the Baroque guitar were Gaspar Sanz , Robert de Visée , Francesco Corbetta and Santiago de Murcia . From approximately 1780 to 1850,

6804-465: Was initially hypothesized that beginners would be able to: Singers should not be asked to change the fundamental pitch while overtone singing and changing partials should always be to an adjacent partial. When a particular partial is to be specified, time should be allowed (a beat or so) for the singers to get the harmonics to "speak" and find the correct one. String instruments can also produce multiphonic tones when strings are divided in two pieces or

6888-531: Was published in 1551. In 1551 Adrian Le Roy also published his Premier Livre de Tablature de Guiterne, and in the same year he also published Briefve et facile instruction pour apprendre la tablature a bien accorder, conduire, et disposer la main sur la Guiterne. Robert Ballard, Grégoire Brayssing from Augsburg, and Guillaume Morlaye ( c.  1510 – c.  1558 ) significantly contributed to its repertoire. Morlaye's Le Premier Livre de Chansons, Gaillardes, Pavannes, Bransles, Almandes, Fantasies – which has

6972-630: Was still performing), John Schneider , Reinbert Evers , Maria Kämmerling , Siegfried Behrend , David Starobin , Mats Scheidegger , Magnus Andersson , etc. This type of repertoire is usually performed by guitarists who have particularly chosen to focus on the avant-garde in their performances. Within the contemporary music scene itself, there are also works which are generally regarded as extreme. These include works such as Brian Ferneyhough 's Kurze Schatten II , Sven-David Sandström 's away from and Rolf Riehm 's Toccata Orpheus etc. which are notorious for their extreme difficulty. There are also

7056-702: Was well received by audiences in the USA. The classical guitar repertoire also includes modern contemporary works – sometimes termed "New Music" – such as Elliott Carter 's Changes , Cristóbal Halffter 's Codex I , Luciano Berio 's Sequenza XI , Maurizio Pisati 's Sette Studi , Maurice Ohana 's Si Le Jour Paraît , Sylvano Bussotti 's Rara (eco sierologico) , Ernst Krenek 's Suite für Guitarre allein, Op. 164 , Franco Donatoni 's Algo: Due pezzi per chitarra , Paolo Coggiola's Variazioni Notturne , etc. Performers who are known for including modern repertoire include Jürgen Ruck, Elena Càsoli, Leo Brouwer (when he

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