〖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〗
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　　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.
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〖Tone Production on Classical Guitar /古典吉他音色的产生及影响因素〗
INTRODUCTION（前言简介）
　　Why does anyone want to play the guitar? It is not difficult to think of purely musical arguments against the idea. As a solo instrument, the guitar is difficult to play effectively, ithasa limited range of pitches and of dynamics, and until recently very few of the great composers have chosen to write for it, perhaps because the music has to be so carefully tailored to fit under the player's fingers. Even more care is required in combining the guitar with other instruments or with the voice, since it is so easily drowned; and its lack of sustaining power makes it an indifferent melody instrument.
　　Nevertheless, people do want to play the guitar, and it is doubtful whether many of those who take it up are troubled by its musical limitations. They are captivated by its sound, lured by its intimate voice - a voice not always warm and seductive, but by turns cool and clear, dry and witty, even angry and violent. Moreover, the guitar is simple in its construction, and uniquely sensitive to the touch of each individual player; these are two especially attractive features in an increasingly mechanised and uniform world.
　　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. Some recommend using the nails only, others a combination of flesh and nail, still others the flesh only, at least at the start. Some say that the fingertips should first make contact with the string and then push through it, while others are equally insistent that the string is to be "struck", the finger coming at the string from a short distance away. We are told in one place that the apoyando (rest stroke) gives power to the note by aiming the string towards the body of the guitar, and in another that the apoyando is the surest way of making the string vibrate, as it should parallel to the soundboard. As to the correct position for the right hand, one book shows the line of knuckles set parallel to the strings and the wrist quite flat, while another shows the fingers coming across the strings at an angle and the wrist steeply arched.
　　These are just a few of the more glaring discrepancies, but enough to give some idea of the confusion that exists in this subject. The plethora of different solutions offered to the problems of tone production would not be so perplexing if there were any evidence that the problems themselves were generally understood. The same ignorance of the basic principles seems to be the rule rather than the exception even among performers: although the good ones certainly know how to produce the sounds they want, I suspect that few of them are more than dimly aware of what they are actually doing.
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〖Tone Production on Classical Guitar /古典吉他音色的产生及影响因素〗