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〖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)-续
  Despite its formal scheme, this is not a book which attempts to prove, by scientific arguments, that one way of playing is superior to another. Rather, I have assumed that anything which gives good results for some player or other must have a rational explanation. Instrumental technique is one field (musical composition being another) where the proper way round is for theory to follow practice. It is the sort of "theory" which prescribes what ought to work, only to collapse in a heap at the first attempt to apply it, that gives the scientific approach a bad name among musicians, who prefer to trust their ears. No pretence of scientific rigour is made here, and it should hardly need saying that the ear must be the final judge of the usefulness of any of the ideas contained in this book.
  The use of tone colour in a musical context is a fascinating subject which, apart from a few general remarks, I make no attempt to cover. Also, I try to avoid begging the question as to what makes a "good sound". Indeed, such a question is quite meaningless, taken out of context: one might as well ask a painter what is a "good colour". A guitarist aims to be able to choose from as varied a palette as possible. However, some sounds are easier to produce than others, perhaps the easiest of all being thin sounds, or weak, indistinct sounds. Much of the discussion is therefore concerned with extending the range on the side of fullness and warmth, and with cultivating a "normal" sound which is strong and clear, with "body" as well as brilliance.
  Similarly, I try to keep the discussion as general as possible, avoiding too many dogmatic statements about what is "right" and "wrong" in technique. Those who like their technical advice to come in the form of unequivocal rules, and who find it reassuring to dismiss any procedure as "incorrect" if it lies outside the rules, will find little comfort here. The truth usually has more than one side, and it is a recurring theme of this book that within the limits of the general principles there is ample scope for individual solutions.
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〖Tone Production on Classical Guitar /古典吉他音色的产生及影响因素〗


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