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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
  I have two apologies to make. The first is to those readers who happen to be female: in order to avoid cluttering up some already tortuous prose, I persistently refer to "the reader" or "the guitarist" as "he", infull awareness that it is not unknown for ladies to read books or even to play the guitar. The other is to those who would be unabashed, or indeed flattered, to be called "innumerate". There are a good many numbers lurking between these covers, especially in the first three chapters. There are also a few scientific and technical terms, and even (dare I say it?) one mathematical formula. 1 would advise anyone afraid of being "blinded with science" to skim hastily over the first three chapters, picking out what seems useful and leaving the rest, and to start paying attention properly at the beginning of Chapter 4. There, the going becomes much easier, only a few simple ideas being carried over from the previous discussion.
  On the other hand, I have set out to cater particularly for those who want to know the whole story, and who are prepared to assimilate some unfamiliar ideas in the process. The points are presented in a more or less logical sequence, and I have tried to make the book continuously readable, with no footnotes and with all the references placed at the back. The preliminary explanations of the physics are suitably brief; those who find them too brief to follow, or who wish to know more about musical acoustics, are urged to consult one or more of the listed books on the subject3.
  However, most readers will prefer to avoid getting stuck on particular details, and quite rightly so. Certain passages may well prove puzzling, because the ideas are either too involved or, more likely, not clearly enough explained; but I have tried to arrange it that even a cursory perusal will leave the reader in no doubt as to the few key ideas which I consider essential. It is as well to remember that tone production, though certainly worthy of close study, is only one aspect of technique, and that the whole of technique (broadly, everything that comes between the musical ideas and their realisation in sound) is only a means to an end. It is one measure of a good technique that it can be safely relegated to the background during actual playing, allowing the guitarist to get on with what really matters - making music.
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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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