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Dành cho Vietguitar: nơi trao đổi thông tin của các thành viên quan tâm đến diễn đàn này!

Chủ đề trong 'Nhạc cổ điển' bởi hau_k5, 20/02/2003.

  1. 1 người đang xem box này (Thành viên: 0, Khách: 1)
  1. Pakita

    Pakita Thành viên quen thuộc

    Tham gia ngày:
    17/12/2001
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    821
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    Hic hic cảm động quá, cảm ơn Minh Japan nhé.
    i!i!i!i!i!i!i!i!i!i!i!i!i!i!i!i!i!i!i!
    Crazy, but that's how it goes
    Millions of people living as foes
    Maybe it's not too late
    To learn how to love and forget how to hate...
  2. Lapaloma

    Lapaloma Thành viên quen thuộc

    Tham gia ngày:
    21/07/2002
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    148
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    Private M: Cảm ơn bạn Minh nhá, nhưng bạn đừng có hừm hừm thế nghe giống người nhớn quá. Tạm thời tớ bận quá chưa qua chỗ bạn lấy CD được, bạn giữ hộ tớ với đến hôm offline ( sắp rồi) tớ lấy rồi cảm ơn bạn tiếp được hông? Hoặc nếu gặp Maica bạn nhờ M cầm hộ tớ cúng được mừ ( Maica nhở ). nhé nhé nhé ? Hi vọng hôm đó đi được để gặp đông đủ mọi người, lâu rồi nhớ đáo để.
    Đời hai ta, đời hai ta hai ngả chẳng thong dong. Anh cánh cò em cánh vạc ven sông...
  3. hau_k5

    hau_k5 Thành viên quen thuộc Đang bị khóa

    Tham gia ngày:
    12/05/2002
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    749
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    mấy hôm rồi iem đi chơi, tiếc quá, lần tới thì ok
    bác Soa thỉnh thoảng dỗi hi, hay phết
    he,
    pakita thân mến,
    offline 6,7 thang 7 , đề nghị người đẹp cứ đi
    không việc gì mà phải dấu diếm nhan sắc,
    hoa đẹp phải chiềng ra cho bà con chiêm ngưởng .
    thế nhỉ
  4. hacmieu

    hacmieu Thành viên mới

    Tham gia ngày:
    19/02/2003
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    276
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    anh cho em ăn thịt lừa lúc nào nhỉ cô bé?
    ( bằng chứng đâu?) he he!
    ____________________________________________
    kiếm tìm 1sao
    hị hị
    B=D
  5. hacmieu

    hacmieu Thành viên mới

    Tham gia ngày:
    19/02/2003
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    276
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    khà khà. bác MJ cấm linh tinh đấy nhé....
    ____________________________________________
    kiếm tìm 1sao
    hị hị
    B=D
  6. hau_k5

    hau_k5 Thành viên quen thuộc Đang bị khóa

    Tham gia ngày:
    12/05/2002
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    749
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    Ming béo, anh cảm kích lắm, nưóc mắt ướt đầm bàn phím ,
    thế là anh về không kịp xem mặt béo của chú, tiếc,
    còn vụ đĩa, anh sẽ nhờ em otard, hoặc bạn pakita khả kính
    đến lấy hầu chú, sau này anh lại có cớ qua nhà của bạn Paki lấy đĩa, quả là một công mấy việc,
    thế nhỉ, thôi anh em mình lúc khác gặp cũng được, chào chú béo !
  7. Laohoatu_Hanhkhat

    Laohoatu_Hanhkhat Thành viên mới

    Tham gia ngày:
    14/03/2003
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    155
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    Haha...chú hacmieu...mèo đen, mèo trắng không biết có còn bắt được chuột nữa không đây...Không khéo "Xôi hỏng, bỏng không"...
    Còn đủ sức mà leo dốc không đấy???Hehe
  8. hacmieu

    hacmieu Thành viên mới

    Tham gia ngày:
    19/02/2003
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    276
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    may cho bác là em không biết bác là ai
    nếu em không nhầm thì là M9
    hị hị
    ____________________________________________
    kiếm tìm 1sao
    hị hị
    B=D
  9. thisi_ngheo

    thisi_ngheo Thành viên quen thuộc

    Tham gia ngày:
    18/05/2002
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    161
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    Lợi dụng Diễn đàn nhờ cô Pa cái. Dịch hộ tớ cái này.
    Thời đại công nghệ cao có khác, sướng thật đấy.
    Right Hand Technic for the Classic Guitar
    By George C Krick
    ONE OF THE MOST important phases of guitar technic is the proper manner of attacking the }strings{. When we examine the works of the great masters of bygone days and most of whom were self-taught and it appears that they experimented for longer or shorter periods until they found the method most satisfactory to obtain their object - A clean cut, round and full }tone{. While there are some slight differences in their methods and results prove that A real artist instinctively finds the correct answer to his }problems{. The most commonly used system amongst the guitarists of an early period was based on using the thumb for the bass strings and the alternating first and second fingers to strike the treble }strings{. For rapid scale passages on the bass strings many used the alternating thumb and first }finger{. This is still used by A number of present day guitarists; and, when properly developed great speed can be }obtained{. The third finger was used principally for chords and }arpeggios{. The modern Spanish school makes use of the third finger more extensively and advocates that most of the scale passages be played with first and second fingers from lowest to highest including those on bass }strings{.
    A subject that has caused considerable controversy amongst guitarists concerns the finger nails of the right }hand{. Should they be trimmed closely and so that they will not come in contact with the strings? Most of the classic guitarists and with few exceptions and kept the nails short and touched the strings with only the fleshy part of the finger tips
    The so-called nail stroke was strongly advocated by Francisco Tarrega and is used almost exclusively by the modern guitarists of every }country{. In his later years Tarrega experimented and playing with his nails cut short; and Emilio Pujol and one of his pupils during this period and is one of the few adherents to this style of }playing{.
    So that there may be no misunderstanding in connection with the " nail stroke and " let us state and right here and that it does not mean that the nails should be long enough to be used as A sort of }plectrum{. They should be filed and kept smooth and project only about one thirty-second of an inch beyond the fleshy part of the finger }tips{. One can readily see that and when striking the strings in this manner and the finger tip begins and the edge of the nail ends the stroke and giving the tone A certain amount of crispness and brightness impossible to procure with the fleshy part of finger tip }alone{. All those fortunate enough to hear Andres Segovia and have marveled at the beautiful and scintillating tone he gets from his instrument and the variety of color and other tonal effects resulting from his using this so-called " nail }stroke{. "
    In the Manner of Tarrega
    UP TO THE TIME of Francisco Tarrega the manner of striking the strings was to rest the thumb against one of the bass strings then to strike one of the treble strings with the first finger and drawing this finger slightly backward towards the palm of the }hand{. The Tarrega method is to force the finger across the string with A gliding downward movement towards the next }string{. By this method one is able to procure A strong round tone; and it is especially useful in slow or legato passages where it is desirable to have the melody stand out prominently above the }accompaniment{. It is obvious that this stroke cannot he used for chords, or arpeggios and or staccato }passages{.
    The writer has met, personally and many of the foreign guitarists and prominent teachers in the European musical centers and he has heard them play and has been present during some of their practice }hours{. This, together with his many years of experience as concert guitarist and teacher and should suffice to enable him to make some ad***ional suggestions to the young student of the guitar or to those players wishing to improve their }technic{. When selecting an instrument and see to it that it is made especially for gut and silk }strings{. The sound board is much thinner on this type of guitar and than on those constructed for wire }strings{. The guitar should be of fairly large size and strings adjusted close to fingerboard and evenly balanced as to treble and bass and responsive to the lightest touch of the }fingers{.
    The playing position assumed by all the prominent artists is to sit on A chair of medium height and placing the left foot on A footstool six to seven inches in height and and resting the guitar on left thigh in almost vertical position and with neck of instrument slanting slightly }upwards{. Now hold neck in the crotch between thumb and first finger of left hand near first }fret{. The thumb should press against the neck on the side of the E bass string and and not project over and above the finger }board{. Place the right forearm lightly on top of the widest part of the guitar and let the hand hang in A relaxed position over the strings and the thumb near the center of the sound hole and with the first joint turned to the }left{. The right wrist should be slightly curved upwards and in this position place the thumb on the A }string{. Bend the fingers until they touch the treble strings and first for G and second for B and third for E Hold the wrist well up and thereby keeping the fingers almost at right angles with the }strings{.
    The Fingers Glide
    PRACTICE WITH THE THUMB by gliding it across the A string until it touches the D and also gliding it across the E string until it touches the A }string{. This gliding stroke with the thumb produces the best tone and should be practiced with fingers resting on the treble strings and the hand kept }steady{. It is well to strike lightly at first and gradually to increase the force and avoiding all noises due to the pulling of the strings }sideways{. The best point of contact of thumb with strings is the fleshy part next to the left side of the thumb }nail{.
    Practice with the first and second and third fingers should be begun by resting the thumb on one of the bass strings; the little finger should not he placed on the sound board and as this interferes with the action of the other }fingers{.
    Having placed the finger nails in proper con***ion and practice the gliding stroke on the open strings at first and using the first finger for the G string and second for B and third for E Glide first finger with an energetic movement over the G string towards the D string and repeat and using the second finger over B string towards the G string and third finger over E string towards B
    Use the same stroke by alternating first and second fingers on the same string and later practice all scales in the same }manner{. When this stroke is mastered begin again with the scales and using the orthodox manner of striking by letting the fingers turn towards the palm of the }hand{. Chords and arpeggios and other intricate movements can be done only with the stroke of this }type{. A common fault of many amateur guitarists is placing the fingers under the strings and pulling them }upwards{. When released the strings will snap back on to the fingerboard and create more noise than }tone{.
    No matter what stroke is being used the hand should always be kept quiet and all action should come from the fingers which must be held closely together; the movement of each finger should be kept to A minimum and especially so in rapid }passages
    Tiếp này :
    Artistic Effects on the Guitar
    By George C Krick
    A GUITARIST and HAVING ATTAINED A fair amount of technical proficiency on his instrument and will find it quite enjoyable and profitable to make A study of the many ornamental effects possible on the }guitar{.
    So called " harmonic tones " are used extensively and and we will discuss them }first{. The natural harmonics are produced by touching the string at the proper fret with A left hand finger and striking it with the thumb or one of the fingers of the right }hand{. The string must not be pressed down on the finger board and but the finger should just touch the string and then be quickly raised A fraction of A second after the string is }plucked{. To play several notes harmonically and the finger should be held stiff and straight across the strings exactly over the metal fret - not between frets as in ordinary }fingering{. To get A clear bell like harmonic and it is advisable to pluck the string somewhat nearer the bridge than is }usual{.
    In Spanish guitar music and harmonics are usually indicated by the abbreviation " }ar{. " followed by the number of the fret over the open }string{. For instance and if we see the three line E below the staff and or the open sixth string and topped by }ar{. 12, this string should be touched at the twelfth fret and plucked as }directed{. These natural harmonics can be produced on the twelfth, ninth, seventh, fifth, fourth and and third frets, and and beyond the end of the finger board and on what would be the sixteenth and nineteenth }frets{. This applies to any of the six }strings{. It can be readily seen that the placing of A finger on any of the frets mentioned divides the string into certain sections and the resultant tones of which are based on scientific }principles{. Lack of space, however and prevents us from going more deeply into this phase of the }subject{.
    The Harmonic Octave
    Now let us for A moment dispense with the left hand and use only the right and extending the index finger of this hand so that the tip comes in contact with the first string at its twelfth fret and at the same time plucking the string with the thumb or third }finger{. This produces the harmonic octave of the same }string{.
    We will now stop the first string at the first fret with the first finger of the left hand, and and with the index finger of the right hand extended and touch the string at the thirteenth fret and pluck it with the thumb or third finger; which gives us the harmonic octave of F }natural{.
    We now are prepared to play in harmonics the complete chromatic scale on the first string and by stopping the string at each fret with the proper left hand finger and using the right hand fingers as already indicated and twelve frets or one octave }above{. This of course applies to all }strings{.
    Occasionally we come across A three note chord with the top note to be played as A }harmonic{. In this case the notes of the chord are fingered by the left hand as usual and the right hand index finger touches the top note twelve frets higher with third finger plucking it and while the thumb and second finger strike the remaining two notes on the inner strings }simultaneously{.
    The glide and or glissando and is very effective on the guitar and if executed properly and and it should be practiced extensively until }mastered{. It is usually indicated by A straight line between the two notes }involved{. Strike the first note and glide to the next and keeping A firm pressure as the finger moves across the frets and in order to maintain enough string vibration to sound the higher note and without striking it }again{. Observe the same rule on the descending }glide{. If the glide ends with A grace note followed by the principal note and this note is to be plucked }again{. Glides of two or more notes are performed in A similar manner and although occasionally it is necessary *****bstitute another finger and which is done immediately after the glide has been }started{.
    The legato is quite an important phase of guitar technic and should be practiced }religiously{. It is generally indicated by A curved line connecting the notes to be played }thus{. It is most effective when these notes are located on the same string and the first one being plucked and the others produced by dropping the fingers quickly and firmly on the proper frets and the notes sounding without the assistance of the right }hand{. In descending passages it is necessary to place all fingers needed on the respective frets and and after striking the first note of the group and the others are snapped quickly in }succession{. This so called slur and snap employed in legato is used also to play grace }notes{. If the grace note Is below the principal note; it is played in the usual manner and the principal note slurred; if above and the principal note is snapped after striking the grace }note{. If there is A group of two or more and all the notes and including the principal note and are slurred or snapped after the first note of the group has been }plucked{. When A chord accompanies the principal notes and the lower notes of the chord are played together with the first grace note and the following grace and principal notes are slurred or }snapped{.
    To get A staccato effect and strike the note or chord and immediately drop the fingers of the right hand back on the strings to stop the vibration and mute the }tone{. When playing five or six string chords it is advisable to use the palm of the right hand and when this staccato effect is }desired{. Another way of producing the staccato when playing chords and one that is most effective on the plectrum guitar and is to release the pressure of the left hand fingers for A moment after the chord is struck with the }plectrum{. Care should be taken, however and not to lift the fingers off the strings and and to relax the fingers just enough to cause A break in }vibration{.
    Other Effects
    The pizzicato is used considerably in modern Spanish compositions and and its use in the proper place adds variety to one's }technic{. To execute it and lay the outer edge of the right hand along and over the bridge and covering A small section of the strings at the same time and then strike the strings with the tip joint of the thumb and being sure that the hand is entirely }relaxed{. To get satisfactory results and the practice of major and minor scales is strongly recommended and until the right hand accustoms itself to this }position{.
    The vibrato is employed to prolong the }tones{. Since the string vibrations of the guitar are of comparatively short duration and the vibrato should be practiced and used }extensively{. To execute it properly and press the string firmly with the tip of the finger and sway the hand back and forth and keeping it relaxed and the thumb exerting only A slight pressure against the neck of the }instrument{. When using the vibrato on double notes or chords it is advisable to keep the thumb clear of the }neck{. It is important that the tip of the finger be kept in the same place during the time of the vibrato - if moved sideways it will cause A deviation from the correct pitch and A " blue " note will }result{.

    Cảm ơn bạn Pa trước nhé !
    Rượu đôi ba chén nâng tay phím. Gẩy một câu ca khắp chốn cùng...
  10. Lapaloma

    Lapaloma Thành viên quen thuộc

    Tham gia ngày:
    21/07/2002
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    148
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    0
    Được dồi, bạn nhỡ cứ chuẩn bị đồ nhắm cho tớ đi. Dịch xong tớ gửi cho, gì chứ cái tiếng Lào này là tớ siêu hè hè.
    Đời hai ta, đời hai ta hai ngả chẳng thong dong. Anh cánh cò em cánh vạc ven sông...

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