PLAYINGTIPS

Guitar Techniques - - Georges Bizet Habanera -

[Bars1-3] Theopen­ingth­ree­bar­sim­i­tateth­ep­izzi­ca­to­cel­losoft­he­o­rig­i­nal or­ches­tralver­sio­n­andIrec­om­mend­play­ing­palm­mutedand­pluck­with­the fleshof­thethumb­forthedesired­ef­fect.Alight­stac­ca­toon­theFnotewill set­thesce­ne­ofthe­ha­banerastyle.When­themelodys­tartsin­bar4,itisno longer­fea­si­ble­to­playthe­bass­notes­muted,soswitchtonor­malpluck­ing andtry­to­ge­ta­sub­tle­blend­oftone­from­mut­edtonon­mut­ed­bynot play­ingth­e­basses­tooloudly.Themelody­can­be­played­main­lyrest­stroke to­giveitawarm­full­tone.Thereis­someindi­cat­edfin­ger­ing­for­both­hands to­helpyou,sod­ofol­low­it­care­fully.Ad­if­fi­cul­taspec­thereist­heartic­u­la­tion ofthe­bassline–thep­rob­lem­be­ingth­elowDon­the­first­beat­ofevery­bar, whichon­ce­plucked­will­nat­u­rally­sus­tain­forthe­w­hole­barun­less­wedo some­thing­to­muteit.Mut­ing­bass­note­sisahugepartof­clas­si­cal­gui­tar tech­nique­and­some­thing­good­play­er­swill­dowith­out­think­ing.Inthe Ha­banera,the­mo­mentinthe­bar­to­muteisim­me­di­atelyafterthesec­ond beat­sothatth­elowDis­no­longer­audi­ble­dur­ingth­esec­ond­hal­fofthe­bar. [Bar4] Forex­am­ple,in­bars4and5­muteth­elowDwith­thep­ad­ofthe thumbim­me­di­atelyafter­pluck­ingth­e­bass­noteF(fifth­string,8thfret)by get­ting­th­ethumbto‘spring­back’and­muteth­e­sixth­string­be­fore­pluck­ing the­bass­noteA.This­ac­tionof­pluckingand­mut­ing­hap­pensi­nones­mooth an­d­ef­fi­cient­move­mentof­thethumb. [Bar6] Bar6hast­headded­prob­le­mof­both­theDandtheAbass­notes ring­ingth­roughthe­bar,be­causethe­bass­noteFis­now­playedonthe fourth­strin­gin­stead­ofthe­fifth.This­time,Imuteth­e­fifthand­fourhstrings si­mul­ta­ne­ously­byal­low­ing­th­ethumbtospring­back­totheA–inthe­same way­a­sit­did­forth­elowDin­bars4and5,but­thethum­bal­soleans­back slightlysoitssidetouch­esand­mutes­th­elowDatthe­same­time. [Bars8-10] Bars8,9and10are­mucheasier­forthe­bas­sar­tic­u­la­tion be­causetheBb,playedonthe­sixth­string,cut­soffth­elowDau­to­mat­i­cally.

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