Pluck­ing the strings

Guitar Techniques - - PLAY: CLASSICAL -

In clas­si­cal gui­tar play­ing, we have two ways of pluck­ing the strings; rest stroke (some­times ref­ered to as apoyando) where the string is plucked by push of the fin­ger or thumb which then rests on the ad­ja­cent string, and free stroke (also known as tirando) where the fin­ger plucks free of the next string. Rest stroke gives a warmer fuller tone and is used for sin­gle line melodies, to help a melody stand out from an ac­com­pa­ni­ment, or to ac­cent or em­pha­sise a sin­gle note. Here we are us­ing rest­stroke to drag through ad­ja­cent strings which is a spe­cial tech­nique in clas­si­cal gui­tar play­ing. in­stru­ments are ar­ranged in a glis­ten­ing web of harp-like glisses through ex­otic har­monies, while the flute and strings play an en­chant­ing melody.

Quite sat­is­fy­ingly, i’ve kept the orig­i­nal key of a mi­nor, and to em­u­late the harp-like sound i’ve adopted a tech­nique called a rake (or in clas­si­cal gui­tar ter­mi­nol­ogy a pluck­ing-hand harp or gliss) to run through the strings rapidly. this is ex­plained in the tab cap­tions which will also help you through the trick­ier sec­tions of the piece. take your time with this, as the tech­niques you learn are trans­portable to other pieces, as well as al­low­ing you to play this mag­i­cal work.

the main ma­te­rial in this ar­range­ment aims to em­u­late the un­der-wa­ter like rip­pling arpeg­gios played on the pi­anos. it’s im­pos­si­ble to use the no­ta­tion in ex­actly the same way as the orig­i­nal score but i have used a gui­tar tech­nique that gives a sim­i­lar ef­fect while main­tain­ing the cor­rect har­monic changes and hope­fully cap­tur­ing the mood.

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