 The
ten string guitar |
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Tuning
Yepes's
tuning:
These
tones provide harmonic vibration to
extend each note's resonance on the
guitar's fingerboard
Other tunnings:
Laud
tunning:
If
resonance tuning is combined with tha
laud's you obtain this:
Every
musician shoul make use of the tunning at
will once the tonality of the theme to
play is determined, using the more
convinient basses.
| Overtones |
 |
To control and use
sympathetic resonance at will,
not at the guitar's, was an
important artistic goal, by
applying the bottom of the wrist
(right hand) across the bass
strings, I was eventually able to
dampen unwanted resonance. In time, this became
an automatic aspect of the
tecnique, according to the
demands of the piece being played.
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I also learned to
use the left hand to block
resonance, a devise that
transferred from the six -
strings guitar.
As far as resonance
is concerned, it is important to
realize that one is always using
the extra bass strings because
that is the physical that gives
the ten string guitar such a
distinct quality.
I became more
attuned to the instrument as time
progressed, realizing the power
of its volume.
At each performance
I learned how to refine and use
the qualities of more sustained
notes and greaster volume
afforded by the ever-present
sympathetic vibrations.
/
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|
The Guitar's
Expanded Fingering Possibilities
|
| Fingering options
and alternatives become
considerable when one takes up
the ten string guitar, for
example, I made a small change in
the Fantasia Op. 7 by Fernando
Sor ( meas. 19 ) using the low C
which is the eight string instead
of taking the C an octave higher
as written: 
This gives a rich,
well-grounded support to the aria-like
melody, the advantage here is
obvious, using the bass notes
instead of barring with the left
hand ia a technical advantage.
In the Suite in A
major by Sylvius Leopold Weiss,
while learning this passage in
the Courante:
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| __ |
__6ª
|
7ª
|
8ª
|
9ª
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--
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10ª
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Here the bass have
been changed, these rich tones
were an inspiration that made the
performance of baroque musis
adhere more to the composer's
concept of counterpoint.
/
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| Conclusion |
| I learned
and played the six-string
guitar for seventen years
before I fully committed
myself to this guitar, I
don't feel, however, that
there should be any rules
about starting with a ten-string
guitar or waiting for the
seventen years. My
work here, is to express
why I have chosen the ten-string
as a way of exploring my
own musical ideas.
Néstor
Benito
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