The guitar is one of the most famous and at the same time unpredictable instruments that can touch the most sensual strings of the soul. But they also are at the guitar itself.
Few people pay attention to the name of the strings onguitar, considering it completely unnecessary. But often the performance of any composition depends on the settings. Any dissonance causes associative rejection of the composition as a whole. But in this material, the main attention will be paid to tuning the instrument and its use for beginning musicians.
In general, the classics is a 6-string guitar. However, we can recall many examples of great composers who preferred six strings to seven (at least Vysotsky).
However, according to musical theory and solfeggio,the names of the strings do not differ at all. Proceeding from the rules established by the general theory of music, the notes on which any instrument is built have their names and abbreviations in the form of Latin symbols and language interpretations. In our case this is:
Signs of alteration (sharp, flat, bacar or their double versions) are applied accordingly. But there are only 6 strings.
The string on the guitar at the top of the fretboard coincides withsounding from the first bottom in three octaves. Therefore, both the first and the sixth are, as it were, predominant, but only with reference to the 6-string instrument (the basic system is produced in the E-minor).
Quite often, many beginning guitarists,trying to comprehend the basics of technology, immediately encounter the problem of tuning, not knowing which string corresponds to one or the other symbol in the notation or sound.
If you go through the search, sequentially from the sixth string to the first, it will look like "mi-la-re-sol-si-mi". And the above sequence is the reverse.
On a flat sequence such a sequence does not draw, because it should look like "si-mi-la-re-sol-do-fa". However, we digress from the topic.
The name of the strings, as already understood, is standard for any instrument. As for tuning the guitar (6-string), it's quite easy.
There are several ways in which a beginnerthe musician will be approached by the unison of the open string below the neck, with the one that is clamped on the fifth fret higher. All strings, except the third, are built according to this rule. It is possible to use the effect of flaicoles at different frets (the strings vibrate among themselves) or include a distortion effect that will add drive and amplify the vibration. That is, to rebuild the strings will have to complete coincidence in the sound. Professional electric guitars for this purpose have a special micro-adjustment device on the deck).
The note "la" for many beginning guitarists, as a rule, is associated with a chord, which is second in simplicity with reference to the guitar technique.
It consists of only three fingers: two on the second fret (the fourth and third string) and one on the second string on the first fret. The note "la" in this case is a tonic.
But the simplest chord is stillE-minor chord. Only two strings - the fifth and the fourth on the second fret. The major chord in the statement from "mi" means the third string is squeezed in the second fret, and the major chord with the tonic "la" is even easier - three fingers on the second fret (second, third and fourth string).
Although the name of the strings on the guitar no longer causes misunderstanding, it is worth mentioning the reception called barre (clenching the index finger of the whole fret).
Any standard chord can be built withusing this technique. In fact, the same simple applications, mentioned above, can be applied to this case, but only in the role of the barre is the doorway near the ring mechanism on the head of the neck.
The name of the strings on the guitar is often emphasizedsome symbols, although not directly advertised. For example, the third, fifth, seventh and twelfth modes (sometimes the ninth) are designated in the standard version. Many famous guitarists can come across all sorts of signs, including skulls or something else. Such guitars are made to order.
And it's quite difficult to play any instrument,be it bust, fight, tapping, sliding, etc. With the advent of "gadgets" the technique has reached a new level. Jimmy Hendricks alone is worth ... And modern guitarists generally demonstrate such technological wonders that they simply can not fit in your head.
The same Steve Wai, Marty Friedmann or Kirk Hammath -these are the same people of our time. And they, by the way, even though they know the classical school, do not always use it in their improvisations. For example, Friedman is inclined to play quintoles or nine notes per pass. And the technics at all is different. But if you set a goal, nothing is impossible. Maybe the modern reader will become a great guitarist in the future, how to know?
