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A Comparative Analysis of Fundamental Guitar Techniques

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A Comparative Analysis of Fundamental Guitar Techniques A COMPARATIVE ANALYSIS OF FUNDAMENTAL GUITAR TECHNIQUES INCLUDING THOSE OF THE NINETEENTH CENTURY AND THE PRESENT A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY I-HSUAN (PHOEBE) TSAI DISSERTATION ADVISORS PR. PAUL REILLY DR. BRETT CLEMENT BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2018 Copyright © 2018 I-Hsuan Tsai All rights reserved ii ACKNOWLEDGEMENTS I would like to express my special appreciation and thanks to Professor Paul Reilly who has been my guitar professor during studies at Ball State University. I would not be able to perform and teach at such a high level without his support. His guidance helped me during the time of research and writing of this dissertation. I would also like to thank Dr. Brett Clement, who always gave me insightful comments and encouragement in my academic study. I would like to express my gratitude to my doctoral committee members: Dr. Katrin Meidell, Dr. Kevin Gerrity, and Dr. Chin-Sook Pak for the time spent on my comprehensive exam and dissertation. A special thanks to my family. Words cannot express how grateful I am to my mother, father, and sister. My family in Taiwan gave me unlimited love so that I could have the courage to study aboard. I would also like to thank all of my friends and editor Melissa Jones who supported me in writing, and helped me to strive towards my goal. My friends bring laughter to my life and their encouragement makes me face the challenges without fear. Because of all of you, I am able to finish my doctoral degree. Thank you. iii TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION ............................................................................................. 1 Problem statement ................................................................................................................... 1 The purpose ............................................................................................................................. 2 Significance of the study ......................................................................................................... 3 Literature review ...................................................................................................................... 8 Procedures ............................................................................................................................. 13 CHAPTER TWO: GLOSSARY ................................................................................................... 15 CHAPTER THREE: BIOGRAPHICAL BACKGROUND OF THE AUTHORS & OVERVIEW OF THE SIX METHODS ............................................................................................................. 19 Biographical Background of The Authors ............................................................................. 19 Overview of The Six Methods............................................................................................... 22 CHAPTER FOUR: SITTING POSITION .................................................................................... 25 Holding the guitar .................................................................................................................. 28 Guitar supports and contact points ........................................................................................ 31 Summary and guidelines ....................................................................................................... 34 CHAPTER FIVE: RIGHT-HAND TECHNIQUE ....................................................................... 40 The right-hand position ......................................................................................................... 40 Right-hand placement ............................................................................................................ 50 Nails ....................................................................................................................................... 51 Rest and free strokes .............................................................................................................. 55 Stroking ................................................................................................................................. 59 P-stroking............................................................................................................................... 62 iv The use of finger a ................................................................................................................. 64 The little finger ...................................................................................................................... 65 Inactive fingers ...................................................................................................................... 66 Right-hand displacement ....................................................................................................... 68 Fingerings .............................................................................................................................. 69 Gradation–Tone Color ........................................................................................................... 72 CHAPTER SIX: LEFT-HAND TECHNIQUE ............................................................................ 74 For the beginners: left-hand position ..................................................................................... 75 For the beginners: left-hand movement ................................................................................. 85 For intermediate students: the adjustment and shift of positions .......................................... 87 For intermediate students: special techniques ....................................................................... 89 CHAPTER SEVEN: TENSION IN THE BODY ......................................................................... 96 Causes .................................................................................................................................... 97 Solutions ................................................................................................................................ 99 Practicing hours ................................................................................................................... 104 Summary and guidelines ..................................................................................................... 106 CHAPTER EIGHT: THE TECHNIQUES ASSOCIATED WITH THE ETUDES ................... 108 Overview of Etudes ............................................................................................................. 108 Scale playing........................................................................................................................ 113 Arpeggio playing ................................................................................................................. 120 Block chord playing............................................................................................................. 123 CHAPTER NINE: CONCLUSION ............................................................................................ 126 BIBLIOGRAPHY ....................................................................................................................... 130 v LIST OF FIGURES Figure 2-1 Right-hand fingers………………………………………..…………..……………...15 Figure 2-2 Left-hand fingers….…………………………………………….………..………….15 Figure 2-3 The position of the wrist……………………………………..…………...…………16 Figure 2-4 The deviation of the wrist………………………………………………...…………16 Figure 2-5 The tilt of the hand…………………………….……………………...……………..16 Figure 2-6 Strings……………………………………………………………....……………..…16 Figure 2-7 The name of guitar parts…………………………………………………….……….17 Figure 2-8 The name of joints………………………………………………………...……...….18 Figure 2-9 The name of phalanges………………………………………..……………………..18 Figure 4-1: The different sitting positions……………………………………………………….27 Figure 4-2: Poor sitting positions………………………………...………………………………27 Figure 4-3: The sitting positions (Sor and Aguado)……………………………………………..29 Figure 4-4: The sitting positions (Carlevaro, Shearer, and Duncan)………………………….…29 Figure 4-5: Shearer’s sitting position with an A-frame…………………………………….……32 Figure 4-6: The seventeenth-century guitarist……………………………..…………………….35 Figure 4-7: The Renaissance viola da mano player……………………………………………...35 Figure 4-8: The sixteenth-century four-course guitarist…………………………………………35 Figure 4-9: A foot-stool……………………………………………………………………….…37 Figure 4-10: ErgoPlay guitar support…………………………………………...……………….38 Figure 4-11: Dynarette guitar support (Cushion)………………………………………………..39 Figure 5-1 The name of guitar parts……………………………………………………………..41 Figure 5-2 The wrist in a fully downward and upward position…………………………………44 vi Figure 5-3 Poor positions of the wrist…………………………………………………...………44 Figure 5-4 The natural position of the wrist………………………….………………………….45 Figure 5-5 Sor’s Right-hand position...………….…………………………………...………….47 Figure 5-6 Avoiding dropping down the right side of the hand……..………….….……………47 Figure 5-7 Tilting the hand to the left………………………………….……………..………….47 Figure 5-8 The posture of finger a……………………………………………………………….49 Figure 5-9 The trajectory of strokes…………………………………………………….………..53 Figure 5-10 The positions of the free stroke and the rest stroke…………………..……………..58 Figure 5-11 The trajectory of strokes…………………………………………………………….60 Figure 5-12 The axis of movement and the muscular aggregate of finger p…………….………63
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