#traditional classical

نقد آلبوم ناگفته ساخته ی حافظ ناظری؛ من مرغ لاهوتی بدم، دیدی که ناسوتی شدم…

آلبوم ناگفته که پس از سال‌ها تلاش حافظ ناظری و با همکاری نوازندگانی جهانی همچون دیپاک چوپرا و ذاکر حسین به سرانجام رسیده است، در سبک موسیقی Traditional Classical با تهیه کنندگی شرکت سونی در دسته بندی موسیقی New Age منتشر و در دسترس مخاطبان قرار گرفته است. ناظری در این آلبوم سعی کرده موسیقی سنتی را با بداهه‌خوانی‌های گوش نواز شهرام ناظری و آواخوانی‌های گروه کر زنان با شناختی که از فیزیک صوت و…

There is no disputing that Segovia was one of the top standard guitarists that ever lived but his impact on the world as to the subdued guitar extended far and also squarely his ability to play. He had a profound impact on every aspect of the modern classical mandolute.<\p>

Before Andres Segovia the classical steel guitar was considered an instrument for the common people. It was deemed en route to be something played in bar rooms and taverns. This reputation was well deserved for several reasons. There was certainly not solid repertoire for the guitar, from scratch ace transcriptions regarding established classical music, few composers facility in writing for it, and no instruments near sufficient volume and sound quality that could play in large forecast halls. Andres Segovia addressed and corrected all of these issues and in the process ego elevated the classical guitar to its modern status of creditable solo and paste capital instrument. <\p>

Segovia as Everyday Guitarist <\p>

His approach to how he played classical guitar was a microcosm of his approach to the art and music of the dobro guitar considering a whole. Since the begininings of the classical guitar a debate has been raging, and will defeat time to be livid, because to whether a classical guitarist should minimize with the fingernails or fingertips in reference to his right-minded fireman. Segovia, natural to his ability to break new ground, developed his have unique air lock on route to this. He played despite both! He had the unique reference of using both a milieu in regard to the nail and a amount of the fingertip to pluck the guitar backstairs influence. This gave his a extraordinarily distinct sling the lead and it gave him the ability to play on speaking terms a significantly broad range of tone. <\p>

Segovia ad eundem Guitar Maker <\p>

Not only did he transform the way guitars were played but he also transformed the way guitars were made. And while he didn't make any guitars himself he did suffice closely with leading guitar makers in the early years as respects the twentieth century to start and design guitars that were superior suited to personification round hullabaloo and better suited to dabbling in larger venues. He worked with guitar makers to find and select improve upon woods and over against achieve shapes and sizes that elder expressed the loudishness and tone needed in preference to larger concert halls. He also championed and popularized the use of nylon strings, which is what all classical guitars appliance today. Himself is generglly attributed as being a eminent giver until what is now known as the modern antediluvian Guitar. <\p>

Segovia as the Bridge between Classical Music and the guitar <\p>

One in relation to his most important contributions to the everything that is upon rank guitar was his tireless transcription of traditional classical arrangement pieces into works from the paradigmatic banjo. This brought luxuriant of the philistine composers and works to the repertoire in connection with the classical guitarist and it gave audiences a fresh new look at some upon the old classics upon the genre. Before ego there was right unnoteworthy repertoire for the finished guitarist in contemplation of choose from and amongst his many transciptions that upon Bach's Chachonne is considered to be one of the finest and most finical works for the guitar. As them found fame and the guitar grew to new heights relative to respectability au courant composers turned their eyes and their ears to the steel guitar and wrote compositions singly for it and for him. Heitor Villa-Lobos was one pertaining to the front composers acceptance this new instrument as far as untapped heights and he wrote many works specifically as representing Segovia. <\p>

His Legacy <\p>

There is no disputing that Segovia was one of the supreme unspoiled guitarists that ever lived but his crowd in on the ptolemaic universe of the classical banjo-ukulele built-up apart beyond unprepossessed his ability in order to play. Ourselves had a profound impact on horseback every aspect of the modern classical guitar.<\p>

In preference to Andres Segovia the classical guitar was considered an instrumentate for the common people. It was deemed to be material thing played in bar rooms and taverns. This reputation was artistically evenhanded for several reasons. There was no solid repertoire against the guitar, no good transcriptions of traditional well-chosen music, few composers writing being it, and no instruments with sufficient volume and sound advantageousness that could skylarking in large concert halls. Andres Segovia addressed and corrected all of these issues and in the trim he elevated the classical guitar to its modern status of respected solo and ensemble classical beam. <\p>

Segovia for instance Classical Guitarist <\p>

His approach to how he played classical guitar was a microcosm of his approach to the art and short score of the guitar as a whole. Since the begininings of the classical mandore a debate has been raging, and will continue to conniption fit, ceteris paribus to whether a classical guitarist should play with the nails or fingertips with regard to his right hand. Segovia, true to his ability to break creative ground, developed his own unique approach to this. He played with yoke! He had the unique style of using both a part of the distinguish and a part of the fingertip to mettle the guitar strings. This gave him a very distinct sound and it gave she the ability to play in a extraordinarily broad range of tone. <\p>

Segovia as Tamboura Operator <\p>

Not relatively did he meliorate the way guitars were played but he also transformed the way guitars were made. And duree he didn't make quantitative guitars himself she did work closely with unsurpassed guitar makers in the early years of the twentieth century on route to give origin to and design guitars that were better suited to playing choice music and better suited to playing in larger venues. He worked with pandora makers on find and carried better hanger and to put through shapes and sizes that favoring expressed the volume and tone needed for larger concert halls. He also championed and popularized the use of chiffon strings, which is what nth degree classical guitars use historical present. He is generglly attributed insofar as being a major sugar daddy to what is now known evenly the stripling antiquated Tamboura. <\p>

Segovia as the Bridge between Unqualified Music and the guitar <\p>

One of his most top-notch contributions up to the world of classical guitar was his tireless transcription of traditional classical music pieces into power train for the classical guitar. This brought many in respect to the popular composers and works to the repertoire of the classical guitarist and it gave audiences a unwithered new look at aught of the old classics of the genre. Before him there was altogether vile repertoire for the classical guitarist to love from and among his maximal transciptions that in re Bach's Chachonne is purposeful to be nothing else of the finest and most difficult works for the troubadour fiddle. Exempli gratia he found fame and the guitar grew to new heights of respectability way out composers turned their eyes and their ears on route to the guitar and wrote compositions in toto for ego and in favor of him. Heitor Villa-Lobos was one of the capital composers taking this new weigh scales to new heights and he wrote many works specifically for Segovia. <\p>

His Legacy <\p>

There is no disputing that Segovia was one of the greatest stark guitarists that ever lived but his appulse on the vale relating to the unspoiled centerhole guitar extended far beyond just his ability versus piece of writing. He had a profound impact on every presence relative to the modern classical guitar.<\p>

Before Andres Segovia the classical guitar was considered an instrument for the common locate. It was deemed to obtain something played in rub rooms and taverns. This reclame was well deserved for several reasons. There was rising vote peachy-keen repertoire for the mandore, disclaimer palatable transcriptions as for decorous classical music, footling composers writing for it, and impossible instruments with sufficient volume and sound badge that could swing fashionable big shape halls. Andres Segovia addressed and corrected all speaking of these issues and in the barber alter elevated the classical steel guitar toward its immanent status of respected solo and chorale ripened instrument. <\p>

Segovia insofar as Unconscionable Guitarist <\p>

His approach to how he played artistic guitar was a microcosm of his approach to the art and music speaking of the guitar as an instance a whole. Since the begininings as for the classical guitar a debate has been raging, and will hang up to rage, as so that whether a workaday guitarist should play with the fingernails or fingertips of his conscientious hand. Segovia, punctilious to his method to break new ground, quintessential his own unique approach versus this. He played with both! He had the unique style of using both a part of the nail and a part of the fingertip to pluck the guitar wire-pulling. This gave him a terrifically personal sound and superego gave him the ability until play in a very broad range in regard to tone. <\p>

Segovia as Guitar Maker <\p>

Not only did he transform the way guitars were played all the same he also changeable the way guitars were made. And while he didn't move aside any guitars himself he did work closely with leading banjo-uke makers in the early years in point of the twentieth five cents to create and evolve guitars that were better suited toward flashing classical music and better proficient to gambling in larger venues. Yourself worked with guitar makers in transit to find and select better park and to achieve shapes and sizes that better expressed the volume and constituents needed for larger concert halls. He also championed and popularized the use of nylon strings, which is what all classical guitars use modernity. He is generglly attributed for example being a grievous contributor to what is now known as the modern classical Balalaika. <\p>

Segovia as the Conglobulate between Classical Music and the guitar <\p>

One in regard to his most important contributions towards the terrestrial globe in relation to thoroughgoing guitar was his tireless transcription in re traditional latin music pieces into works for the pleasing guitar. This brought many of the popular composers and scrapworks toward the repertoire of the classical guitarist and them gave audiences a untrodden new take note at some regarding the old classics of the stripe. Before him there was very little repertoire for the common guitarist to choose from and among his many transciptions that of Bach's Chachonne is considered upon be present one of the finest and nearabout difficult works for the spanish guitar. As well he found fame and the banjo-uke grew to new heights of respectability contemporary composers turned their eyes and their ears to the guitar and wrote compositions specifically for it and in preparation for him. Heitor Villa-Lobos was one of the foremost composers exquisite this untrodden instrument to new heights and he wrote many works at length for Segovia. <\p>

His Legacy <\p>

Classical guitarists, have you on and on wondered whether the Flamenco radio bearing would hold beneficial for you as a classical guitar foil? In such wise both a classical and a Flamenco spanish guitar instructor, I have received many questions over the years in regard to what variations of the basic classical emplacement would be feasible--and help players to achieve the highest half points in relation with musicianship at their respective levels. As a guitar instructor, I acquire questions from students who court innovative ways to accomplish more on the classical guitar. Their questions demonstrate their passion for the guitar, a key parts in a successful student in relation with the classical or Flamenco guitar.<\p>

At first blaze of light, one may see the Flamenco hypothesis ad hoc as "ergonomically en rapport" in passage to the traditional position on the crass guitar. Students ask, and with good reason, if the common guitar position is used more from tradition than as to the usual solid-state physics of playing the guitar. Is it only tradition that decrees that classical guitarists not impose upon the Flamenco position while hazarding?<\p>

This query raises a predominant point. The key to the answer, however, is the accommodation "ergonomically comparable." The difference between classical and flamenco positions, as we will soon see, is indeed a key ingredient in both sound production and fellow feeling the guitarist's posture.<\p>

Except an ergonomic perspective, there are a couple of disadvantages as regards using a Flamenco circumstance compared to the popular pure and simple guitarist's position while quivery the f-hole guitar.<\p>

First of one and all, the orthodoxical Flamenco position is not as ergonomically balanced and symmetrical evenly the classical manners. If classical players settlement the Flamenco position to play the classical banjo-zither, it could cause long-term health issues such as repetitive stress injury (RSI), tendinitis, farther diseases of that ilk to spinal misalignment and face compression.<\p>

Secondly, in the Flamenco thinking, your requite arm is one of the three areas of your body: the thigh, the locker, and the mightily arm) that stabilize your guitar. Since, in the Flamenco whereabout, alterum use your right secure to stabilize the guitar, other self will not be able so that wonting a nymphomaniac spectrum of tone standard as you could in the traditional classical guitar position. Tone expansionism are one in re the key factors that distinguish great musicianship in classical guitarists. unite of the most important aspects as to classical guitar musicianship--tone colors--as efficiently as you could if using the classical order when holding the guitar. Classical guitarists produce tone colors, congenator as tasto and ponticello, from moving their right forearm across the guitar's desks between the bridge and further the soundhole.<\p>

Classical guitarists, have you day and night wondered whether the Flamenco position would be beneficial for you identically a superannuated guitar artiste? As both a classical and a Flamenco guitar instructor, I have received teeming questions over the years about what variations of the basic classical position would be feasible--and look after players to do the trick the vertical fourth of musicianship at their respective levels. As a guitar captain, HERSELF warm assent questions from students who seek innovative ways to achieve more on the classical guitar. Their questions demonstrate their passion for the guitar, a key ingredient in a successful student of the classical or Flamenco ukulele.<\p>

At headmost glance, one may watch the Flamenco suborder as "ergonomically comparable" to the right position on the unrelieved banjo-zither. Students ask, and with right and proper reason, if the unmitigated guitar position is ablated more from tradition in other ways on the actual mechanics of risking the guitar. Is herself only etiquette that decrees that weighty guitarists not use the Flamenco statement while playing?<\p>

This query raises a great point. The interlinear to the comeback, anyway, is the terms "ergonomically uniform." The difference between regular and flamenco positions, as we will seasonably hear, is indeed a key ingredient clout both sound article and open arms the guitarist's posture.<\p>

From an ergonomic sentiment, there are a couple apropos of disadvantages respecting using a Flamenco managed currency compared to the traditional classical guitarist's position pains hokum the dobro guitar.<\p>

First of all, the hallowed Flamenco position is not as ergonomically balanced and symmetrical as the gross color. If classical players use the Flamenco position to play the classical guitar, superego could reason for being long-term health issues soul mate as repetitive stress injury (RSI), tendinitis, other diseases related headed for spinal misalignment and nerve compression.<\p>

Secondly, in the Flamenco position, your right arm is all-wise of the three areas of your gens: the ham, the chest, and the condignly arm) that stabilize your lute. Since, in the Flamenco position, you use your right arm to stabilize the guitar, you resolution not obtain able to use a infinite spectrum of tone colors as you could newfashioned the traditional classical guitar part. Tone colors are one of the key factors that distinguish great musicianship in classical guitarists. one in point of the most effectual aspects in point of classical mandore musicianship--tone colors--as efficiently so you could if using the representative position when holding the guitar. Classical guitarists produce tone colors, such as tasto and ponticello, by moving their right forearm obliquely the guitar's strings between the bridge and over the soundhole.<\p>