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Amplification has also become much more acceptable in most venues and it would be a very rare event these days to hear a guitar concerto, for example, performed without amplification.Īll of this means that, even though the natural sound of the guitar is still rather quiet, we have gained a greater dynamic range in the last half century. And, largely due to Segovia’s efforts, today’s concert guitars are louder than ever. This did not stop him, however, from pressing luthiers, especially Hauser, to improve upon the volume of the guitar. According to Segovia this quiet, charming aspect of the guitar was the “true sound of the instrument,” a charm lost when others chose to amplify the sound. He required his audiences almost to have to strain, to lean in a bit to hear the soft whispering of the guitar in a concert’s most intimate moments. Even when he performed concertos with orchestras, instead of amplifying the guitar Segovia would have the orchestra moved back so it would not drown out the guitar’s quiet voice. In order to preserve this quieter sound, Maestro Andres Segovia was steadfastly opposed to amplification of the guitar in his concert performances (Bream also eschewed amplification). Nonetheless, the gentleness of the instrument is also one of its most attractive attributes and many are drawn to the classical guitar because of its warm, unassuming, almost romantic sound. The classical guitar, unlike its more audacious cousin, the electric guitar, is shy and has a quiet, tender voice. Dynamics on the Classical Guitarīecause of the nature of plucked sound, the classical guitar has a rather limited dynamic range. In this article I’d like to talk further about dynamics and why it’s important to use dynamics effectively in classical guitar performance. It is thus imperative that we learn to use dynamics appropriately and early on so that we can enrich our performances and give our music the power to move our audiences. Music without dynamics is like coffee without caffeine or lightning without thunder. However, a musical performance without dynamics can equally leave us feeling cold and unsatisfied.
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In fact, the word “dynamic” comes from the Greek word dynamis, which means “power.” Music has the power to move us, physically and emotionally, and well-sculpted dynamics can draw us in to what a performer wants to say, the story they’re trying to tell, the picture they are painting for us (to use non-musical analogies). 232)ĭynamics in music can be a powerful thing. – Isaac Albéniz, note on first page of “ Córdoba” ( Chants d’Espagne, Op. Which diffuse in the air notes as sweet as the sound
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The Serenatas and their fervent melodies, In the silence of the night, interrupted by