Sound Production Frequencies in Classical Guitar

Abstract

The purpose of the work is to theoretically substantiate and experimentally verify the principles of rationalisation of the guitarist’s motor apparatus to achieve maximum technical mobility of the guitarist’s right hand with minimal muscle tension. The research methodology lies in the consolidation of scientific methods of knowledge, and itself: analysis, synthesis and mathematical modelling. The methodological basis of the research is a combination of methods of theoretical analysis of biomechanical aspects of guitar playing with empirical observation of the performance process. Special attention is paid to the kinematic analysis of finger movements (trajectory minimisation) and the method of comparing time indicators of sound production with different fingering models. The results of the study were verified by recording the sound production of guitarists in the music editor Sound Forge. The scientific novelty lies in the theoretical substantiation and practical development of the method of multi-finger reciprocal interaction (using 2, 3, and 4 fingers) as an alternative to the traditional two-finger game system. For a deeper understanding of the process of sound production frequency, it was studied from the perspective of the mechanics of organising cyclic finger movement. It was proven for the first time that an increase in the number of active game units (fingers) does not lead to a complication of coordination, but to an exponential decrease in muscle tension due to the redistribution of dynamic load. Conclusions. In the course of the work, the frequency of sound production was studied from the standpoint of the mechanics of organising the cyclic movement of the fingers. It is proven that achieving a high level of technical mobility of the guitarist’s right hand is the result of a comprehensive rationalisation of the work of the motor apparatus. The main results of the work can be summarised as follows. In the case of sound production with two fingers (‘m’ and ‘a’) of four sounds, each of them extracts two sounds (see Fig. 1a and 1b). When working with three fingers (‘a-m-i’) to extract four sounds, only ‘m’ extracts two sounds, and the rest one at a time, and in general the hand gets less tired, that is, there is an advantage. The formula has been proven that when performing the sound production technique with the participation of four fingers – ‘a’, ‘m’, ‘i’, ‘p’ (in the sequence ‘a-m-i-p’, ‘a-m-i-p’) and moving them at maximum speed, the greater the number of periodically following fingers one after another involved in sound production, the shorter the time between sounds and the higher the frequency of sound production. As a result, the speed of three fingers is 33 percent higher than that of two, and four fingers is 100 percent higher. It has been determined that a sequence of three fingers is advisable to use when performing triplet or multiple passages (sextole). A sequence of four fingers is advisable to use when performing quartet passages. When moving in a circle with any number and any combination of fingers, there is no gain in playing technique compared to the work of two fingers.