Lovemyguitar wrote: ↑
Fri Jun 07, 2019 10:07 pm
David Norton wrote: ↑
Fri Jun 07, 2019 9:47 pm
... If there's a strong harmonic clash which occurs, OK it needs attention. If the harmonies don't clash, eh, it's probably no big deal unless you are playing for a juried event at a world-class competition -- a type of event very few of us will ever even attend, yet alone compete in!!
That would be my view on it, too.
Sometimes music sounds better if you let them ring, sometimes it doesn't, sometimes it makes no difference. To me, it is an area of interpretation (like rubato) for which one can usually use one's discretion.
I would agree with the above statements.
My teacher has taught me to listen carefully and look at the different musical harmonies and lines. Clashing harmony? Maybe damping is essential there. What articulation sounds good to you? If you play the bass line separately, does damping the note in question maintain the same character? In my lesson last week, we talked not only of whether the note should be damped, but when
it should be damped. It depends sometimes on the room you are in. As a professional concert guitarist, he may change the timing of the damping if he is in a really live hall or a really dead one. That is a bit beyond my capabilities, but it does give you some ideas.
For some of my current repertoire, I am making those decisions as I work on the piece. When playing Cardoso’s Milonga, damping is essential to articulate the bass line. Luckily, I knew that from the beginning, so no rework was necessary! The Bach Allemande of 996...well...I paid attention in some places, but there were notes I *should* have been sustaining and left them too soon, as well as bass notes I let ring too long. Also in one case, the low E string was ringing sympathetically and even though I hadn’t played it, I needed to damp it to bring out the melodic line clearly. Much rework needed.
Tarrega’s Maria, I am currently deciding when to damp the bass to get the peppy character of the piece that I want. So I play each phrase with damping at different times to hear what effect it has. Too choppy sounding? Damp after the next note is plucked. Too much over ringing? Damp as I prepare the fingers of the following chord. Do I like that sound? Have I been consistent with the character of the sound? Once I make that decision, I work the damping into the “program” of my hand motions so it becomes part of how I play the piece.
I don’t have the skill to change the damping program to suit the room as my teacher does,
but exploring it has taught me how to listen and experiment with the effect on the music, which I find very interesting .
When the sun shines, bask.
Classical Guitar forever!