Ka'idar wasa guitar. Kalmomi a cikin kiɗa

Rene Bartoli “Romance” (Kiɗa na takarda, shafuka da jimloli)

“Tutorial” Gita Darasi Na 26

A cikin wannan darasi, za mu bincika wani yanki da mawaƙin Faransa René Bartoli ya rubuta. Soyayyar Bartoli ba ta da kyau fiye da soyayyar Gomez, ko da yake ba ta shahara ba. Hakanan an rubuta shi a cikin maɓalli na ƙaramin E, amma, ba kamar soyayyar Gomez ba, ba tare da canzawa zuwa manyan ba. Ana samun kyau ta hanyar matsar da octave mafi girma a cikin kashi na biyu da canza jerin bayanan rubutu a cikin rakiyar. Yana da daraja wasa wannan soyayyar kawai saboda wannan yanki yana ba da damar haɓaka ilimin da kuka riga kuka samu game da wurin bayanin kula akan fretboard na guitar har zuwa haɗakar da damuwa na XNUMX. Bugu da ƙari, wani kyakkyawan yanki, wanda aka koya ta zuciya, zai faɗaɗa repertoire tare da wani yanki da aka rubuta musamman don guitar.

Duk da cewa ayyukan sun kasance iri ɗaya: don kunna waƙar (bayanin kula da aka rubuta tare da mai tushe) ta amfani da apoyando, ta haka ne za a raba shi da rakiyar da bass (bayanin kula da aka rubuta tare da mai tushe), a cikin wannan darasi za mu mai da hankali kan jimla. Jumla hanya ce ta furuci na kiɗa. Godiya ga jimla, yanki ya juya daga bayanin kula mai ban sha'awa na wani ɗan lokaci zuwa kyakkyawan aiki. Tare da jimlolin kiɗan ne hasken launuka, motsin rai da hotuna ke bayyana, wanda hakan ya bambanta mawaƙa da ke wasa iri ɗaya ko yanki daga juna. Rabe-raben nazarce-nazarce da fasaha na aikin kiɗa zuwa jimloli da jumloli ana kiran jumla. Kamar yadda muke magana a cikin jimloli, muna yin wasu lafuzza, ƙara ƙarfi sannan kuma muna raunana sautin abin da aka faɗa zuwa ƙarshen jimla, haka nan a cikin kalmomin kiɗa suna taka rawa sosai ta fuskar kida.

Bari mu bincika Romance na Bartoli, tun da yake a cikin wannan aikin za ku iya fahimtar yadda maƙasudi da kida suka yi kama. Motif shine mafi ƙanƙanta ɓangaren waƙa tare da sautunan da ba a danne su ba a haɗa su kewaye da lafazi. Maganar ta ƙunshi dalilai da yawa waɗanda aka haɗa su zuwa tsarin kiɗa ɗaya. Wani lokaci jimla ta ƙunshi dalili ɗaya kawai, sannan kuma tana daidai da dalilin. Wannan shi ne ainihin abin da layin farko ya kasance a cikin soyayya, inda dalilai suke daidai da jimlolin. Bayanan kula guda uku na jigon a cikin sanduna biyu na farko tare da maƙallan Em da Am sune jumlar. Yi ƙoƙarin kunna su don ya bayyana sarai yadda jumlar ta fara da kuma yadda ta ƙare akan bayanin C na ƙarshe, tare da ɗan faɗuwa a cikin ƙarar da rakiya na Am / C chord (Ƙananan tare da bass C). Magana ta gaba ita ce ma'auni guda biyu na gaba, wanda ya kamata a buga da karfi fiye da na farko, kuma ya raunana sonority a kan bayanin ƙarshe na "si", amma a ƙarami (haka ya shafi Em / G chord (E) ƙarami tare da bass G)). Sannan kunna sanduna huɗu na gaba na jimlar jimla mai tsayi a cikin numfashi ɗaya tare da matsi mai sauti. Yanzu, da samun ra'ayi game da jimlolin, saurari yadda yake sauti a cikin bidiyon da ke ƙasa kuma ku lura cewa lokacin da jigon ya motsa octave mafi girma, waƙar ba ta rabu zuwa ƙananan jimloli, amma ana yin su a cikin jimloli duka.

Lokacin koyon wani yanki, yi ƙoƙarin yin wasa daidai a cikin kalmomin rhythmic, tun a farkon koyo yana da matukar muhimmanci, in ba haka ba ainihin ɓangaren zai ɓace kuma tare da ƙarin motsin rai zai juya zuwa wani nau'i na "porridge" daga saitin sautunan da ba su da alaƙa da rhythmically.