Classical Guitar Instruction, Columbus Ohio, Karl Wohlwend

January 31, 2006 - It’s All About Tone

The magical sound of the classical guitar is unlike anything else in the world of music, and I believe it is the instrument’s greatest strength. The classical guitar is not a loud instrument, the repertoire is of questionable compositional quality when compared to works written for other instruments or ensembles, it is difficult to play fast, and does not have a terribly strong public profile. Yet, people are drawn to the instrument in an almost religious way (a friend of mine once said “there are very few casual classical guitarists”). I think that it’s because of that incredible sound.

Because of this, the development of tone should be the highest priority of every guitar student. It is often approached separately, or put aside for more mundane considerations of fingering, technique, etc. If your tone is unattractive, your playing will probably not be enjoyable no matter how well-executed it is.

Of course, decent right hand mechanics, good nail shape and surface, and a quality instrument are all important factors in producing a good sound. However, there are two important considerations which might be even more important.

First of all, students must listen to other guitarists who play with good sound so that they can identify how the instrument should sound. What constitutes a good tone can be very subjective, and everyone should follow what they find pleasing. What is important is that you are feeding your ear-mind good “nutrition.”

In addition, in the practice room we need to be intolerant of anything but our best sound. If we only accept good tone in our practice, we condition our hands to produce only that which our ear-mind finds pleasing. Don’t practice on worn-out strings, with the guitar out of tune, or with bad-sounding fingernails. Don’t feed your ear-mind junk food.

Play confidently with big sound and good projection. Guitar students often make the mistaken assumption that if they can hear what they are playing, then the sound is projecting. The guitar is not a loud instrument, but as Segovia said “it is far.” If you cannot hear the sound coming back to you as an echo or reverberation, chances are that you are not getting enough energy into the string to project properly. You should also be able to feel the instrument vibrating in your left hand and at any place where it touches your body. Playing in a very resonant space from time to time can inspire you to find a similar sound when you are in a drier room. The guitar has a beautiful voice – let it sing!
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