Sound production and sound conducting as the basis of the guitarist’s artistic technique

Abstract

The article is devoted to the analysis of the processes of formation and improvement of sound production and sound conducting as key aspects in the development of the guitarist’s artistic and performance technique. It is emphasized that artistic technique represents the highest level of performance mastery, when technical skills become a means of creating a musical image. Its primary purpose is to transform the musical text into a living musical language, to achieve an emotional impact on the listener, and to create a convincing interpretation of the work. It is determined that the classical guitar is an instrument with an exceptionally rich palette of timbres and expressive possibilities. However, the full realization of this potential becomes possible only when the performer masters the art of high-quality sound production and sound conducting. The study traces that the process of sound production on the classical guitar is a complex, multifactorial phenomenon that directly determines the quality of musical sound. Of particular importance is the position of the working hand – the angle of the fingers relative to the string, the stability of the wrist, and the absence of excessive muscular tension, which may nega- tively affect the acoustic result. Equally significant is the point of finger contact with the string: an attack closer to the bridge produces a brighter, more resilient and precise sound, whereas playing closer to the fingerboard yields a softer, warmer, and rounder timbre. The speed and amplitude of finger motion determine the dynamic and timbral characteristics of the sound: slower movement contributes to a deeper and warmer tone, while faster and sharper motion enhances articulatory clarity. It is proven that in modern professional performance practice, the nail technique of sound production predominates, as it provides greater loudness, clarity of attack, and richer timbral coloration, meeting contemporary acoustic and concert requirements. It is also established that in the guitarist’s daily practice, the struggle against extraneous noises is an integral part of sound production work. The performer constantly controls the position of the hand, the direction of finger movement, the angle of attack, and the pressure applied to the strings. Even minor changes in these parameters can affect the purity of tone.