Littérature scientifique sur le sujet « Guitar picking »

Abstract - The purpose of this study was to describe the playing technique of electric guitar in one of John Petrucci works. The subject of this study is John Petrucci Glassgow Kiss score which has been transcribed into an electric guitar. While the object of his research is John Petrucci Glassgow Kiss guitar playing technique. So that the researcher will apply some of these techniques to a praise song more than the winner. Data analysis techniques are carried out with the stages of analysis before in the field and at the time in the field consisting of data reduction (data reduction), display data (data presentation), and verification (conclusions). The study material in this thesis is done based on the problems the author discussed. Then the results of the data produce conclusions that become problem solving in this thesis. The results of this study that the techniques contained in the work of Glassgow Kiss consist of several parts, namely; Alternate picking, Sweep picking, String skipping, Hammer-On, Pull-Off, Bending, Vibrato, Slide, Arpegio, Palm Mute, and Tapping. From some of these techniques, researchers applied several techniques that were considered capable of adding harmonization that included the structure of the melody into a song of praise more than the winner, including: Palm mute, bending, slide, tapping, hammer on, pull of, skipping strings, alternate picking, and vibrato. Researchers have applied the techniques contained in this work to a "more than a winner" hymn to improve the flow of a more varied melody. So that with the application of techniques that include the structure of melodies in certain times, it will add harmonization to the song More Than Winners.Keywords: Game Technique, Electric Guitar, Glassgow Kiss

ABSTRAKRepertoar musik dari berbagai era seperti modern, melayu dan popular dikemas kedalam sebuah pertunjukan solis gitar dengan menggunakan kaidah pertunjukan konvensional. Repertoar dalam pertunjukan ini terdiri dari repertoar pada berbagai era. Repertoar pertama dalam pertunjukan adalah repertoar era modern atau pada abad 19 yang berjudul Sonata No.1 dengan komposer Leo Brouwer yang diciptakan pada tahun 1990, karya ini didedikasikan Leo Brouwer untuk Julian Bream. Repertor kedua adalah Dondang Sayang merupakan lagu melayu Negeri Malaka yang diciptakan oleh NN (No Name). Repertoar terakhir adalah Pagan Part II yang diciptakan oleh band Vitalism. Penyaji menginterpretasikan dan menerapkan berbagai teknik seperti arpeggio, tirando, apoyando, harmonic, rasguedo, appogiatura, sweep picking, tapping, bending, hybrid picking dan speed picking untuk mewujudkan sebuah pertunjukan yang baik. Kata kunci: Pertunjukan; Gitar Klasik; SolisABSTRACTMusic repertoire from various eras such as modern, Malay and popular are packaged into a guitar solo performance using conventional performance conventions. The repertoire in this performance consists of repertoires from various eras. The first repertoire in the show was the repertoire of the modern era or in the 19th century entitled Sonata No.1 by composer Leo Brouwer which was created in 1990, this work was dedicated by Leo Brouwer to Julian Bream. The second repertor is Dondang Sayang, a Malay song from the State of Malacca created by NN (No Name). The last repertoire is Pagan Part II which was created by the band Vitalism. Presenters interpret and apply various techniques such as arpeggios, tirando, apoyando, harmonics, rasguedo, appogiatura, sweep picking, tapping, bending, hybrid picking and speed picking to create a good performance. Keywords: Performance; Classical Guitar; Solis

Playing a musical instrument involves the repetitive use of muscles, often at their extreme range of motion. Consequently, musicians in general are at an increased risk for the development of pain syndromes related to nerve or musculoskeletal damage. Acoustic and electric guitars are among the most popular instruments in the world today, with a large population of musicians at risk of injury. This article examines the results of a survey completed by 261 professional, amateur, and student guitarists to determine the most common anatomic locations of playing-related pain and its relationship to possible etiologic factors. A survey of 15 questions was distributed to professional, amateur, and student guitarists who play the musical genres of rock/blues, jazz, and folk across the United States and Canada. The questions addressed type of guitar played, style of music performed, playing posture, picking technique, anatomic location of pain, history of formal training, presence of playing-related pain in the past 12 months, history of trauma to the affected area, and history of other nonrelated medical problems. Playing-related pain was reported by 160 (61.3%) of 261 guitarists who completed the survey. The most often reported location was the fretting hand, with 109 (41.8%) of 261 subjects reporting the presence of playing-related pain in the previous 12 months. The back and neck were the next most reported sites of playing-related pain, with 45 (17.2%) of 261 subjects reporting back pain and 39 (14.9%) of 261 subjects reporting neck pain in the previous 12 months. The results suggest that a substantial number of guitarists playing various styles of popular music are experiencing playing-related pain.

ActionScript-based programming is one of the software which includes applications that teachers widely use to create interactive learning media in the world of education. ActionScript-based programming technology is a type of graphic animation software that can create a graphic object that can be animated without using other supporting software. At present, there are many educational circles to expedite the process of learning activities, especially for students. Interactive learning media is one means of delivering subject matter that is very important to apply today. In implementing student learning at school, it is necessary to present a practical and theoretical learning system which is the main point in helping to develop student competence. One form of culture in Indonesia is the traditional musical instrument Sasando. Sasando belongs to the chordophone instrument because it is played by picking it. The form of Sasando itself is in the form of a guitar, violin or harp. The central part of the Sasando is in the form of a long bamboo tube. In the middle, rounded from top to bottom, there is a wedge to stretch the strings. Developing interactive learning media requires a software development method; one of the development methods used is the MDLC (Multimedia Development Life Cycle) method. Making the MDLC has five stages: Concept, Design, Material Collecting, Assembly, and Testing

ActionScript-based programming is one of the software which includes applications that teachers widely use to create interactive learning media in the world of education. ActionScript-based programming technology is a type of graphic animation software that can create a graphic object that can be animated without using other supporting software. At present, there are many educational circles to expedite the process of learning activities, especially for students. Interactive learning media is one means of delivering subject matter that is very important to apply today. In implementing student learning at school, it is necessary to present a practical and theoretical learning system which is the main point in helping to develop student competence. One form of culture in Indonesia is the traditional musical instrument Sasando. Sasando belongs to the chordophone instrument because it is played by picking it. The form of Sasando itself is in the form of a guitar, violin or harp. The central part of the Sasando is in the form of a long bamboo tube. In the middle, rounded from top to bottom, there is a wedge to stretch the strings. Developing interactive learning media requires a software development method; one of the development methods used is the MDLC (Multimedia Development Life Cycle) method. Making the MDLC has five stages: Concept, Design, Material Collecting, Assembly, and Testing.

This article provides a history of robotic guitars and bass guitars as well as a discussion of the design, construction, and evaluation of two new robotic chordophones, with a focus on different techniques to extend the expressivity of robotic guitars. Swivel and MechBass, two new robots we built, are discussed. Construction techniques likely to interest other musical roboticists are included. These robots use a variety of techniques, both new and inspired by prior work, to afford composers and performers the ability to precisely control pitch and string-picking parameters. Both new robots are evaluated to test their precision, repeatability, and speed. The article closes with a discussion of the compositional and performative implications of such levels of control, and how it might affect humans who wish to interface with the systems.

In building a successful conversation, speakers are bound to bring proper linguistic devices to keep the hearer’s understanding in processing the appropriate inferences beyond the utterances. This study aims to investigate the function of pragmatic markers in creating context boundaries in the cognitive process (Kecskes & Zang, 2014). Pragmatic markers are believed not only to serve the coherence of the discourse but also to signal the speaker’s cognitive process (Blakemore, 1987:144). In this case, pragmatic markers function to guide the hearers in picking up the interlocutor’s knowledge (Nordenstam, 1992) in creating humor. The corpus data used in this study is collected from manual transcription (with annotation) of 10 chosen humorous talk show videos in Indonesian. The investigation focuses on pragmatic marker lho used in Indonesian humorous discourse which suggests that the conversational humor is creatively created with the high frequency of the communicating speaker’s knowledge to create incongruity to fill the conversation with unexpected or even unrealistic ideas that people never imagine. As a result, pragmatic markers lho play essential roles in guiding the hearer to the intended context so that they can choose the appropriate inferences based on the shared knowledge that leads them to grab the humorous sense of the utterances.
 
 Marcatori pragmatici come confini del contesto nel discorso dei talk show umoristici indonesiani
 Nella costruzione di una conversazione di successo, i parlanti sono tenuti a mettere in atto dispositivi linguistici adeguati per mantenere la comprensione dell’uditore nell’elaborazione delle inferenze appropriate al di là degli enunciati. Questo studio si propone di indagare la funzione dei marcatori pragmatici nel creare confini contestuali nel processo cognitivo (Kecskes, Zang, 2014). Si ritiene che i marcatori pragmatici non servano solo alla coerenza del discorso, ma anche a segnalare il processo cognitivo del parlante (Blakemore, 1987). In questo caso, i marcatori pragmatici hanno la funzione di guidare gli uditori a cogliere le conoscenze dell’interlocutore (Nordenstam, 1992) nel creare umorismo. I dati del corpus utilizzati in questo studio sono tratti dalla trascrizione manuale (con annotazione) di 10 video di talk show umoristici in indonesiano. L’indagine si concentra sul marcatore pragmatico lho utilizzato nel discorso umoristico indonesiano, che suggerisce che l’umorismo conversazionale è creato in modo creativo con l’alta frequenza delle conoscenze del parlante per creare incongruenza e riempire la conversazione con idee inaspettate o addirittura irrealistiche che le persone non avrebbero mai immaginato. Di conseguenza, i marcatori pragmatici lho svolgono un ruolo essenziale nel guidare l’uditore verso il contesto previsto, in modo che possa scegliere le inferenze appropriate in base alla conoscenza condivisa che lo porta a cogliere il senso umoristico degli enunciati.

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Orientador: Carlos Fernando Fiorini<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-10T11:50:06Z (GMT). No. of bitstreams: 1 Maia_MarcosdaSilva_M.pdf: 1288060 bytes, checksum: 0d432b91de9c8e88dcfd6fb1d21df8d0 (MD5) Previous issue date: 2007<br>Resumo: Cordofones beliscados são instrumentos musicais que apresentam características variadas de timbres, advindas de suas formas, tamanhos, qualidade das cordas e diferentes maneiras de fazê-las vibrar. Desde a Antigüidade, as preferências oscilam entre o som obtido pelo pulsar das cordas com os dedos ou aquele produzido pela utilização de um plectro ou palheta. A técnica híbrida (do inglês, hybrid picking) refere-se à utilização simultânea da palheta e dos dedos. No violão, os bordões são tocados com palheta, presa entre o indicador e o polegar da mão direita, e as primas tangidas com qualquer combinação dos dedos médio, anular e mínimo. Dessa forma, a técnica funciona bem tanto para bases rítmico-harmônicas, como para músicas polifônicas e linhas melódicas. No presente trabalho, a tradicional simbologia do violão p-i-m-a (polegar, indicador, médio e anular) foi alterada. As letras p e i foram substituídas pelos símbolos usuais dos movimentos alternados da palheta: ou, mantendo-se as letras m-a e incluindo-se a letra c (chico, dedo mínimo em espanhol). Assim, a pesquisa objetivou contextualizar a técnica híbrida e sua aplicação ao violão, discorrendo sobre aspectos históricos referenciais ao uso da palheta e dedos; indicando exemplos musicais para a aplicação da técnica; enfatizando a importância da adequada seleção de palhetas para a mesma, bem como investigando sua aplicação por diversos músicos na atualidade e sua eficácia na realização de variados repertórios<br>Abstract: Plucked chordophones are musical instruments that offer a great variety of tones from their forms, sizes, quality of the strings and different ways of making them vibrate. Since ancient times, the preferences sway between the sound obtained by the vibration of the strings with the fingers or that produced by the use of a pick. Hybrid Picking refers to the simultaneous use of the pick and the fingers. In nylon strings guitar, the bass-strings are played with the pick, held between the right forefinger and the thumb, and the first strings are played with any combination of the middle, the ring and little fingers. Therefore, the technique works well for rhythm-harmonic bases, polyphonic music and melodic lines. In the present work, the traditional guitar terminology of p-i-m-a (from the Portuguese, polegar [thumb], indicador [forefinger], médio [middle finger] and anular [ring finger) was altered. The letters p and i were changed for the usual symbols of the picks¿ up and down movementsor, maintaining the m-a (middle and ring fingers) and including the c letter (chico, Spanish for little finger). So, this study aimed at contextualizing the hybrid picking applied for nylon strings guitar by discussing referential historical aspects of the use of the pick and the fingers; indicating musical examples for applying the technique; emphasizing the importance of adequate selection of picks for that, as well as by examining its application by diverse musicians from actuality and its efficacy for different repertoire<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música

In this chapter, Bob Dylan’s very conscious decisions about the instruments, playing styles, and players with which to accompany his singing voice and harmonica receive consideration. His own picking and strumming of an acoustic guitar, his choice of piano, beginning with “Black Crow Blues” (1964), and his historic switch to electric guitar and employment of a rock band on Bringing It All Back Home and Highway 61 Revisited (both 1965), are all examined in terms of their impact on the sound of his recorded work and their significance for the songs he played. Backing singers first appeared on Dylan albums in 1970, and remained important for some time. The chapter concludes by examining the unique role of Scarlet Rivera’s violin on the album Desire (1976).