Percorrer por autor "Torres, Rita"
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- Guitar multiphonics: establishing locationsPublication . Torres, Rita; Ferreira-Lopes, Paulo
- Guitar multiphonics: influence of amplificationPublication . Torres, Rita; Ferreira-Lopes, PauloThe amplification of sounds of guitar multiphonics had not been explored until now. We recorded and spectrally analyzed this kind of sounds of unusual colours, to investigate the influence of amplification with close microphone placement on the audibility of their weaker main components. The results show that novelty is introduced for the majority of the sounds investigated, because some of their main components are otherwise not audible in a concert room, regardless of its size.
- Guitar multiphonics: notations for a formalized approachPublication . Torres, Rita; Ferreira-Lopes, PauloWhen the execution of multiphonics takes place between frets, it might not be easy to find orientation references for the visual situation of some touch locations, as some of the reviewed pieces in this paper attest. Due to this situation it might be difficult to achieve the reproducibility of the sounds being this the criterion behind the authors' formalized approach to the technique. The suggested notations for this approach's touch locations pursue to suit all tastes. If a specific color is to be achieved, or if, at a certain location, the technique of harmonics is also possible, other descriptors need to be notated. Given that the technique of mutliphonics is not common vocabulary for the guitar, an explanation should always be included in the score, regardless of the chosen approach.
- Multiphonics as a compositional element in writing for amplified guitarPublication . Torres, Rita; Ferreira-Lopes, Paulo; Troge, Thomas A.
- Multiphonics as a compositional element in writing for amplified guitar (1)Publication . Torres, Rita; Ferreira-Lopes, PauloOn the guitar, the technique of multiphonics consists of lightly touching the string at certain locations during or after its excitation (or both). It gives rise to (almost) harmonic complex tones whose spectrum facilitates the perception of multiple pitches. Scarcely researched up to now, few com- posers have used multiphonics in pieces for classical guitar, and those who have done so have not explored the amplification of the sounds. In order to supply composers with relevant information on classical guitar multiphonics, this technique is currently being researched by the authors. This paper addresses this topic, which has been long absent in scientific literature, for the purpose of presenting a formalized approach intended to give rise to reproducible sounds. These sounds are also believed to introduce novelty when amplified, making the technique particularly suitable in pieces for/with amplified guitar.
- Multiphonics as a compositional element in writing for amplified guitar (2)Publication . Torres, Rita; Ferreira-Lopes, PauloMultiphonics on the classical guitar is currently being researched by the present authors in regard to the reproducibility of the sounds originated and the suitability of the technique as a compositional element in writing for amplified guitar. Our hypotheses are to be tested, for which criteria for the data collection and treatment were established and are here detailed.
- The soundworld of guitar multiphonicsPublication . Torres, Rita
- Towards overcoming the guitar's color research gapPublication . Torres, Rita; Ferreira-Lopes, PauloMost (classical) guitar music comes from guitarist-composers. Yet according to guitarists who collaborate with composers, color research on this instrument is better achieved by those who do not play the instrument. Thus the guitar lags behind many instruments in regard to color research. Various reasons can be faulted for the tendency of non-guitarist composers to avoid the instrument. Examples of such reasons may be: the difficulty to write for the instrument, and its weak projection and lack of sustain, all of which are intrinsic to the guitar. This is, however, not the case of the paradigmatic sound for which the instrument is also dismissed, which is rather the legacy of the conservative guitarist Andrés Segovia, who was one of the main promoters of the guitar in the twentieth century. When composers dismiss the guitar for being difficult to write for, collaboration with guitarists has proven fruitful. Given that Segovia's conservatism still prevails among many guitarists, if the sonorous possibilities of the instrument are to be expanded, it is essential that the guitarist is adventurous and has a good arsenal of techniques. New color-research results could entice composers dismissing the guitar for its limitations or its paradigmatic sound to reconsider composing for the instrument. The amplification of sounds with low intensity can be a useful tool to obtain new colors. However, sounds arising from conventional instruments require some caution. It is important to introduce novelty in order to avoid connotation with their respective non-amplified instrument. The technique of multiphonics, which produces sounds of unusual colors, is believed to be a suitable tool when the guitar is amplified with close microphone placement. Through making audible the sounds' components of a lower intensity, this situation would reveal to the audience colors otherwise only heard by the guitarist.