How much has already been said and discussed about how you can play the guitar! All sorts of tutorials (from professionally boring to primitively amateurish), numerous Internet articles (both sensible and stupid), online lessons - everything has already been revised and re-read several times.
You ask: “Why should I waste my time studying this article, if there is more than enough information around?” And then, it's quite difficult to find a description of all the ways to play the guitar in one place. After reading this text, you will see that there are still places on the Internet where information is concisely and accurately given about the guitar and how to play it.
What is a “method of sound production”, how does it differ from “reception of the game”?
At first glance, these two concepts are identical. In fact, the difference between them is significant. Stretched guitar string- this is the source of sound and how we make it vibrate and actually sound is called "Sound Method". The way the sound is extracted is the basis of the playing technique. And here "reception of the game"- this is in some way an ornament or addition to the extraction of sound.
Let's bring specific example. Strum all the strings with your right hand - this method of making sound is called hit(alternating beats - the battle). And now hit the strings with your right thumb on the strings in the area of the stand (the blow should be made in the form of a sharp turn or swing of the brush towards the thumb) - this playing technique is called tambourine. The two techniques are similar to each other, but the first is a way to extract sound, it is used quite often; while the second is a kind of “hit” in some way, and therefore is a technique for playing the guitar.
Read more about the techniques, and in this article we will focus on describing the methods of sound extraction.
All types of guitar sound production
Punch, fight and rasgueado
Beat and fight are most often used as an accompaniment to singing. It's quite easy to master them. The most important thing is to observe the rhythm and direction of hand movements.
One type of impact is rasgueado- a colorful Spanish technique, which is an alternate strike on the strings with each of the fingers (except the thumb) of the left hand. Before performing rasgueado on the guitar, you should practice without an instrument. Squeeze your hand into a fist. Starting with the little finger, release the clamped fingers springily. Movements should be clear and elastic. Have you tried? Bring your fist to the strings and do the same.
Tirando and apoyando
The next step - tirando or plucking. The essence of the reception is the alternate pulling of the strings. This method of sound extraction is played by standard brute force. If you decide to master the tirando, then pay special attention to the hand - when playing it should not be clamped in the hand.
Reception apoyando(or playing with support on an adjacent string) is very characteristic of Flamenco music. This way of playing is easier to perform than tirando - when you pluck a string, the finger does not hang in the air, but rests on the adjacent string. The sound in this case is brighter and richer.
Keep in mind that tirando allows you to play at a fast pace, but playing with a support significantly slows down the guitarist in the performance tempo.
The following video presents all the above methods of sound production: rasgueado, tirando and apoyando. Moreover, apoyando plays mainly thumb- this is the “trick” of flamenco, a monophonic melody or a melody in the bass is always played on the support with the thumb. When the tempo is accelerated, the performer switches to a pinch.
Slap - the crown "reception" of bass guitarists
Slap can also be called an exaggerated plucking, that is, the performer pulls the strings in such a way that they, hitting the nut of the guitar, make a characteristic clicking sound. It is rarely used as a method of sound extraction on a classical or acoustic guitar, here it is more popular in the form of a “surprise effect”, imitating a shot or whip whip.
All bass players know the slap technique: in addition to picking up the strings with their index and middle fingers, they also hit the thick upper bass strings with their thumbs.
A great example of the slapping technique can be seen in the following video.
Tapping or piano technique
The youngest method of sound extraction (it is not more than 50 years old) is called tapping. The flageolet can be safely called the father of tapping - it has been improved with the advent of ultra-sensitive guitars.
Tapping can be one- or two-voice. In the first case, the hand (right or left) strikes the strings on the guitar neck. But two-part tapping is similar to the game of pianists - each hand plays its own independent part on the guitar neck by striking and tightening the strings. Due to some similarity with playing the piano, this method of sound production received a second name - piano technique.
An excellent example of the use of tapping can be seen not in the obscure film "August Rush". Hands in the rollers are not the hands of Freudy Highmore, playing the role of a boy genius. In fact, these are the hands of Kaka King, a famous guitarist.
Everyone chooses for himself the technique of performance that is closer to him. Those who prefer to sing songs with a guitar master the technique of combat, less often bust. Those who wish to play pieces study tirando. More complex blind and tapping techniques are needed by those who are going to connect their lives with music, if not from the professional side, then from the serious amateur side.
Playing techniques, unlike sound extraction methods, do not require special efforts in development, so be sure to learn the technique of their implementation in the article.
If we take this phrase literally, then, on the one hand, the answer to this question is the simplest, and on the other hand, it is rhetorical, since the question itself is very incorrect. Indeed, everyone probably knows how to play the guitar very well: one hand clamps the frets on the fretboard, the other extracts the sound from the side of the guitar drum. And here a lot of new questions already arise, the most popular of which I will try to cover in this article.
To create a more understandable atmosphere, I will describe the elements of guitar playing in stages. Let's suppose that you have a guitar in your hands now, and you really want to play something, but you have neither theoretical knowledge nor practical skills. This can be corrected if you understand and work out the basic principles of the game.
So, you took a guitar, left hand (if a person is right-handed, for left-handed people - right) put on the neck, right - on the strings.
The drum of the guitar rests on your hip. Dealt with the situation. Now you need to understand how each of the hands works. Let's start with the left. The fingers of the left hand pinch certain strings at certain frets, depending on the work that the musician is performing.
For example, if some kind of yard song is played, then most often chords are clamped on the fretboard, i.e. standard finger positions for each chord (for a better understanding, I advise you to look at the topic of chords).
If played classic, then the fingers always choose different positions on the frets, depending on the desired note. Also, the fingers of the left hand can add color to the game by adding different effects sound.
Now let's move on to the functions of the right hand (for left-handers - the left). This hand makes sound different ways. Let's look at the main ones:
- The battle. This type of game consists in hitting the strings up and down, following a certain algorithm of actions. The fight can be standard, or personally invented. A fight can contain various additional elements, such as a pause, a mute, a fan (an element from Spanish fights) and many others. For example, let's take a look at the most popular guitar fight - pop, but the people call it the "six", in this situation with a mute. So, the game scheme is as follows: hit the strings down twice (after the second hit we muffle the strings), up twice, then down again with a muffle and finish with a blow up. It turns out six strikes on the strings in one cycle. Most often, this battle is denoted in two ways: “vn-vn*-vv-vv-vn*-vv” or “VV*^^V*^”, where * is a muffler. Many yard, army and pop songs are played with this fight. A video tutorial on the topic of combat can be viewed here.
- Bust. A brute-force is a sequential sorting of strings, depending on the type of brute-force. Exist different types enumeration: simple, complex abbreviated, complex, and so on. The most difficult way to pluck the strings is solo, where the sequence of picking the sound is completely non-standard. Consider an example of one of the most popular plucking, called "complex" plucking or figure-eight plucking. The sequence of strings is as follows: each cycle begins with the bass string (4th, 5th or 6th), then the third, second, third, first, third, second, and third again in turn. In the people, this enumeration is depicted as follows: "B-3−2−3−1−3−2−3".As for the bass string, the chord itself is taken into account here. For example, for an Am chord the bass string is 5th, for Dm it is 4th, for an E chord it is 6th. Picture 1 shows the bass strings of the main chords, and as you study, I think you will easily find the rest. You can watch a video on how to play guitar picking.
Fig 1. Bass strings of the main chords
- Pinch. This element of the game is something between a fight and a bust. Its essence lies in the simultaneous extraction of sound from three strings at once: 1st, 2−1 and 3rd, i.e. these strings are plucked simultaneously by the index, middle, and ring fingers, respectively. There are two most common types of plucking: waltz and the so-called “thieves”. In order not to make a choice in this situation, we will analyze both of these types. The difference between them is that with a waltz pluck after the bass, the first three strings are twitched twice, with a thug - once. Let's depict both options as they are usually indicated by the people: "B-321−321" And "B-321"- respectively. You can watch a video tutorial on this method of extracting sound.
Those were the main tricks. There are also cases where these methods are combined.
You can extract sound using the methods described above (with the exception of plucking) either with your fingers or with a mediator (a plastic device of a rounded triangular shape). It is worth noting that it is much easier to play with your fingers, since the skill of playing as a mediator still needs to be acquired in the course of training. The advantage of a pick is that the sound becomes louder and clearer (of course, when used correctly).
I specifically painted all the actions in as much detail as possible so that no one would have questions about the technique and principles of playing the guitar. Now you, knowing the minimum theoretical base, can easily start learning to play the guitar on your own, and video courses on playing guitars on the site will help you with this.
Going from theoretical training novice guitarists, I would like to pay special attention to at least important detail in learning, which we will call the barrier of playing the guitar. To avoid complex concepts and incomprehensible descriptions, I will highlight two main barriers: physical and psychological. I think it is necessary to dwell on each of them in detail.
A physical barrier that interferes with playing the guitar is understood to mean different kind inconvenience and pain (it sounds strange, but it's a fact) during the period of getting used to the instrument. Naturally, with adaptation and, of course, with a set of necessary practices, this barrier will rapidly decrease until it disappears altogether. In the meantime, this problem is very relevant, so we will break the above obstacle for beginners into several thematic blocks:
Inconvenience
For many people, the very position of the guitar on the hip is a source of discomfort. The drum of the guitar begins to press on the hip, which can cause trouble while playing. The solution to this problem can be a return to the origins of training, and specifically, to the seating of a guitarist. Most likely, your mistake is in it, since the guitar drum is ideally adapted for playing on it.
Fatigue
Unlike the first problem, this situation takes place much more frequently. It concerns, first of all, the right hand (for right-handers). In any version of the game, the hand in the wrist area begins to get tired, and this negatively affects not only the quality of sound production, but also distorts the very rhythmic pattern of the game. The only solution to this problem is training. No need to resort to extraneous methods (working on arm endurance outside of guitar art). As they say, a wedge is knocked out with a wedge, therefore, the more often you let your hand get tired, the faster this fatigue will come to naught.
Pain
This is the most important and complex component of the physical barrier. Most likely, absolutely all guitarists encounter it during the period of studying the guitar craft. And for each of the hands there is "its own pain." I'll start with the least painful hand - the right.
The main epicenter of pain in the right hand are the strings, which can damage the nails and fingers. The first strings of the guitar are quite thin, so getting a cut in the skin or nail is a trifling matter. For example, by playing a fast rhythm, you can make burrs on your nails, or, by playing too much, you can cut your fingers. To avoid these unpleasant situation I will give a couple of tips: cut your nails on time, preventing them from growing too much (this applies not only to the right hand. Large nails are also a hindrance when holding the strings with your left hand); do not rush to pull the strings at the desired pace, it is better to work out the necessary tactics slowly, and then just increase the pace; keep an eye on the condition of the strings on your instrument, as injuries are caused not only by the mistakes of novice guitarists, but also by defects in guitar components.
In addition to information about nails, I want to note that many guitarists cut all their nails except for one - the nail on the thumb of the right hand (again for right-handed people). They need a long nail to get sound from the bass strings, performing a kind of “pick effect”.
As for the left hand, then the situation is more serious. I'll start, probably, with corns on the fingertips. Beginning guitarists have fingers that are not adapted to the strings, so with each pinch the skin on the fingers will swell, creating unpleasant pain. This can last for a different amount of time: from a week to several months, depending on the natural regeneration of the skin. As a result, the pads of the fingers become coarse and hard. Frankly, the guitarist can easily be recognized by the fingers.
I will give an example from life: during the passage of a medical examination, I donated blood from the ring finger not of the usual left hand, but of the right. The nurse, seeing the fingers of her left hand, immediately guessed my musical passion and said that it is very difficult to break through such skin, and even more so to take blood. Therefore, in medical institutions in the blood sampling room, people are divided into those who donate blood from the right hand and guitarists. This, of course, is all lyrics, but calluses on the fingers must be taken seriously, since this is an integral part of becoming a guitarist. In addition to calluses, there are pains in the wrist of the left hand when holding closed chords (barre).
The fact is that barre chords are the frequent use of all fingers at once in one position, and the thumb, which presses the rest of the fingers to the fingerboard, receives a greater load. This is where pain comes from, because not all joints can immediately withstand such a load. I confess that after four years of playing, I still sometimes have such feelings when playing the barre for a long time. The problem, of course, lies in the wrist damaged during sports training, but this does not negate the fact that healthy person there can be no such problem. The best treatment such pains - again, training and taking care of your hand, because hands for a guitarist are the subject of creation
The physical barriers described above are a kind of test during the acquisition of guitar skills, which everyone who wants to develop their skills must overcome.
With regard to psychological barriers, here I would like to highlight two main problems: "confusion" and restraint.
Confusion
It occurs on early stages, when the playing techniques have not yet been worked out to automatism, and very often failures of rhythmic patterns or incorrect chords occur. This problem not a defect individual person, again, this is the connection between the beginning of the game and its ideal. Confusion is not a reason to have negative ideas about your game or musical instrument, this is just a time period that needs to be overcome.
Restraint
This is the most important element not only in terms of playing the guitar, but also in any business. It’s just that when studying something, there come moments when thoughts like “this is not mine”, “I can’t”, “this is unreal”, etc. arise in my head. To dilute these pretentious ideas, I will describe an example from life. It was a problem for me to take the barre. It was not a lack of practice, not pain, but simply - it didn’t work out. I spent a month trying to understand every day that I never took the barre, until one fine day I did it. Now it is not difficult for me to hold the barre, however, no matter what I learn, in terms of complexity, namely psychological, nothing could compare with that month. It was restraint that helped me multiply my practical knowledge playing the guitar, so do not forget that patience will definitely contribute to the completion of the task.
So let me sum up the above. In this article, I told you about the functions of both hands in relation to the guitar, described in detail how to extract sound, and told about the main obstacles for beginner guitarists. I hope you enjoyed this article, and you have drawn the necessary conclusion for yourself. I can only wish you all good luck in understanding guitar science..
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For some reason, other sites simply ignore this topic, but it is no less important than the playing technique, tricks, etc. I will try to explain the principle of tuning in the most accessible way.
Exist various options settings. I personally use two or three. The simplest and most expedient is tuning the first string, the thinnest one, and then all the others. It is best to build a guitar under a tuning fork, which usually has the sound "la" of the first octave - in this case, the first string is clamped at the fifth fret. Having tuned the specified string, all the rest should then be clamped also at the fifth fret, adjusting to the open adjacent, thinner string. The exception is the third string, which must be pressed at the 4th fret. This rule worth remembering right now.
But the question may arise: "And if there is no tuning fork?" Of course, there are alternative ways to extract "la". Method one: what is "la"? This is 440 vibrations per second. Therefore, having programming skills, you can write a program, well, suppose, in Basic "e. Or by tuning a certain device to a given frequency. Difficult? It is possible to tune on the piano. Then it is better to build the first string to the sound of "mi" of the first octave (the string is not pressed , open). No piano? Well, then I advise you to use the phone. Just pick up the phone and build (like a tuning fork) the first on the fifth, and then according to the studied pattern. But you should also remember that the sound in the phone is about 400 vibrations per second, therefore , the string needs to be "stretched" a little, but I think it's better to buy a tuning fork, it's not that expensive.
The rest of the methods are good for fine tuning. Here are two of them.
You will study the properties of the guitar later, so you will have to take the word for it. Having configured according to the first method, check yourself:
The third string at the ninth fret sounds like the first open,
4th on the ninth - like the second open,
5th on the tenth - like the third open,
6th on the tenth - as the fourth open.
You can check with flags:
first on seventh = second on fifth,
third on the seventh = fourth on the fifth,
fourth on seventh = fifth on fifth,
fifth on seventh = sixth on fifth.
Do not be upset if you can’t set it up right away, over time everything will be brought to automatism. Note duration
The longest note is a whole note, which is broken down into shorter durations. Study the ratio of durations according to the table below.
Guitar soundtrack.
In the table below, the circles indicate the strings on which these notes should be played (located on the left). At the top (above the neck of the guitar) are the fret numbers. And accordingly, at the intersection of the columns (string-fret), you will find the desired note. 
It looks scary, but don't be scared! Just play. At first, very simple, then on the rise. And you yourself will not notice how to learn this table.
Alteration signs.
Semitone.Tone
Semitone- nearest, smallest distance between sounds. On the guitar neck, semitones are determined by metal plates (frets): any fret gives a semitone up (moving the finger along the string to the bottom) or down (up a fret). Those. if we pluck the first string and then press it at the first fret, we raise the sound by a semitone.Tone is a distance of two frets.
You can raise or lower the sound by a semitone or a tone by using special accidentals.
Accidentals
- sharp (a sign of raising a note by a semitone)- flat (sign of lowering a note by a semitone)
- bekar (a sign that prescribes a return to the main sound)
Basic types of dynamics.
ppp- piano-pianissimo (extremely quiet);pp- pianissimo (very quiet);
p- piano (quietly);
mf- mezzo-forte (medium);
f- forte (loudly);
ff- fortissimo (very loud)
fff- forte fortissimo (extremely loud);
< - crescendo (gradual increase in sound strength);
> - diminuendo (gradual weakening of the strength of the sound).
Sheet music/tabs - what is it?
Now it’s worth figuring out what these very tabas are? Most accurately, we can say that tabs are a simplified notation of musical material. Let's see what this simplicity is.First, we no longer have stave, and the notation of six strings. Therefore, we will not see the notes either. Let's all take a look at the same excerpt from the song "Metallica"
Before us are six lines that symbolize the six strings of a guitar (the topmost line corresponds to the most thin string, and the bottom one, respectively, is the thickest).
Next we see the numbers. They indicate the numbers of frets on which (depending on the number of the line, i.e. strings) one or another string must be clamped.
If the numbers are strictly one under the other, then this fragment play a chord, i.e. all these strings should sound at the same time. Otherwise, it's overkill.
Under each number, we see those who migrated from music notation, the duration of the sound of the string. For more information about other notations, see the section
Finger play.
First, you need to set the elbow bend of the right hand on the edge of the shell and "drop" the brush over the voice box (hole in the body). In this place of the guitar body, the sounds are soft, thick and not very loud. Above the socket (in its lower part) the sounds are loud, at the stand - very loud, with a harsh sound. The movement of the brush has a very great importance, because it will allow you to achieve greater expressiveness in the performance of musical works.
Slide
Gliding (glissando) - artificial sliding along the strings up and down the fretboard with the fingers of the left (sometimes right) hand. "Sliding" is achieved by smoothly sliding the fingers along the strings, during which the fingers reproduce the sounds on the frets.Hammer and Pull (legatto)
This technique is often used in blues-rock music. Below are the main techniques of this technique:- the index finger takes the note as usual, and the other finger sharply beats the same string on one of the frets located above (this technique is hammer);
- first, the second note from the previous method sounds, then the other finger is removed and the note taken with the index finger sounds;
- repetition of the 1st or 2nd method on two notes gives a long legat sound (trill) and is indicated Tr.
Bendy
Bend (tightening) - one of the main techniques of electric guitar technique. Its essence consists in the movement of a string pressed to the neck across the neck, that is, perpendicular to the line of the neck. During this movement, the pitch changes smoothly and the note becomes higher.
Distinguish:
- semitone bend (indicated by 1/2)- the string should sound a semitone (one fret) higher.
- tone bend (indicated by 1 or "Full")- the string sounds a tone (2 frets) higher.
- one and a half tone bend (designation 1 1/2)- the string sounds one and a half (3 frets) higher.
- microbend (designation 1/4)- the string is slightly tightened, the sound slightly increases its sound (approximately 1/4 tone).
vibrato
Any movement of the string after the note is struck changes the character of the sound. Vibrato is the vibration of a finger on a string that changes the sound. This oscillation is barely noticeable, especially when compared to bending, where the string moves noticeably across the fretboard (along the fret).There are two popular ways of vibrato. The first is obtained by moving the finger itself and is often called a trill. In the second case, the vibration gives the movement of the brush. Individual style the musician is expressed by his vibrato.
BB King says he spent a lot of time making his vibrato his signature move. Vibrato is usually perfected after the player has mastered the basic techniques and can focus on finer details. Jony Winter says, "I can only tell if I like someone's style after listening to their vibrato for 10 seconds." 2006-07-25 01:42:48,
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Useful articles:
The guitar tutorial is based on personal professional experience and consists of two sections: "Useful Articles" and "Guitar Lessons". Guitar lessons for beginner guitarists are presented in articles with a gradual gradation from simple material to more complex. It is for those who want to master the instrument to a greater or lesser extent in a certain period of time with a minimum knowledge of music theory, this tutorial is intended. The theory is given only when there is a certain experience of owning an instrument at the accompaniment level, subject to the desire to comprehend the secrets of mastery of guitar technique and solo performances. The first three lessons are introductory and contain information about the history of the guitar, its structure and how to properly tune the guitar. The fourth lesson is presented in the form of guitar chords for beginners and two songs by the Kino group based on four simple chords. You will learn how to play guitar fighting in the fifth lesson, which talks about strong and weak beats as the basis of guitar fighting, as well as examples of not complicated guitar fighting options. It must be noted that further education on the guitar without knowing the notes on the fretboard of the instrument is ineffective and therefore the table with the arrangement of notes on the guitar is presented in full in the article of lesson No. 6. Only after this lesson, guitar picks for beginners in the seventh lesson are simple and understandable for performance, as well as in lesson number 7, the setting of the right hand is presented. The next three lessons are beautiful short pieces, which can be learned without knowledge of music theory using only an abbreviated table of notes on the guitar neck. In each of these lessons, for clarity, abbreviated tables of the location of notes on the fretboard are presented. The lessons are based on the already familiar picks on the guitar of lesson No. 7, where they are shown on the open strings of the instrument.
In the "Useful Articles" section of the guitar tutorial, there are many necessary information for questions not included in the "Guitar Lessons" section. Articles are widely presented on how to choose the right acoustic guitar With detailed description the entire selection process. Special attention is paid to such a question as the choice of strings for beginners, and also which guitar to choose for a beginner. Presented chord chart for six-string guitar gives the most complete picture of the chords played on the first frets of the guitar neck, which is convenient for both beginner guitarists and those with some experience in playing the instrument. This section of the tutorial also focuses on how to practice the guitar correctly. What is the best time to digest new material and how much time you need to devote to the instrument in order to achieve maximum success in mastering the guitar. The tutorial is also presented in the article “How to read guitar chords”, which describes in detail all kinds of spellings and schematic representations of chords, followed by a link to the article “How to read guitar tabs”, which, which is an addition to the previous material and gives a more complete picture of possible chords.
Hover your mouse over any part of the image for the title to appear.Guitar structure. Hover your mouse over the picture.
- The top and bottom are parallel plates of wood or laminate that form the body of the guitar.
- Fretboard - an elongated wooden part, to which the strings are pressed when playing, frets are located on the neck.
- Rosette - a round hole in the top deck from which the sound "comes out".
- Stand - a plate attached to the deck for attaching strings.
- Frets - transverse metal strips on the fretboard that serve to change the tone of the sounding string or, as is usually implied, the space between two adjacent strips.
- The nut and nut are plates (usually plastic), between which the working part of the string is located, the nut is located on the stand, the upper nut is on the fingerboard.
- Pegs - mechanical clamps for adjusting the tension of the strings.
Guitarist seat.
IN classical school it is customary to do this: sit on the edge of a chair, left leg put on a stand about 15 centimeters high, put the guitar on it with a notch. Right leg is taken aside and holds the tool. Headstock at shoulder level, top in a vertical plane.It is not at all necessary to follow all this exactly, however, I would advise you to put the guitar on your left foot - it's just easier to play solo pieces that will go further.
Location of notes on the fretboard.
Each sound extracted with an open (not clamped) guitar string or clamped at some fret is a note. There are seven main notes: Before, Re, Mi, F, Salt, La, Xi(whole octave). The open strings of a tuned guitar play: 1st string - note Mi, 2nd - Xi, 3rd - Salt, 4th - Re, 5th - La, 6th again Mi(strings are counted from bottom to top).
Location of notes on the fretboard of a guitar. For convenience, the guitar
reversed so that the first string is on top.
As can be seen from the figure between the notes Mi And F, and Xi And Before distance in one fret (in the musical series, this interval is called a semitone). Between all the rest - two frets (one tone). In order to designate a note located, for example, between F And Salt write like this: F(read F sharp) or, which is the same, Salt (Salt flat). Thus, the entire musical series with semitones can be written: ... - Before - Before(Re) - Re - Re(Mi) - Mi - F - F(Salt) - Salt - Salt(La) - La - La(Xi) - Xi - Before- ... Please note that the notes are repeated, knowing any note on the string, we can complete all the rest on it.
Guitar tuning.
To set up, we do the following: we take a tuning fork by a short rod (here we are talking about fork tuning fork), with a fork we beat on a dense object, for example, a table, bring it to the ear and hear the reference sound of the note La, at the same time left hand clamps the first string on V fret (frets are indicated by Roman numerals and are counted from the nut) and plays it with a free finger. We tighten or weaken the string until we achieve its sound in unison with the tuning fork (there should be no dissonance, and the sounds should match completely). Now we clamp the 2nd string on V fret and tune it in 1st: 2nd, clamped on V fret, should sound the same as open 1st. Further, similarly, from the bottom up we tune all the other strings: the 3rd string, clamped on IV fret, sounds in unison with the open 2nd; 4th, clamped on V fret, - in unison with the open 3rd; 5th, pinched on V fret, - in unison with the open 4th; and 6th, clamped again on V fret, - in unison with the open 5th.To tune the guitar, you can use special computer programs- tuners, for example, Tunit v.3.40. To do this, we connect the microphone to the computer, run the program, pull the strings and see the deviation from the standard on the monitor (notes are also indicated with Latin letters: Mi - E, Xi - B, Salt - G, Re - D, La - A). I would like to say that this thing is quite harmful and it is better to use it only at the beginning. Learning to tune the guitar yourself is simple, but you need to do it, we won’t do it - we won’t learn.
For a harmonious sound, it is not necessary to bring the guitar under the tuning fork, it is enough just to adjust all the others along the arbitrarily stretched first string, as described above, although, I think, it is better to avoid such tuning - the ear should get used to the reference sound.
As for the strings themselves, they are metal and nylon, it is easier to play solo works on the latter and they do not cut fingers like metal ones, it is better to play them on right hand have nails a few millimeters long.
