The dilemma of the sound in guitar
,by Emilio PujolThe scientific definition of the sound. The timbre in the loudness. Differences of timbrein each instrument. Factors that take part in the appreciation of the sound. Directionsthat have determined their classification. Dilemma of the sound in guitar. The musicianwho anxious to know the most intimate secrets his art looked for in scientific books asatisfactory definition of the sound, would finish disturbed before the mobilization of numbers and words which they have been necessary to leave without still needing,which only to the spirit is to him possible to perceive. Those books say learned to usthat the sound is something produced by the vibrations of a body in an average elasticthrough as it propagates in
and that their
, intensity and amount of
vibrations per second
are extremely variable. Certain that all that must be; butsomething more also, because of our conscious sensitivity and that nonfigure in thosescientific definitions, reasoned and you cold. A something more than includes frommost insignificant to most transcendental for our spirit. A something more than thegenius of the man can transform into immaterial element of a world wonderful andfantastic, able to confortar the soul like conforta to the body a sun ray.The faculty to hear that it is to us own puts under the sound as much diversity of appreciations as differences of physical nature and moral they exist between thelisteners. To listen is to concentrate in the ear all our sensitivity, sensitivity that differsin each individual according to its temperament, illustration or criterion. The listenerperceives simultaneously with the sound, his particular timbre (what Helmholtz calledthe color of the sound), surrounding in a single unit his elevation, intensity and duration.
is really the characteristic of each sound; it is what the color to the object,the perfume to the flower, the form to the body it is enough to consider the importancethat, separately, has in the orchestra each instrumental group and the particular timbre of each instrument. In the harmonic set, each group represents a determined , subdividedelement in so many sonorous individualities as types of instruments form the group. Noof these instrumental groups offers as much variety of timbres as the one of the pressedstringed instruments, to cause of its diversity of forms, sizes, thickness and quality of cords and different procedures in being put in vibration.
can be good, bad, or better worse, according to the valuation that gives thecritical sense him of that appreciates it. As this appreciation depends, between thousandcauses, of auditory and touching sensitivity, sugestionabilidad, musical and intellectual ,prejudices or force customary, good sense of criterion and conditions even separateeducation, general order of that judges it, the classification of the timbre or the sound,can vary to the infinite. Nevertheless, within the relative concept a predominantclassification exists that tends to be considered like definitive.This is the resultant of a series of suffrages of superior capacity, inspired by theprinciples of an aesthetic one long sifted and defined by the most severe public, the bestones schools, the best interpreters and the most eminent creators for all time.