Harmony

Abstract

This chapter explores the harmonic resources of the instrument and builds upon the fingerboard harmony material in chapter 1. Playing homophonic textures on the guitar creates problems of smoothness and connection. Fernando Sor recognized this and provided rests between chords in his Op. 35, No. 11 and Op. 31, No. 20. Two arpeggio pieces of special harmonic interest are also included. This chapter challenges the widely accepted instruction that recommends the placing of all the left-hand fingers that are to form a chord at the same time, whether or not the notes of the chord are arpeggiated or struck simultaneously. This advice, repeated in almost every guitar method since the early 19th century, accounts for one of the reasons guitarists have difficulty performing convincing legato phrasing. The chapter presents alternative advice, the reasons behind it, and exercises to help develop this technical and artistic refinement.