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You just know that a chord is and you create the chord yourself. If you apply the C [shape] of standard tuning you obtain a 7 th , [creating a C7]. There is something which came to me some years ago, which was not obvious yet. I listened to my early recordings and I heard a lot of sonic information, in terms of notes being played and remaining there while other notes are there. Sometimes it creates ambiguity. Is it that bass [plays low D string] or is it that bass [plays low A string] or both basses [plays low D then low A]?

Do we want here to listen to an interval of a fifth or [plays low D, low A, then middle D]? What is this? Three basses? Why three basses? At the beginning I was doing a lot of [plays percussive mute] — trying to create rhythmic things as I was playing, by tapping with the left hand on the neck.

But sometimes you have no opportunity to do that; your left hand is busy doing other things. So there are little tricks, like with the left-hand thumb here. Steel string players have a narrower neck than classical players, so we can use that thumb to [mutes low D string] stop the resonances.

But even also that: like you play with the right-hand thumb one bass, you play with your index a second bass, and at the same time that your index plays that second bass, that thumb comes and rests on the first bass — at the very same time. And you hear one bass at a time.

They just come and there is a movement of the fingers which does not result in sound, but in silence. When we speak, in our intentions, in our emotions, there are words that we pronounce quietly, others that are louder.

The same should happen with the music. This amplitude is the way we tell our story. It is the way we keep the momentum, the drive for the person listening. This is the way we keep people interested, quite simply put. I use a lot of harp effect technique.

And the rendition of that is very liquid, very fluid, like stairs. I have to move [the guitar]. There are two ways of moving. One is to have all the molecules of sound knock against the sides of the guitar, and go out like grapes of sound out of the sound hole. Another one is to work only with the neck and secure the guitar [against the body] and push on the neck.

The pitch goes down like on an electric guitar. Related Articles Pierre Bensusan Interview Musical nomad Pierre Bensusan discovered the guitar in his early teens, and it wasn't long before his home-crafted skills earned him critical acclaim at the prestigious Montreux Jazz Festival.

Since then, Pierre has assimilated musical threads from across Europe and beyond into his style - his ears deftly weaving folk standards and original compositions into a lush acoustic tapestry […] Tommy Emmanuel Interview Australian virtuoso Tommy Emmanuel is going on five decades of professional guitar playing. At an age when most of us were occupied with learning our alphabets and the intricacies of counting to twenty, Tommy was falling under the spell of Chet Atkins and cooking up his own brew of musical magic.

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