Repeated sections in music offer a chance to unleash creativity. Regardless of genre or difficulty level, it’s common to encounter segments that repeat in their entirety—whether marked with repeat signs or a return to earlier material. In such instances, it’s beneficial to delve into the possibilities for interpretation.

The most apparent choices involve dynamics, such as loud versus soft, or playing closer to the bridge (ponticello) versus nearer the fingerboard (tasto). While these options may seem like default solutions, they are reliable and effective variations. The key is to fully commit to implementing the chosen variation throughout the entire section. For instance, when opting for a shift from loud to soft, it’s crucial to achieve an immediate and noticeable drop in volume, rather than just a subtle difference between the two iterations. Similarly, if altering right-hand tone, maintaining the adjusted position until the passage concludes is essential.

But what other avenues can we explore?

One subtle yet effective option is to reconsider the left-hand fingering during the repeated passage.

Undoubtedly, this approach demands additional effort during the learning process. but, it yields exceptionally musical outcomes and prompts exploration of the fingerboard.

One example where I’m applying the re-fingering idea is in Giuliani’s Op148. No.2, Lo Scherzo. In the snippet below you’ll see in the 4th bar on the first beat, that d followed by g, f#, e, d. The first time around I play the g, f#, and e notes on the first string, then on the repeat, I use a glissando and take it up to the g note on the second string, playing g, f#, and e on the second string adds a nice variation to play.

In my search for my classical guitar identity I finally settled on these three. Each has specific features that I love and I enjoy playing them all.

 

First up is a custom made guitar by Francois Laramee, a Luthier in Canada. I wanted to try a slightly wider neck at the nut 54mm, and the standard scale length of 650mm, with a California Redwood soundboard and Black Walnut back and sides and open pore finish. This guitar is light as a feather and feels so good to play. The sound to me is kind of dark and punchy. The bracing it’s made with is seven fan.

Next up is my Torres 1866, model 17A replica by Wolfgang Jellinghaus. It’s a 630mm scale length guitar, with a french polished spruce soundboard using a technique to give it that cool antique look,  and Rosewood back and sides. I wanted a period instrument from the time of Fransisco Tarrega, Romantic era,  since I love that music so much. Even though it has a small body, this guitar is loud and has lots of character. I discovered recently that the smaller body made it easier to travel with on airplanes, as it would fit in the staff closets on board American Airlines.

And finally my most recently aquired guitar is custom made by Lucio Nunez, 2023. it features a scale length of 640mm with a spruce soundboard and cocobolo back and sides, french polished soundboard, a sound port on the upper bout, and 53mm nut width. This guitar is heavier than the previous two guitar due to the laminated cocobolo on the sides and back, and uses lattice bracing. This guitar is LOUD and very spanish sounding, it took me some time to get use to the volume, but now I love playing it.

 

 

I would love to have a ten string guitar someday, similar to what Narciso Yepes played. Lucio Nunez makes beautiful Ten strings so until I can afford one, I’ll keep dreaming about it.