C4, part 4
I've discussed C4 in these posts:
It's an unusual instrument, even in my world. It's an 18-string Contraguitar. It has a 4-inch nut, and is in a multiscale, or "fan-fret" configuration. It also has a non-radiused fingerboard.
Since its conversion about a year ago from a hybrid nylon/steel configuration to an all-steel configuration, I've been relearning it, and still am.
Today while shedding it, I realized that I have to approach it on its own terms. In other words, I can't simply pick it up and start playing it as if it were any other instrument. I'm discovering that it requires a different approach and concept. With that incredibly wide neck and the non-radiused fingerboard, it forces me into a new place with it. A new place that requires its own approach. That's not a bad thing; in fact, I'm finding that I like it. It lands me in a different and new conceptual space.
As such, I'm starting to realize that what I play or compose on C4 is markedly different from what I play or compose on other instruments. Such that there are things that I think could only be realized or could only exist on C4.
And it seems that the more I can identify and verbalize C4 issues in blog posts, the more I learn about this instrument; the clearer it becomes to me as I relearn it.
No doubt there will be more to come.
-kk
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