Article Vol. 24, No. 2, 2024

The role of contemporary performers in the evolutionary development of electric guitar techniques and playing methods

Maksym Poltoratskiy
Received 01.08.2024 Revised 04.11.2024 Accepted 25.11.2024 Pages 25–34 751 Views

Abstract

This article explored some of the most modern performance techniques on the electric guitar and examined their application by renowned musicians, including Tosin Abasi, Tim Henson, and Marcin Petrzałek. Tosin Abasi was examined as an advocate of the eight-string guitar and the “selective picking” technique, while Tim Henson was presented as a representative of the progressive metal genre. Meanwhile, Marcin Petrzałek, also known by his stage name “Marcin”, was highlighted as a prominent figure in fingerstyle guitar, focusing on his commitment to performance technique. The purpose of this article was a review of modern methods, approaches, and techniques of sound production on the electric guitar, with an emphasis on their application in the works of leading contemporary guitarists. Its significance and relevance lay in the clear systematisation and analysis of modern guitar techniques, enhanced by vivid examples and performance interpretation. It should be noted that this article addressed only the fundamental and popular methods of electric guitar performance, particularly in the works of prominent contemporary musicians, who employ these techniques as integral elements of their style. The article presented specific techniques, modern performance practices, and a concise analysis, alongside practical recommendations aimed at advanced specialists. The practical value of this study is closely linked to the teaching of modern electric guitar performance. The findings may be incorporated into educational courses on subjects such as “Electric Guitar”, “History of Guitar Performance”, “Modern Acoustic Guitar” 

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Poltoratskiy, M. (2024). The role of contemporary performers in the evolutionary development of electric guitar techniques and playing methods. Notes on Art Criticism, 24(2), 25-34. https://doi.org/10.63009/noac/2.2024.25

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