Quote:
Originally Posted by RWG
I once attended an informal class given by Christopher Parkening when he was in town for a concert. He said for certain passages it was best to move up and down the neck to keep the melody on the same string instead of leaving the hand in one position and crossing over strings. I can't remember the reasons or the context, this was a long time ago. I do remember he stressed that in some situations it sounded better to stay with one or two strings even if you had to move all over the neck.
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i would guess for tonal consistency. different strings can sound different tonally.