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Upon adding four bass string tuned a very specific way - C, B-flat, A-flat, G-flat - the same [[resonance]] is obtained from each of the notes that make up the fingerboard's sonorous catalogue, by taking advantage of the natural [[harmonics]] (the [[octaves]] and the dominant [[fifth]]s) of the bass strings, which produce [[unison]], sympathetic vibrations with notes played on the fingerboard. In other words, the additional strings act as string [[resonators]] (though they can be, and are also, played on). The result is termed [[chromatic]] string [[resonance]] since the bass strings now [[resonate]] in sympathy with any of the twelve notes of the [[chromatic]] scale, similar to the piano's sustain when the pedal is used. And just as a pianist has the option of whether or not to employ the pedal, the competent 10-string guitarist is able to execute complete control, sustaining or stopping notes at will. This, most important aspect of the Yepes 10-string guitar, in fact, is the crux of his invention and is
Furthermore, it now becomes possible for the guitarist to play repertoire written for the Baroque [[lute]] without deleterious [[transposition]] of the bass notes, by employing [[scordatura]] (lowering the tuning of the 7th string - the lowest-sounding string - to B1 or A1) and fingering the bass-line on the lowest strings. (A common misconception, even amongst some 10-string guitarists, is that these basses are intended to make it easier and simpler to play bass notes by playing as many of them as possible on open strings. This approach very much goes against the methodology employed by Narciso Yepes himself.) The instrument also opens up possibilities for more faithful transcription of music originally written for keyboard, and opens up new possibilities for original composition, as exemplified in the solo guitar works of [[Maurice Ohana]] and [[Bruno Maderna]].
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