UTC   Mel Bay may cite Marlow as something of an authority on the tenstring guitar but also as something of an authority on the tenstring guitar I have reviewed her approach guide and found it misinformative in the following respects    In the front matter Janet Marlow claims that Narciso Yepes  heard that there were four tones with less sustain due to missing sympathetic resonance on the sixstring guitar In truth Narciso Yepes always verifiably stated that there are eight notes from the twelve that make the chromatic octave that do not have string resonance ie a sympathetic response from an adjacent string This can be verified in practically any of his various articles and interviews as well as in his Speech of Ingression into the Real Academia de Bellas Artes de San Fernando delivered on  April  The strings that I have added incorporate all the natural resonance that the instrument lacked in eight of the twelve notes of the equal tempered scale That is not only on sixstring guitars Also tenstring guitars that do not have the specific tuning invented by Yepes cannot lay claim to having unison sympathetic string resonances for all the twelve notes in all positions on the treble strings This is an indisputable fact of acoustics a science which as such cannot be fudged   Marlow does not define the term resonance which is used in this book in the lay sense rather than in its acousticscientific sense This is evident from the chapter on Controlling Resonance in which controlling resonance is equated with a vibrating bass string that has been actively plucked In fact this is not string resonance but simply a vibrating string Resonance is the tendency of a system like a string to vibrate sympathetically at a particular natural frequency in response to energy induced at that frequency that is on another string    No adequate explanation of how this resonance actually functions is offered anywhere in this book In fact the singular tuning that adds all eight missing resonances is relegated to an aside comment in parenthesis In addition it is claimed that the authors own method of tuning satisfies the needed sustain Preface As a fact of acoustics the authors tuning system does not provide sympathetic string resonance for all the notes of a chromatic scale nor does it thus equalize the sustain resonance timbre or volume among the twelve notes of the octave which is the entire primary purpose behind the invention of the modern string guitar The tuning system used in this method for example supplies no resonance for the notes of Fnatural and Bflat neither does it offer any resonance for Cs    In the Preface Marlow claims that In my own process over twenty five years I have developed the tuning that forms the basis for this method In fact this method of tuning had already been fully developed by  not over twenty five years Records of this are in the March  edition of Guitar Player magazine in an interview with Marlow by Allan Kozinn Furthermore this concept is therein attributed to Oscar CastroNeves March   not to Janet Marlows own process    The transcriptions of baroque music by Bach and Weiss offered in this book are fraught with stylistic problems too numerous to list but for a few For example the ornaments which are an integral part of baroque music have been inexplicably omitted eg trills in bars  and  of the Weiss Courante Furthermore stylistically inappropriate melodic intervals have been introduced in the bass line For example in bars  of the Courante instead of the smooth bass line moving by steps from A to G minor nd to F major nd  as intended by Weiss in good baroque style  we find erratic leaps of an augmented octave A to G and a minor th G to F Where this descending line should be structurally mirrored in bars  we find again an erratic undermining of the formal and stylistic elements of the composition simply to keep the bass notes on open strings As such it seems rather insincere that the author lists the correct use of octaves and bass lines intended by the composer as a justification for using the string guitar when this is clearly not the case in her own use of the instrument Also very little consideration seems to be shown for open basses ringing together where they should not for example the first three bass notes of the Courante all continue to ring together forming two dissonances augmented octave and minor th where the composer intends a clean line in the bass That is the bass line should be a melody not a cacophany of dissonant harmonic intervals I refer also the the DVD version of this book now discontinued on which Marlow performs her transcription  NEW