<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0807-8967</journal-id>
<journal-title><![CDATA[Revista Diacrítica]]></journal-title>
<abbrev-journal-title><![CDATA[Diacrítica]]></abbrev-journal-title>
<issn>0807-8967</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos Humanísticos da Universidade do Minho]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0807-89672024000200159</article-id>
<article-id pub-id-type="doi">10.21814/diacritica.5670</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[A AÇÃO DE MÃO ESQUERDA AO VIOLÃO SEGUNDO OS PRINCÍPIOS DO WALKING]]></article-title>
<article-title xml:lang="en"><![CDATA[THE LEFT-HAND MOVEMENT ON THE GUITAR ACCORDING TO THE PRINCIPLES OF WALKING]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Loner]]></surname>
<given-names><![CDATA[Raquel]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Alípio]]></surname>
<given-names><![CDATA[Alisson]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Estado de Santa Catarina (UDESC) Programa de Pós-Graduação em Música do Centro de Artes, Design e Moda (CEART) ]]></institution>
<addr-line><![CDATA[Florianópolis SC]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade Estadual do Paraná (UNESPAR) Programa de Pós-Graduação em Música ]]></institution>
<addr-line><![CDATA[Curitiba PR]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2024</year>
</pub-date>
<volume>38</volume>
<numero>2</numero>
<fpage>159</fpage>
<lpage>177</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0807-89672024000200159&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0807-89672024000200159&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0807-89672024000200159&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O Walking, conforme proposto por Loner e Alípio (2020), é um comportamento de mão esquerda ao violão pelo qual é possível atingir os ideais de fluência motora e sonora de uma execução. Ele pode ser definido como a sucessão dos movimentos de mão esquerda ao violão que viabilizam a sustentação do som entre as notas - ou seja, como uma sucessão de intenções. O Walking é constituído pelo conjunto dos expedientes técnicos de sustentação do som que possibilitam manter um ponto de contato com a corda e, ao mesmo tempo, realizar um movimento direcionado às demais notas. Neste artigo, objetivamos demonstrar como estes expedientes podem ser realizados de acordo com os princípios do Walking. Esta investigação se baseou na premissa segundo a qual, no que se refere à ação de mão esquerda ao violão, &#8216;o todo não é igual à soma das suas partes&#8217; (Dergal, 2020) - ou seja, o Walking não equivale à realização sequencial dos expedientes técnicos de sustentação do som que o constituem - assim como nas proposições de Meinel (1977) acerca da qualidade do movimento na prática esportiva, as quais contribuíram para a concepção de uma técnica de mão esquerda ao violão baseada na combinação fluida de intenções.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Walking, as proposed by Loner and Alípio (2020), is a left-hand behavior on the guitar through which it is possible to achieve the ideals of motor and sound fluency in a performance. It can be defined as the succession of left-hand movements on the guitar that make it possible to sustain the sound between notes - in other words, as a succession of intentions. Walking is constituted by the set of technical expedients that enable the sustaining of the sound, through which it is possible to maintain a point of contact with the string and, at the same time, make a movement directed towards the other notes. In this article, we aim to demonstrate how these technical expedients can be performed according to the principles of Walking. This investigation was based on the premise that, when it comes to left-hand action on the guitar, &#8216;the whole is not equal to the sum of its parts&#8217; (Dergal, 2020) - in other words, Walking is not equivalent to the sequential execution of the technical expedients that enable the sustaining of sound - as well as on Meinel's (1977) propositions about the quality of movement in sports practice, which contributed to the conception of a left-hand technique on the guitar based on the fluid combination of intentions.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Walking]]></kwd>
<kwd lng="pt"><![CDATA[Técnica violonística]]></kwd>
<kwd lng="pt"><![CDATA[Técnica de mão esquerda ao violão]]></kwd>
<kwd lng="pt"><![CDATA[Fluência motora]]></kwd>
<kwd lng="pt"><![CDATA[Fluência sonora]]></kwd>
<kwd lng="en"><![CDATA[Walking]]></kwd>
<kwd lng="en"><![CDATA[Classical guitar technique]]></kwd>
<kwd lng="en"><![CDATA[Left-hand technique]]></kwd>
<kwd lng="en"><![CDATA[Motor fluency]]></kwd>
<kwd lng="en"><![CDATA[Sound fluency.]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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