In 1984, thinking about certain observations made by his teacher, George Hadjinikos, Paul Galbraith came across a more natural and comfortable way of playing the guitar. Instead of using the traditional posture, with the guitar supported by a combination of the playing arm and one of the legs, he sat on the floor cross-legged, with the guitar supported between both legs, thus freeing his right (playing) arm.
“Holding and playing the guitar at the same time – with the same arm – inhibits this essential relationship between movement and sound, besides easily causing a twisting of the back and other physical problems”, explains Galbraith, who, just weeks after discovering the new posture, was already using it for his concerts, to the surprise - and even occasionally the consternation - of the more traditional-minded critics.
Three years later, inspired by a comment by the Brazilian guitarist and luthier, Sérgio Abreu, Galbraith further developed this new posture. “Whilst playing guitar at Sérgio Abreu’s house in Brazil, he commented on the fact that by sitting with the guitar cross-legged in that way, I was dampening the most resonant part of the instrument. Then I came to the idea that I could take advantage of my already cello-like vertical posture, and use a cello end-pin, whilst sitting up on a chair again, thus liberating the full resonance of the instrument”.
Later on, a resonance box, designed to further enrich the sound and volume of the guitar, was to complete his stage equipment.
 
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