Wha is a 12 string guitar

12-string guitar

The twelve-string guitar usually has steel strings and is widely used in folk music, blues and rock and roll. Rather than having only six strings, the 12-string guitar has six courses made up of two strings each, like a mandolin or lute. The highest two courses are tuned in unison, while the others are tuned in octaves. The 12-string guitar is also made in electric forms.
The strings are placed in courses of two strings each that are usually played together. The two strings in each bass course are normally tuned an octave apart, while each pair of strings in the treble courses are tuned in unison. The tuning of the second string in the third course (G) varies: some players use a unison string while others prefer the distinctive high-pitched, bell-like quality an octave string makes in this position. Some players, either in search of distinctive tone or for ease of playing, will remove some of the doubled strings. For example, removing the higher octave from the three bass courses simplifies playing running bass lines, but keeps the extra treble strings for the full strums. The strings are generally arranged such that the first string of each pair to be struck on a downward strum is the higher octave string; however, this arrangement was reversed by Rickenbacker on their electric 360/12. The tension placed on the instrument by the strings is great, and because of this, 12 string guitars have a reputation for warping after a few years of use. Some twelve-string guitars have non-traditional structural supports to prevent or postpone such a fate, at the expense of appearance and tone. Until recently, twelve-string guitars were nearly universally tuned lower than the traditional EADGBE, to reduce the stresses on the instrument. Lead Belly may have used a low C-tuning. Some performers prefer the richness of an open tuning due to its near-orchestral sound. For a very complex plucked-string sound, the 12-string can be set to standard tuning (or possibly an octave lower), then the top one and low two string pairs can be tuned to whole-tone intervals. The usual gamut of guitar tunings are also available. Many performers who play the twelve-string guitar use an ordinary six-string guitar as their primary instrument, switching to the twelve-string guitar for certain songs that seem to call for a brighter sound. Because it is substantially more difficult to pluck individual strings on the twelve-string guitar, and almost impossible to bend notes tunefully, the instrument is rarely used for lead musical parts. 12-string guitar is however primarily suited to a rhythm or accompaniment role and is often used in folk songs and some popular music. Some hard rock and progressive rock musicians use double-necked guitars, which have both six-string and twelve-string components, allowing the guitarist easy transition between different sounds. The greater number of strings complicates playing, particularly for the plucking (or picking) hand. The gap between the dual-string courses is usually narrower than that between the single-string courses of a conventional six-string guitar, so more precision is required with pick or fingertip when not simply strumming chords. The pairing of thin, easily broken octave strings with larger, stiffer bass strings presents difficulties to the player also, and only a very skilled player can reliably pluck single strings from within a course at any speed (notably the very high octave G string, which is the highest-pitched string on the instrument). Nevertheless, with practice, the twelve-string guitar is not unduly difficult to play. It is, however, generally used in a fairly restricted role which emphasizes its strengths: rich ringing, full-bodied chords, and fast, rippling single plucked notes on the twinned strings. Twelve-string guitars are made in both acoustic and electric form. However, it is the acoustic type that is most common. Chorus effect The double ranks of strings of the 12-string guitar produce a shimmering chorus effect. To produce this effect individual string sounds with roughly the same timbre and nearly (but never exactly) the same pitch converge and are perceived as one. When the effect is produced successfully, none of the constituent sounds is perceived as being out of tune. Rather, this amalgam of sounds has a rich, shimmering quality which would be absent if the sound came from a single source. The effect is more apparent when listening to sounds that sustain for long periods of time.

Brief History of Guitar

The guitar is a musical instrument of the chordophone family. The standard guitar has six strings but four-, seven-, eight-, nine-, ten-, eleven-, twelve-, thirteen- and eighteen-string guitars are also available. The two primary families of guitar types are the electric guitars and the acoustic guitars. The three main types of acoustic guitar are the classical guitar (nylon string guitar), the steel-string flattop guitar, and the archtop guitar. Guitars are recognized as one of the primary instruments in flamenco, jazz, blues, country, mariachi, rock music, and many forms of pop. They can also be a solo classical instrument. Guitars may be played acoustically; the tone is produced by the vibration of the strings which is amplified by the body of the guitar which acts as a large hollow resonating chamber, or they may rely on an amplifier that can electronically manipulate tone. Such electric guitars were introduced in the 1930s, and they have continued to have a profound influence on popular culture since then. Traditionally guitars have been constructed of various woods and strung with animal gut, or more recently, with either nylon or steel strings. Guitars are made and repaired by luthiers.

Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides". The term is used to refer to a number of such related instruments that were developed and used across Europe in the modern era. Some types of guitars, which are themselves related to these European instruments, originated in the Americas. These instruments are themselves descended from instruments that once existed in ancient central Asia and India. For this reason guitars are distantly related to contemporary instruments from these regions, including the tanbur, the setar and the sitar, among others. The oldest known iconographic representation of an instrument displaying the essential features of a guitar is a 3,300 year old stone carving of a Hittite bard.

The modern word, guitar, was adopted into English from Spanish guitarra (German Gitarre, French Guitare), loaned from the medieval Andalusian Arabic qitara, itself derived from the Latin cithara, which in turn came from the earlier Greek word kithara, a descendant of Old Persian sihtar (Tar means string in Persian). Illustration from a Carolingian Psalter from the 9th century, showing a guitar-like plucked instrument. The guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their conquest of Iberia in the 8th century. Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c. 800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried. By 1200 AD, the four-string "guitar" had evolved into two types: the guitarra moresca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck. In the 14th and 15th centuries the qualifiers "moresca" and "latina" were dropped and these four course instruments were simply called guitars. The Spanish vihuela or (in Italian) "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is often considered a major influence in the development of the modern guitar. It had six courses (usually), lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply-cut waist. It was also larger than the contemporary four course guitars. By the late 15th century some vihuelas began to be played with a bow, leading to the development of the viol. By the sixteenth century the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, and more like a larger version of the contemporary four-course guitars. The vihuela enjoyed only a short period of popularity in Spain and Italy during an era dominated elsewhere in Europe by the lute; the last surviving published music for the instrument appeared in 1576. Meanwhile the five-course baroque guitar, which was documented in Spain from the middle of the 16th century, enjoyed popularity, especially in Spain, Italy and France from the late 16th century to the mid 18th century. Confusingly, in Portugal, the word vihuela referred to the guitar, whereas guitarra meant the "Portuguese guitar", a variety of cittern.

The Music of the 20th Century Era

The Modern/20th Century Era

(1900 - Present)

With the coming of the 20th century another evolution in the musical world emerged. While some of the early 20th century music can be seen as extensions of the late Romantic style, much of 20th century music can be seen as a rebellion. Composers did not look to build on what was standard but again created music freely and used sounds that went against the current grain. Twentieth century music can be described as being more refined, vague in form, delicate, and having a mysterious atmosphere.

Twentieth century music is an era that is hard to define in terms of musical style. The only easy way to define 20th century music is that it does not fit into the Romantic era's requirements. And because of its own expression and orchestral technique it does not fit into any other category but its own.

This time period spawned many new terms for musical styles because of the diversity of music that was being written. Some common examples are atonality, expressionism (seen in Schoenberg's early music), neo-Romanticism , and .

As was true in the Romantic era, nationalism was still an important musical device used during the first half of the 20th century. Composers utilized folk songs to enriched their music. Examples can be seen in the music of Raplh Vaughan Williams (England), Bela Bartok (Hungary), Heitor Villa Lobos (Brazil) and Aaron Copland (USA). Jazz and popular musical styles influenced composers from both the United States and Europe.

In 20th century musical styles traditional forms and structures were broken up and recreated or composed using non-Western musical techniques and abstract ideas. Technology also became an extremely important factor in the music making during this time period. Composers have been known to use recording tape as a compositional tool. Electronically created sounds are used in combination with other electronic sounds or played together with traditional music instruments. Most recently, the use of computer technology has affected the world of music making. Some ways in which computers currently alter the face of the music world are by manipulating the performance of instruments in real time.

Music in Middle-Earth

Even though J. R. R. Tolkien does not discuss music in LOR, Appendix F (II), "On Translation," provides a useful basis upon which to reconstruct his views. In this essay, Tolkien distinguishes between the languages of various peoples in Middle-earth in terms of certain Indo-European predecessors to modern English. English is presented as the official representation of the languages of the Shire, Gondor, and Rohan. According to Tolkien, Hobbit language was "a rustic dialect, whereas in Gondor and Rohan a more antique language was used, more formal and more terse." In terms of the actual history of English, modern English, though newer, is actually a degenerate, rustic, form of a London dialect, less complex or sophisticated than older forms of Old English, to which the word antique refers. Tolkien presents no differences between the language of Gondor and the Shire in LOR, but comments in "On Translation" on grammatical differences, specifically with regard to the second person pronoun. It was Pippin's failure to distinguish between familiar and deferential forms of you that convinced Gondorians that he was a prince. (Gondorians also used "was come" instead of "had come," following Germanic grammar.) In contrast, Hobbits had much more difficulty with the language of Rohan, where they simply recognized many similar words. In LOR Theoden and Merry spend much time talking about the origins of words. Pippin and his Gondorian friends do not. Beyond these three languages, Tolkien is concerned primarily with place names. He selects Frankish and Gothic languages to represent the speech of the Men in the Vale of the Anduin, Dale, and the Mark. The speech of the Stoors and Bree-men, and therefore the Dunlanders, is Celtic. Tolkien states that the Elven languages play the role of Greek and Latin, but even the untranslated songs in Sindarin and Quenya follow his Germanic patterns exactly.

Although in a footnote, Tolkien warns that the adoption of these early medieval languages to represent languages in LOR - for example, that of the Riders of Rohan - "does not imply that the Rohirrim closely resembled the ancient English otherwise, in culture or art, in weapons or modes of warfare, except in a general way due to their circumstances," music, or singing, because of its close relationship to the evolution of language in the Middle Ages, is probably an exception to his general warning.

In 597 Pope Gregory sent missionaries to convert the Germans to Christianity. While doing so, they also taught them to write and convert their spoken language into written form. The Germans modelled their written language on their oral language. Before 597, these Germanic peoples had maintained an oral literature, mostly as lays, which they chanted or sang to the accompaniment of small wooden harps. These songs were narratives that celebrated heroic deeds. They were composed of unrhymed rhythmical lines tied together internally by alliteration. "Lament for Theoden" and "Song of the Mounds of Mundberg" are examples of this kind of song and by analogy can be taken to represent the earliest form of human music in Middle-earth. "Mundberg," in particular, fulfills the traditional function as a historical record, complete with lists of important people who died in the battle. The evolution of poetry and song in the Middle Ages was away from unrhymed rhythmical alliterative songs toward the metrical rhymed lines of modern poetry and music. Examples of this latter kind of music and poetry can be found in the Arnorian poem "Riddle of Strider" (even though Bilbo claims to have written it) and the closely related Gondorian poem "Boromir's Riddle," and at the folk level, "Athelas." Tolkien himself was especially interested professionally in Old English literature from "Beowulf" to "Gawain and the Green Knight," which stand at opposite ends of the Middle Ages. In "Gawain" the transformation to metrical rhyme is not yet complete. The main stanzas are alliterative, followed by short rhymed stanzas. In LOR, although most lines are rhymed, they are not yet completely metrical. Nearly all have pauses, caesurae, near the middle of each line, even when they are fairly metrical otherwise. The caesurae split each line into half lines. "Galadriel's Song" has two caesurae per line, dividing each line into thirds.

The lack of metrical form and the presence of the caesurae pose special problems in trying to write or reconstruct authentic music for Middle-earth. Because the number of syllables can vary dramatically and the placement of the caesurae can further contribute to this irregularity, tunes have to be found that can accommodate this variation while still providing simple, recognizable melodies. For example, the same notes in "The Last Ship" must take care of "the grey night was going," "till the long light was shimmering," "as she ran down to the river," "one step daring," and, among others, "down the Seven Rivers."

The type of music developed to handle the poetry of the early Germanic peoples was Gregorian chant, one of five kinds of plainsong, a monophonic chant in free rhythm, as distinct from measured music. It was monophonic in that it consisted of a single line or melody without an accompaniment that was regarded as part of the work itself, as distinct from polyphony or homophony. Given the irregularity of the verse, there can be no question that the music in LOR was primarily chants with free rhythm. Close attention to the text of LOR also reveals that in almost all cases songs were sung without musical accompaniment. Exceptions are the music of the Dwarves in Bilbo's house in The Hobbit (which may be a pre-LOR carelessness) and perhaps the music in Rivendell, especially the "Song of Earendil," though it may be an example of standard Germanic chant. According to Tolkien, everyone was "intent upon the music of the voices and the instruments" and "the beauty of the melodies and the interwoven words." When Bilbo begins to sing, the "dream of music" turns "suddenly into a voice." All of these remarks suggest that the instrumental and vocal music were identifiably distinct and probably did not occur simultaneously.

Polyphony, which simultaneously combines several lines of melody in parts, without any line subordinate to the others, did not begin to develop until near the end of the Middle Ages. There is little evidence that it existed in Middle-earth at all, except, once again for the Dwarves, which may be a mistake, although it does very clearly appear outside of Middle-earth in the void. In The Silmarillion Iluvator utilizes polyphony when he teaches the Holy Ones to sing in parts and then adds another part of his own, the third theme for humans. In all likelihood, the singing of the Holy Ones represents the most advanced type of music in Tolkien's worlds, a type that had not yet made a general appearance in Middle-earth in the Third Age. If so, then music in Middle-earth sounded much different than modern music, for it was a single line of melody without chords (music with chords being homophony, a development that occurred after polyphony).

Given that polyphony was at best rare in Middle-earth at the time of LOR, an authentic reconstruction of a song should be a single melody line without instrumental accompaniment. However, because it would be very hard for most people who are used to homophony (a melody line accompanied, at a minimum, by an instrumental arrangement of chords, three or more harmonious notes played simultaneously) to appreciate an endless series of bare-bones, unaccompanied voices, some compromise with authenticity may be necessary.

Percussion is also a problem. While modern music listeners expect a complex beat, such rhythm plays off of a metrical beat that is incompatible with pre-modern (modal) music, which highlights the free rhythm of each line of the song. Because the notation for the songs in Gregorian chant from the Middle Ages does not indicate the lengths of notes, it is not known exactly how any particular song was sung. It is not unlikely that each song came out differently each time it was sung, just as a passage from a book comes out differently each time it is read aloud. Most likely, the singer deliberately tried various approaches to the presentation of particular lines each time he or she sang the song. The object would be to display the natural rhythm of the line in contrast to the rhythm of the other lines. In measured music, each line is rhythmically identical. The complex beat masks the boring sameness of these lines. In monophonic music, however, the rhythm of each line is unique, determined by the arrangement of the words and the placement of the caesura. In this kind of music, a complex metrical beat may compete with the free rhythm and hide the rhythmical uniqueness of each line. Because of this problem, most percussion probably occurred at the ends of lines. To be sure, modern listeners want a complex beat. Providing it, however, is another compromise.

Because postmodern or alternative music is now abandoning metrically measured music, a compromise that permits the free rhythm of pre-modern music may be possible. For example, the music of Laurie Anderson, without its electronic sound, could come close to plainsong, if one is also willing to ignore the chords. In her songs, the words shape the music. Moreover, when she sings, the words are independent of the music. She drifts between singing and speaking, frequently stopping for dramatic effect. More elaborate instrumental music occurs between verses rather than as an accompaniment.

Concerning musical instruments in Middle-earth, the Dwarves play "little fiddles," "flutes," "clarinets," "viols," "drums," and a "harp." In "Frodo's Song at Bree," a cat plays a "fiddle." "Durin's Song" mentions "harps" and "trumpets." In the Middle Ages, the harp was a basic instrument that was strummed between lines in Germanic lays. The fiddle was a bowed stringed instrument, played on the shoulder or arm, but sometimes played upright in the lap like a viol. A viol was simply a larger version of the fiddle, held upright on the knee. It is not an ancestor of the Renaissance instrument and it is a contemporary, not an ancestor of the early violin. The flutes were most likely recorders or "blockflutes," the flute most commonly used in the Middle Ages for the accompaniment of dance and song. The clarinet was probably slightly bigger than the recorder and distinguished from it primarily because it used a reed. Trumpets were not musical instruments, since, like the bugle, they could produce only a limited number of notes and were therefore used primarily for fanfare. Percussion instruments could be anything and started in folk music with the banging of pots and pans.

Because of Tolkien's warning that the Germanic peoples used to represent the languages in LOR may not represent the peoples of Middle-earth in other respects, anyone writing music for songs in LOR is free to do whatever he or she wishes. Tolkien's own willingness to permit anything is well demonstrated by the Donald Swann's book of songs, The Road Goes Ever On. Although I do like "Upon the Hearth the Fire is Red," and can marginally imagine Hobbits singing it, Swann wrote his songs to demonstrate his abilities on the piano during live performances--an instrument that did not exist in Middle-earth. Because his music seems more concerned with being skillful than with being authentic, I have never been able to appreciate it as much as many other people do. In "Namarie," which Tolkien sang to Swann, and which he used in place of his own version, the music is straightforward Gregorian chant. Swann notes that "Tolkien approved five [songs] but bridled at my music for 'Namarie.' He had heard it differently in his mind, he said, and hummed a Gregorian chant." Although Tolkien approved the other songs without bridling, he might have been happier with music representing, and played with instruments more appropriate to, the Middle Ages. An unbridled compromise should always hint at medieval plainsong or chant, be performed with instruments that are appropriate descendants of that time, and permit the free rhythm to be heard.

Music Of Romantic Period

Romantic music is a musicological term referring to a particular period, theory, compositional practice, and canon in European music history, from about 1815 to 1910. Romantic music as a movement does not refer to the expression and expansion of musical ideas established in earlier periods, such as the classical period, nor does it necessarily refer to romantic love, though that theme was prevalent in many works composed during this time period. More appropriately, romanticism describes the expansion of formal structures within a composition, making the pieces more passionate and expressive. Because of the expansion of form (those elements pertaining to form, key, instrumentation and the like) within a typical composition, it became easier to identify an artist based on the work. For example, Beethoven favored a smooth transition from the 3rd to 4th movement in his symphonies, and thus his pieces are more distinguishable. The era of Romantic music is defined as the period of European classical music that runs from 1803, when Beethoven wrote his "Eroica" Symphony, to around the end of the 19th century, as well as music written according to the norms and styles of that period. The Romantic period was preceded by the classical period, and was followed by the modernist period. Romantic music is related to romanticism in literature, visual arts, and philosophy, though the conventional time periods used in musicology are very different from their counterparts in the other arts, which define "romantic" as running from the 1780s to the 1840s.The Romantic movement held that not all truth could be deduced from axioms, that there were inescapable realities in the world which could only be reached through emotion, feeling and intuition. Romantic music struggled to increase emotional expression and power to describe these deeper truths, while preserving or even extending the formal structures from the classical period.

Trends of the 19th century

Musical language

Composers of the Romantic period sought to fuse the large structural harmonic planning demonstrated by earlier masters such as Haydn, and Mozart with further chromatic innovations, in order to achieve greater fluidity and contrast, and to meet the needs of longer works. Baroque music and J. S. Bach were not part of the ideas that helped spawn romantic music because they were ignored and completely out of practice even starting before his death, at the beginning of the classical period circa 1730. Baroque theoretical ideas on chromaticism and counterpoint were not resurrected until 1829 when Felix Mendelssohn performed Bach's St Matthew Passion for the first time since Bach's death in 1750. Chromaticism grew more varied, as did dissonances and their resolution. Composers modulated to increasingly remote keys, and their music often prepared the listener less for these modulations than the music of the classical era. The properties of the diminished seventh and related chords, which facilitate modulation to many keys, were also extensively exploited. Composers such as Beethoven, and later Richard Wagner, expanded the harmonic language with previously-unused chords, or innovative chord progressions. Much has been written, for example, about Wagner's Tristan chord, found near the opening of Tristan und Isolde, and its precise harmonic function. Some composers analogized music to poetry and its rhapsodic and narrative structures, while creating a more systematic basis for the composing and performing of concert music. Music theorists of this era codified previous practices, such as the sonata form, while composers extended them. There was an increasing focus on melodies and themes, as well as an explosion in the composition of songs. The emphasis on melody found expression in the increasingly extensive use of cyclic form, which was an important unifying device for some of the longer pieces that became common during the period. The greater harmonic elusiveness and fluidity, the longer melodies, poesis as the basis of expression, and the use of literary inspirations were all present prior to this period. However, some composers of the Romantic period adopted them as the central pursuit of music itself. Composers were also influenced by technological advances, including an increase in the range and power of the piano and the improved chromatic abilities and greater projection of the instruments of the symphony orchestra.

Late Romantic Era (1850-1900) As the 19th century moved into its second half, many social, political and economic changes set in motion in the post-Napoleonic period became entrenched. Railways and the electric telegraph bound the European world ever closer together. The nationalism that had been an important strain of early 19th century Romantic music became formalized by political and linguistic means. Literature for the middle classes became the publishing norm, including the rise of the novel as the primary literary form. In the previous 50 years numerous innovations in instrumentation, including the double escapement piano action, the valved wind instrument, and the chin rest for violins and violas, were no longer novelties but requirements. The dramatic increase in musical education brought a still wider sophisticated audience, and many composers took advantage of the greater regularity of concert life, and the greater financial and technical resources available. These changes brought an expansion in the sheer number of symphonies, concertos and "tone poems" which were composed, and the number of performances in the opera seasons in Paris, London and Italy. The establishment of conservatories and universities also created centers where musicians could forge stable teaching careers, rather than relying on their own entrepreneurship. During this period, some composers created styles and forms associated with their national folk cultures. The notion that there were "German" and "Italian" styles had long been established in writing on music, but the late 19th century saw the rise of a nationalist Russian style (Glinka, Mussorgsky, Rimsky-Korsakov, Tchaikovsky and Borodin), and also Czech, Finnish and French nationalist styles of composition. Some composers were expressly nationalistic in their objectives, seeking to rediscover their country's national identity in the face of occupation or oppression, as did for example the Bohemians Bedřich Smetana and Antonín Dvořák, and the Finn Jean Sibelius.

Therapeutic Communicaion

Therapeutic communication can be very effective in dealing with troubled children. Occasionally we might make a verbal intervention during a troubled moment and find that the child calms down very quickly. If only this were more frequent. Here are some very simple but valuable guidelines in therapeutic communication. They are simple but not always easy to implement. Being a non-directive listener means letting go of one's own issues, needs, belief systems etc. while listening.

Giving broad-openings

• Is there something you'd like to talk about?
• Is there something on your mind?
• Where would you like to begin?

This allows the speaker to set the direction of the conversation. Accepting/Offering general leads

• Go on
• And then
• Tell me about it

Encourages the speaker to continue the conversation. Sequencing

• Was this before or after?
• What seemed to lead up to...

Helps to identify cause and effect, recurring pattern of interpersonal difficulties. Observation

• You look sad right now
• I can see how mad you are

To help with awareness of feelings, encourage verbalization of feelings, conveys concern and interest. Using silence, offering-self

• I will sit with you awhile
• I will stay here with you

Gives the speaker opportunity to reflect upon, then speak about feelings. Clarifying

• I am not sure I follow.
• Are you using this word to mean.

Voicing what the speaker seems to imply rather than what was said. Verifying your impressions may help the speaker become more aware of their feelings. Exploring

• Tell me more about that
• What do you feel your options are

Encourages the speaker to expand upon their remarks or problems. To aid the speaker in seeing problems more clearly and encouraging examination of these problems and hopefully working towards a solution. Summarizing

• You've said that...
• So far we've talked about how...

Organizes the discussion, brings together important points. Non-Therapeutic Communication Techniques. Reassuring

• I wouldn't worry about...
• Everything will be alright.
• You're coming along fine.

To attempt to dispel the speaker's anxiety by implying that there is not sufficient reason for it to exist is to completely devaluate the other's own feelings. Blocks expressing further feelings. Giving Approval

• That's good.
• I'm glad that you...

Colluding the other's ideas or behaviour that may stop further, deeper insights. Rejecting

• Let's not discuss...
• I don't want to hear about...

Refusing to consider or showing contempt for the person's ideas or behavior. Disagreeing/Defending/Challenging

• I don't believe that
• No one here would lie to you
• If no one liked you then...

Imposes one's values on person. Communicates that what speaker said is not acceptable. Will make speaker feel defensive, blocks communication.