,.

GUITAR NEWS C,

The Oflkial Organ of the

INTERNATIONAL CLASSIC GUITAR ASSOCIATION

No. 112 Single copy price 15p (U.S.A. SOc.) APRIL/ JUNE, 1971

THOMAS F. HECK
 2 GUITAR NEWS APRIL/ JUNE, 197[

,
APRIL/ JUNE, 1971 GUITAR NEWS 3

POSTAL STRIKE IN BRITAIN

Since the middle of January we have not been able to send
or receive letters, etc., because of a postal dispute.
The last issue, Guitar News No, 111, was posted at the
beginning of January and we hope all copies were in transit
before the strike began,
We very much regret the inconvenience to our members,
and hope the strike will be settled so that this issue, No ,
11 2, can be posted by the beginning of April.

A NEW DISSERTATION
ON THE GUITAR
HE degree of Doctor of Philosophy was conferred by Yale Univer-
T sity in December 1970 on Thomas F. Heck, upon approval of
his dissertation entitled "The Birth of the Classic Guitar and its
Cultivation in Vienna, Reflected in the Career and Compositions of Mauro
Giuliani (d. 1829)."
This is not only a great triumph for Thomas Heck, but an important
event in guitar history, as it establishes the guitar as a valid field of serious
contemporary musicological research. This is the first dissertation on the
classic guitar ever to be approved by a major English-speaking university.
Moreover, Dr. Heck's work, of 513 pages (two volumes), provides
information, efficiently collected and collated, about a personality and a
period of very great importance in the history of the classic guitar. Mauro
Giuliani was recognised and accepted by the greatest musicians of his
time as a worthy companion of high esteem, so it is most desirable that
there should be reliable information available.
From Dr. Heck's covering letter we learn that his announcement in
Guitar News was helpful. We quote: "The international coverage which
Guitar News afforded was indispensable for the completion ofmy thematic
catalogue of Giuliani's works. It brought responses from Canada,
Japan, Eastern and Western Europe and the U.S.A . . . . You provide a
positive force for good and understanding in a world which too seldom
evidences either of these qualities."
(over)
4 GUITAR NEWS APRIL/ JUNE, 1971

Thomas Heck's Summary of his work

The thesis begins, after pertinent introductory remarks, with an
illustrated history of the six-string guitar, based on photographs and
measurements of dated, unaltered instruments. It attempts to show that
the classic guitar emerged in Italy in the later part of the 18th century.
The earliest unaltered prototypes known to the author are from 1787
and 1791.
Mauro Giuliani (c. 1780- May 8th, 1829) was perhaps the first guitar
virtuoso of his generation (which included Sor, Aguado, Carulli and
Carcassi) to compose for his instrument in what we of to-day would con-
sider conventional guitar notation. He established himself in Vienna in
1806; the others were active in Paris somewhat later, around 1820-1830.
His musical "calligraphy" was much superior to the primitive, violinistic
notation used for the guitar in Italy and Austria around 1800, for he
always distinguished the various parts of his music (melody and accom-
paniment) by the direction of note stems and by the consistent use of
rests.
During his Vienna years (1806- 1819), Giuliani was not only recog-
nized as the greatest living guitarist, but also had over a hundred works
published there. He fostered a great vogue of the guitar in that city. He
appeared in numerous concerts in conjunction with Hummel, Moscheles,
Mayseder and the other Viennese musical personalities of the period.
Giuliani was in Rome between 1820 and 1823, where he continued giving
concerts and composing. He then went to Naples, where he was patro-
nized by the nobility of the Court of the Kingdom of the Two Sicilies
until his death in that city in 1829.
Giuliani's works faithfully reflect the musical environment in which
he flourished. Viennese musical life, ill' particular, left its mark on the
genres and forms of his compositions. Classic concertos for guitar and
orchestra, ensemble pieces, sonata movements, many themes with vari-
ations, sets of Land/er, studies, character pieces, in brief, all of the instru-
mental types which were current in Vienna at the time were incorporated
into this artist's musical legacy. They were adapted to the peculiar
exigencies of the solo guitar with a grace, a balance and an apparent
ease which are the marks of true genius. A large research bibliography
for the classic guitar completes Volume I.
Volume II is a thematic catalogue of Giuliani's works, with and
without opus number. Based on the precedents of the Clementi and
APRIL/JUNE, 1971 GUITAR NEWS 5

Recently Published

LIFE-COLOUR
a collection of thirty poems including a special section of verses
relating to the guitar, by

Wilfrid M. Appleby
As naturalist, guitarist, educationist and petrologist Wilfrid
Appleby is well known in a variety of different fields, but
although he has been writing poems for many years, and a
large number have been included in magazines and anthologies
throughout the world , Life-Colour is his first published collection .
Bound in cloth, 12s. (60 new pence) U.S.A. and Canada $2.00

THE MITRE PRESS

52 Lincoln's Inn Fields, London, WC2A 3NW

Beethoven catalogues, it provides for each available work a musical

incipit, a transcription of the title page of the autograph and-or first
edition, some type of authentication, a library location, an approximate
date of publication of the first edition, derived from the printer's plate
number, information on republications and comments (which may include
writings about the work, reviews, or other pertinent rem.arks). A dated
catalogue of the works of Giuliani published by Ricordi of Milan, a
thematic index of Op. 1- 102, a song file, a list of dedicatees and other
persons associated with Giuliani and a systematic index of compositional
genres conclude this volume.

Dr. Heck advises the readers of Guitar News that copies of his work
are available in the British Museum, the Library of Congress (Washington
D.C.), the Vienna Stadtbibliothek and the Biblioteka Jagiellonska of
Cracow, Poland, as well as at the music library of Yale University.
Microfilm. copies are available through University Microfilms Inc., Ann
Arbor, Michigan, U.S.A. In addition, individuals may apply directly
to the author at Box 182, Bozman, Maryland 21612, U.S.A. for xerox
copies made from his original typescript, offered at cost.
 6 GUITAR NEWS APRIL/ JUNE, 1971

PER-OLOF JOHNSON

T HE Chamber Music Society of Lund, Sweden, sponsored a con-

cert in December in the Town Hall of that town, featuring Per-Olof
Johnson (guitar), Martha Schele (soprano), Gerard Schaub (flute),
and K. A. Lahger (percussion). ·
After three songs by Dowland (voice and guitar), Mr. Johnson played
solos by Villa-Lobos and Albeniz. Handel's Cantate "Nel dolce del'-
oblio" for soprano, flute and guitar was followed by lbert's "Entracte"
for flute and guitar. The final item was by Hilding Hallnas, "Rhapsody
for soprano, flute , percussion and guitar".
The concert was a great success,' reports in the local press praised it
. with such wQ"tcls as superb: outstan9ing, delicate, etc.
~ . .

Per-Olof. Johnson has recently made a new LP-recording of guitar

solos, including works by Dowland , Mezangeau, Tarrega, Sor, Hallnas
and Villa-Lobos. ·

GUITAR ][N GOTHENBURG

T HE Gothenburg Conservatory has recently established a classic

guitar course for full-time students led by Josef Holecek. Gothen-
burg is the third institution in Sweden to establish such a course;
the other two are Malmo and Stockholm. The; course leads to the
awarding of teaching and solo performance diplom\is in classic guitar.

JOSEF HOLECEK
OSEF HOLECEK was born in Prague in 1939. After examina-
J tion he entered the guitar class at the Prague Conservatory. He
finished his studies under Prof. Sadlik with the excellent result of a
diploma in 1966. Jn the same year he was one of the five finalists of the
Jnternational Guitar Competition in Paris, organised by the O.R.T.F.,
and he was awa£ded a scholarship for Prof. Karl Scheit's guitar class at
the Academy of Music in Vienna. There he completed his studies, giving
a public recital and getting the hon~urs diploma after one year in 1967.
He started and developed his activities as a pupil of the Prague
Conservatory; he was engaged as a guitarist in the National Theatre of
Prague from 1960 to 1967; teaching the guitar at the Theatre Academy
APRI L/ J UNE, 1971 G UITAR N EWS 7

JOSEF HOLECEK
of Prague from 1962 to 1967 and leading a guitar class at the Conservatory
of Pilsen during his last studying year in Prague.
After finishing his studies under Prof. Karl Scheit in Vienna he went
to Sweden and was engaged as a teacher of guitar at the Framnas Folk-
hogskola. Moreover, he was leader of several summer guitar courses
with international participation in -.Sweden and Finland. Since the
autumn of 1970 onwards he has bee~ a guitar teacher at the Gothenburg
Conservatory and given concerts in Czechoslovakia, Austria, Sweden
and Finland.

(
8 G UITAR N EWS APRIL/ J UNE, 1971

CRAFTSMAN - SU I LT

CLASSIC GUITARS
TAURUS CONCERT
GUITARS
MADE IN SPAIN
Beautiful mosaic inlay in SOUr\d-
hole and rosewood bridge . Bone
nut and bridge saddle. Gold
plated machinehead w ith Lyre.
Bodies made of :
Rosewood from India .
Ebony from Nigeria .
Cypress from Spain .
Cedar and Mahogany
from Honduras.

NEW 1970/71
Guitar catalog mailed
upon receipt of $2.00. This
amount deducted from
minimum purchase of $5 .00.

VITALI IMPORT co.

5944 Atlantic Blvd., Maywood, California 90270, U.S.A.
APRIL/ JUNE, 1971 GUITAR NEWS 9

MUSIC FOR PRACTICE

by Harold Dench (Britain)
Part ID
Studies (Arpeggios progressively, tirando-unsupported stroke, apoyando
-supported stroke)
The style of arpeggio playing dealt with in Part I of this series em-
ploying only tirando right hand movement, is the simplest and, therefore,
the most often practised. Arpeggio playing which fully embraces the
fingerboard employing the balanced use of tirando and apoyando right
hand movement, is oftimes sadly neglected. ·
A self-taught guitarist may find difficulty in deciding, in detail, how
to combine the two right hand strokes. Approaching the problem
musically, the following general points apply:-
(!) If two or more notes are required to 'sound over', avoid apoyando
in ascending arpeggios. However, the notes will 'sound over' with
either right hand movement when playing descending arpeggios, so
long as the left hand fingers remain in position.
(II) In very rapid arpeggio passages, the use of tirando movement only
may be easier to apply; however, the sound quality can deteriorate.
Both methods should be tried before making a final decision.
(Ill) When a legato occurs, the first note of the legato should, wherever
practicable, be played apoyando, even when the thumb is indicated.
(IV) When a change of position is required in the left hand, the use of
an open string is to be recommended whenever possible ascending
and descending.
In order to avoid entering into too many generalities, one can only
add that the student must judge the technical approach musically and
trust to the continuing development of his musicianship.
The guitarist who feels he lacks facility will do well to consider the
following arpeggio studies:-
Sor- Op. 35 No. 23 Book 2 (E major)
This study is known as the 'Harp Study' and should prove to be a
pleasant beginning to serious arpeggio study. It is sometimes played as
an encore at recitals.
Carcassi- Op. 60 No. 12 (D major)
A useful training for the half-barre and may be practised with the
following right hand fingerings: p, m, i, p- p, a, m, p- p, a, m, i; each
will prove helpful. (over)
10 GUITAR NEWS APRIL/ JUNE, 1971

Giuliani-Op. 48 No. 6 (C major)

When descending be sure to maintain the triplet rhythm; do not fall
into the error of making two groups of three into one group of six.
Reason out which notes to play apoyando.

Giuliani- Op. 48 No. 14 (E major)

Whilst having two bars of chromatic octaves, which is always useful
practice, this study illustrates how to change position using an open string.

Sor- Op. 29 No. 3 (A major)

Deals mainly with the problem of short arpeggio groups on the
lower strings. Jn each group try to sustain the second of the two legato
notes whilst playing the note that follows.

Giuliani- Op. 48 No. 21 (A major)

Bars 7 to 10 inclusive touch upon the problem of deciding when to
use tirando or apoyando movement; played slowly- apoyando, played
very quickly- tirando may be preferable.

Carcassi- Op. 60 No. 20 (A major), No. 22 C major), No. 25 (A major)

These three studies consolidate the technique that was touched upon
in the previous six studies. To conclude this group of arpeggio studies,
Villa-Lobos Etude No. 2 is to be recommended.
Having satisfactorily mastered these ten studies, the guitarist may
consider he is competent in respect of arpeggio playing.

SOLOS
A solo that crystallises the technical accomplishments of the previous
study section is Emilio Pujol's transcription of the XVI Paganini Caprice.
Pujol's fingering is, in itself, a work of art; one can learn so much from
so excellent a fingering.
Continuing at a less adventurous level , the suite with its many short
and varied movements presents interesting possibilities to all grades of
guitarists. The Logy Partita (Suite) suggested in Part II of this series is
perhaps the least technically demanding suite of pieces currently in print.
The Nine Suites by Roncalli (trans. Anton Stingl) show the guitar suite
in its most authentic guise, owing little or nothing to the lute or keyboard.
This edition shows how to apply the rasgueado technique of the early
five-string guitar.
APRIL/ JUNE, 1971 GUITAR NEWS 11

The Cinq Airs de Court en Mi mineur by Sanz (trans. Pujol) pub-

lished in suite form is, again, very pleasing original guitar music; also
quite playable. Suite in D minor by Visee is perhaps the most often
played guitar suite of the decade and is based on the most well-used tune
of the last three centuries- 'La Folia'. This is very pleasant music and
worth learning.
The Lute Suites by J. S. Bach, transcribed for guitar, are musically
the criterion of every serious minded guitarist. They are, however,
technically very difficult. The only two simple movements are Bourree
from Lute Suite No. 1 in E minor (trans. Bream) and the Sarabande from
Lute Suite No. 3.
Continuing in a similar vein, Diez Canciones Populares Catalanas
by Llobet are perhaps the most rewarding and informative pieces the
advancing guitarist can study. When presented with ten very beautiful
pieces, one can hardly recommend one more than another, but perhaps
El Testament d' Amelia would be a good start, followed by El Mestre.
The most successful modern suite to date is Cavatina by Tansman.
Unfortunately, Segovia has seen fit to publish without fingering; however,
here is a chance for the student to reason out a suitable fingering.
The name Darius Milhaud does not occur often in guitar circles, but
his Segoviana, written for Segovia (another solo without fingering) should
prove interesting to the guitarist with a taste for modern music.
[To be continued.]

JOHN ARRAN
OHN ARRAN, a winner of the Cheltenham Festival Open Com-
J petition for Guitar in 1969, made his Wigmore Hall (London) debut
in January with John Bradbury (violin) in the Young Musicians series
of concerts.
Their duos included works by Paganini, Corelli, Gragnani, Kuffner
and lbert.
In his group of solos Mr. Arran played two modern solos, Canto
by John McCabe and Divertimento by John Harper, both of which were
praised by Alan Blyth reporting in The Times, though he considered that
the Canto was "a little too long drawn out". He also praised the guitarist's
"refinement and feeling".
12 GUITAR N EWS APRIL/ JUNE, 1971

CONTEST IN JAPAN

T HE thirteenth Guitar Concourse organised by the Federation of

Guitar in Japan, director Yasumasa Obara, was held on September
30th, 1970, at the Daiichi seimei Hall, Tokyo.

TOSHIKO MACHIDA
The First Prize was awarded to Miss Toshiko Machida (see portrait)
whose solos were Sonata (Paganini) and Three Preludes (Masaaki
Hayakawa).
The Second Prize was won by Mr. Tatsuo Tabei with Prelude and
Fugue (Bach) and Cancion y Campo (Ponce).
The Third Prize went to Mr. Norio Sato for Fantasia (Mudarra)
and Sonata No. 3 (Ponce).
APRIL/ JUN E, 1971 GUITAR NEWS 13

"THE OBARA GUITARS"

''THE Ohara Guitars" were heard in a concert at the Toranomon
Hall, Tokyo, on November 14th, 1970 by Yasumasa Ohara and
his daughter Seiko (see photo). They were heard in duets
"Improvisacion sobre un tema de Chidori" by Peter van de Staak and in
a Study by Sor arranged for Duo by R. Sainz de la Maza. Yasumasa's
solos were Minuetos (Rameau) and Pavanas and Suite (Sanz), Lagrima de
Mae (Queiros), Prelude (Villa-Lobos) and Preludio y Toccata (M. Shisido).
Miss Seiko Obara's solos were Terna y Variaciones (Sor), Suite para
laud No. 1 (Bach), Quatro Piezas (Martin) and Quatro Valses Venezo-
lanos (Lauro).
 14 GUITAR NEWS APRIL/ JUNE, 1971

CHELTENHAM CLASSIC GUITAR CIRCLE

well-varied programme was enjoyed at the February meeting of
A Cheltenham Classic Guitar Circle. Music for violin and guitar
was heard in a group of German dances arranged by Walter
Gotze, who had given the guitar a really musical part, not just a rhythmic
accompaniment.
The violinist was Mr. Eric V. Ridge, president of the circle, with
· Mr. David Ehlen, guitarist. Both the instruments used were made by
Mr. Ridge, the violin in 1941 and the guitar in 1956.
An innovation was poetry-speaking with a background of guitar
music. Miss Catherine Waker, of Prestbury, chose for per poems John
Betjeman's "Church Mouse" and Wilfrid M. Appleby's "New Year
Greetings", from his recently published book "Life-Colour". The
clarity of her voice blended delightfully with the guitar music, sensitively
played by Mr. Ehlen.
Duets for two guitars played by Mr. P. J. Gamble and Mr. Harold
Dench included "Minuets" by Ferdinand Sor, "My Lord Chamberlain's
Galliard" by Dowland and "Romance d'Amor" (Spanish traditional).
Mr. Gamble's solos were "Barcarolle and Study" (Coste), "Etude"
(Chopin) and "Romanesca" (Mudarra).
Mr. Dench played a Bach Sarabande, "Homenaje" by Manuel da
Falla and a tune by Dowland known as "The Hanging Tune", being sung
on the way to executions at Tyburn (London). A visiting guitarist,
Mr. Harry Lane, have a fluent rendering of "Caprice No. 1" by Carcassi
and Miss Wendy Howie contributed a group of Studies by Ferdinand Sor.
PURLEY GUITAR SOCIETY

T HE Purley Guitar Society held the opening meeting of its seventh

season on October 3rd, 1970. John Mills was the guest artist on
this occasion. The programme included: Valse and Scherzino
Mexicano (Ponce), Sarabande and Gavotte (J. S. Bach), Aria con Variz-
zioni detta "La Frescobalda" (Frescoboldi), Menuet (Haydn), Song with-
out words (Mendelssohn), Three Pavanes ( Luis Milan), Diferencias
sobre "Guardame las vacas" (Luis de Narvaez), Albada and Nocturno
(Moreno-Torroba), Passacaille (Visee), Four Short Pieces (Roncalli),
Nortefia (Gomez-Crespo), Choros No. l (Villa-Lobos).
CHELTENHAM TOWN HALL
Julian Bream will give a Guitar Recital at Cheltenham on Thursday,
April 29th at 7.45 p.m.
 GUITAR N EWS 15

RAMOS GUITAR COURSE, 1970

HE Sixth summer guitar course conducted by the• Argentinian
guitarist Manuel Lopez Ramos took place in Mexico City during
October 1970. Performers in this class were: Frank Bowling,

Daniel Creagan and Manuel Lopez Ramos

Robert Brandom, David Burgess, Denis Burke, Daniel Creagan, Wayne

Davis, Joseph Ferrant, Kathy Gobberg, William Hunt, John O'Brien,
Robert Orr, Deirdre Moy, Gilbert Piger from the U.S.A. and Arnulfo
Canales from Monterrey, Mexico.
Information on the 1971 Course may be obtained by writing to:
Estudio de Arte Guitarristico, Insurgentes Sur 421 B- 601 , Mexico 11
D.F. , Mexico.

FINNISH
PECIAL programmes of guitar music were broadcast by The
S Finnish Broadcasting Company on the 7th to 9th November, 1970.
Soloists included Kari Aikas, Seppo Siirala, Rolf Holmberg, Kyosti
Pellinen. The final concert was a recital by Julian Bream who played
music by Visee, Bach, Diabelli, Fricker and Rodrigo.
16 G UITAR N EWS APRIL/JUNE, 1971

THE BENNETT GUITAR CONCERTO

T the Queen Elizabeth Hall, London , on November 18th, 1970,
A Julian Bream with eleven members of the Melos Ensemble, con-
ducted by Andre Previn, gave the first performance of the new
Guitar Concerto by Richard Rodney Bennett..
Writing in The Times, William Mann says: " The work ... is perfectly
idiomatic, nicely and boldly scored .... The concerto tells us something
about Bennett, about the guitar, and about the vivid performing perso-
nality of Julian Bream- reasonable touchstone for success."

EVANGELOS BOUDOUNIS
LTHOUGH only 20 years old, the Greek guitarist, Evangelos
A Boudounis, is steadily building up a sound reputation as a musician-
guitarist.
On November 4th his concert at Parnassos Hall, Athens, won
considerable praise from the critics.
His programme wap: Pavana et Fantasie (Mudarra), Suite No. 1
(Bach), Etudes 17 and 12, Variations on a theme of Mozart (Sor), Canzo-
netta (Mendelssohn), Etude Brilliante (Tarrega), Preludes 1 to 5 and
Etudes 11 and 7 (Villa-Lobos).
A leading critic, George Leotsakos of the Greek newspaper Nea,
remarks on "the wonderful purity of his technique and his really enjoyable
articulation" .
He is appearing on Greek T.V. in a weekly programme of guitar
music from 1500 to the present time.

RATIONAL GUITAR TECHNIQUE

by Miguel Abl6niz (Italy)
Part 28
FINGERBOARD EXPLORATIONS AND MUSIC DATA
We have read and said many a time how important it is to know
the fingerboard thoroughly. Should we add that the guitarist who
really knows it, saves a considerable time in studying a piece (by finding
the notes at once), he can sight read easily and commit to memory with
less effort, etc.
APRIL/ J UNE, 1971 GUITAR N EWS 17

The absolute theoretical mastery of the fingerboard , accompanied

to be sure by an adequate technical development, renders possible: the
immediate discovery of various ways for the L. H. of fingering the same
passage of music, the fingering of an unfingered work, the detection,
even without the need of the instrument, of errors due to printing or to
the fingerer's weakness in that respect.

Some of the progressive stages of the theoretical fingerboard cog-

nition that the guitarist sl\ould try to attain:

Name and be able to write or describe the corresponding note-

symbols of the six open strings. When one names a note it is essential
that he should imagine its graphic symbol, not to confuse the notes
which though homonymous (Greek: having the same name) belong to
different octaves.

With the guitar on one's knees, and, as soon as possible, just men-
tally name the notes that each string produces from the 1st to the 12th
fret (using sharps) and, backwards, from the 12th to the 1st (using flats).
Stop at any note and describe how we write it, i.e. to which octave it
pertains.

Have well fixed in mind the two notes that form the octave interval
produced by the open string and its 12th fret; this is necessary for
knowing instantly which notes one can get within that octave boundary.

Name the frets where all homonymous notes are found, either from
6th to 1st string or the opposite direction. Limit this exercise in the
twelve first frets- we shall soon deal with frets 13 to 19.

Examples. A flat, from 6th to 1st: frets 4, 11 , 6, 1, 9, 4. F sharp,

from 1st to 6th: frets 2, 7, 11 , 4, 9, 2.

Name all existing unisons (same meaning as prime or homophonous;

Greek: notes of the same pitch) of a given note in all 19 frets, starting,
preferably, from the highest string. The ability being measured by the
speed in answering, do not lose time in naming also the string. Examples.
28.g': frets 3, 8, 12, 17. 24.d' sharp: 4, 8, 13, 18. 14.f: 3, 8, 13. (Table2).

Alterations: name the frets that have none, one or more. (over)
18 GUITAR NEWS APRIL/ JUNE, 1971

It is of course better, I would say more fun, if one has at disposal

a friend, possibly a guitarist, or a relative willing to assist by putting the
questions.

Though a truism , we had better mention it: any string, within the
twelve first frets- as within any twelve successive frets- can produce
any note (name), since twelve consecutive frets or semitones constitute
a complete octave.
Frets 13 to 19 are automatically known when one has learned the
notes of the seven first frets. In fact the 12th fret can be considered as
a starting nut. Any note found on fret I has its higher octave on fret 13
(of the same string !); a note on fret 2 has its higher octave on fret 14,
etc., i.e. always twelve frets higher.
Our fingerboard being divided according to the 'equal temperament'
system, we mention en passant that fret 13 is half as wide as fret l; 14
half as wide as 2, etc. About equal temperament: until recently I knew
that Andreas Werckmeister (Musikalische Temperatur, 1691) had suc-
ceeded in mathematically solving the division of the octave in twelve
semitones (the semitone ratio from note to note being 'the twelfth root
of 2', namely 1.0594631); the surprise came when on scanning the
Encyclopaedia Britannica, and compelled to consult one volume after
another, I fell on the Chinese Musical system and Instruments and read:
"Prince Chu-tsai-yu, in 1595, a century earlier than Werckmeister in
Europe, fixed the 12 pitch pipes in equal temperament. The mathe-
matical and physical basis was confirmed by experiment by the Belgian
authority on acoustics V. C. Mahillon" .

Not assuming that all readers of these articles are familiar with the
capital and small letters, and the letters with one or more accents, with
which the notes of each octave are usually indicated in texts of musical
theory, to simplify our referring to given notes of the guitar gamut-
three octaves and a fifth- we have numbered them from 1 to 44, in their
order of gradually rising pitch.
TABLE 1
Table 1. Top line: the gamut in numerals. Middle line: the gamut
in letters. Bottom line: number of unisons of each note. Vertically: the
notes of each column are homonymous,
APRIL /J UNE, 1971 G UITAR N EWS 19

The totality of notes that the guitar can produce is of course the
sum of the figures of the bottom line (120).

1 2 3 4 5 6 7 8
E F F:!j: G G:!j: A A:!j: B
1 1 1 1 1 2 2 2

9 10 11 12 13 14 15 16 17 18 19 20
C C:!j: d d:!j: e f f:!j: g g:!j: a a:!j: b
2 2 3 3 3 3 3 4 4 4 4 5

21 22 23 24 25 26 27 28 29 30 31 32
c' c':!j: d' d ':!j: e' f' f':!j: g' g':!j: a' a':!j: b'
4 4 4 4 5 4 4 4 4 4 3 3

33 34 35 36 37 38 39 40 41 42 43 44
c" c":!j: d" d ":!j: e" f" f ":!j: g" g":!j: a" a "~ b"
3 3 3 2 2 2 2 1 1 1 1 1

Chart of homonymous notes Alterations per fret

Comprises 2 open strings 11 E noneopenstrings,V, X,XII, XVII
,, 1 ,, string 11 A
,, ,, ,, ,, 11 B one III, VII, XV, XIX
,, ,, ,, ,, 10 D
,, ,, ,, ,, 10 G two VH[
none as ,, ,, 10 F
,, ,, ,, ,, 10 F:!j: three 1, II, XUI, XIV
,, ,, ,, ,, 10 G:!j:
,, ,, ,, ,, 10 A:!j: four IX
,, ,, ,, ,, 9 C
,, ,, ,, ,, 9 C:!j: five IV, VI, XVI, XVIII
,, ,, ,, ,, 9 D:!j: SlX Xl

120

A comparative note of interest: there are 88 notes in the full compass

keyboard of the pianoforte which gives a range of 7 1/3 octaves.

The range of frequencies heard by the normal ear is roughly ten

octaves. (over)
20 GUITAR N EWS APRIL/JUNE, 1971

TABLE 2

For practicality, the fingerboard described in Table 2 has an entire

19th fret. Most classic guitars, however, for reasons of construction,
have the central part of the 19th fret missing, literally cutting out notes
30 and 35 of strings 4 and 3, and sometimes even 25 and 39 of strings
5 and 2.

6th 5th 4th 3rd 2nd 1st Altera-

Frets string string string string string string tions

1. E 6. A 11 . d 16. g 20. b 25. e' 0

1 2. F 7. A# 12. d# 17. g# 21. c' 26. f' 3

lI 3. F# 8. B 13. e 18. a 22. c'# 27. f '# 3

Ill 4. G 9. C 14. f 19. a# 23. d' 28. g' I

IV 5. G# 10. c# 15. f# 20. b 24. d'# 29. g'# 5

V 6. A JI. d 16. g 21. c' 25. e' 30. a' 0

VI 7. A# 12. d# 17. g# 22. c'# 26. f ' 31. a'# 5

VII 8. B 13. e 18. a 23. d' 27. f '# 32. b' I

VIII 9. C 14. f 19. a# 24. d'# 28. g' 33. c" 2

IX 10. c# 15. f# 20. b 25. e' 29. g'# 34. c"# 4

X JI. d 16. g 21. c' 26. f' 30. a' 35. d " 0

XI 12.d# 17. g# 22. c'# 27. f '# 31. a'# 36. d"# 6

XII 13. e 18. a 23. d' 28. g' 32. b' 37. e" 0

XIII 14. f 19. a# 24. d'# 29. g'# 33. c" 38. f " 3

XIV 15. f# 20. b 25. e' 30. a' 34. c"# 39. f "# 3
APRTL/JUNE, 1971 GUITAR NEWS 21

xv 16. g 21. c' 26. f' 31. a'# 35. d" 40. g" 1

XVI 17. g# 22. c'# 27. f'# 32. b' 36. d "# 41. g"# 5

XVII 18. a 23. d' 28. g' 33. c" 37. e" 42. a" 0

XVIII 19. a# 24. d'# 29. g'# 34. c"# 38. f" 43. a"# 5

XIX 20. b 25. e' 30. a' 35. d" 39. f"# 44. b" 1

Note: the words high and low are used in their musical sense.
Because of the tuning of the guitar, of which later:
- the unisons of the notes of the higher of any two successive strings
tuned in fourths (5 semitones) are found on the lower string at five
frets higher. For example, 18.a is found in frets 2, 7, 12, 17 of strings
3, 4, 5, 6 (i.e. always at five frets higher);
- the unisons of the notes of the 2nd string are found on the 3rd string
four frets higher, these two strings being tuned in major third (4
semitones). For example, 24.d sharp is found in frets 4, 8, etc. of
strings 2, 3, etc.
it ensues that:
- for any two neighbouring strings tuned in fourths
(a) the five lowest notes of the lower string have no unisons on its
neighbouring higher string;
(b) the five highest notes of the higher string have no unisons on its
neighbouring lower string;
(c) the remaining fifteen notes within those limits exist on both
strings.
- for the 2nd and 3rd string (which are tuned in major third), the
above mentioned peculiarities are reduced to four notes, while the
notes they have in common are sixteen.

(To be continued.)

TEWKESBURY ABBEY
John Williams will give a Guitar Recital at Tewkesbury Abbey on
Wednesday, May 19th at 7.45 p.m. during the Festival to celebrate the
500th Anniversary of the Battle of Tewkesbury. Send for particulars
to Festival Office, Tewkesbury, Gloucestershire.
22 GUITAR N EWS APRIL/ JUNE, 1971

SAINT-OMER
ERARD ROUSSEL is teaching the classic guitar in Saint-Omer,
G France, to a number of teenagers at "La Maison des Jeunes et de
la Culture". The class, which meets every Thursday, is working
on the 2-volume method "The Guitar, theory and practice" by Nicolas
Alfonso (Schott, Brussels).

FRANCISCO CARBONELL

T HE largest audience of the week in mid-November at London's

Wigmore Hall was attracted by Francisco Carbonell of Spain, a
prize-winner in two Italian guitar contests. His main item was
Bach's Chaconne, but he was, perhaps, at his best in "Soleares and Gar-
rotin," Turina's Homage to Tarrega, and Falla's Homage a Debussy, the
second part of the programme being based on the homage theme.

WELLINGTON, NEW ZEALAND

T HE Wellington Classical Guitar Society has been active for nearly

two years and has more than sixty members. The monthly meet-
ings (2nd Sundays) are well-attended and the audiences enjoy ,
recitals, lectures (such as the one on Guitar Construction by Ian Hunter),
film and record evenings.
Basil Stanton, the honorary secretary, tells us that in between regular
meetings small groups gather at each other's houses for practice and
informal playing. In June some of the members presented a concert of
works by Spanish composers at the Wellington Spanish Club with great
success. There are also classes for instruction.
Here is a programme of Baroque Period Music (1600- 1750) which
was played on November 8th: Gordon Royle: Suite in D mi (R. de Visee).
Sister Sabina: Pieces by R. de Visee. John King (flute) and Basil Stanton
(guitar): Gigue by Handel. Kevin Pollett: Air (Purcell), Bouree (J. S.
Bach). Basil Stanton: Andante (Roncalli), Prelude (J. S. Bach). Sani
Thompson: Two Pavanes and Espanoletta (Sanz), Dances (Granata).
Caroline Shelton: Minuet (R. de Visee). Margaret Mundy: Gavotte
(Bach). Ian Hunter and Kevin Pollett: (duet) Arioso (Bach). Don
King: Tombeau (Weiss). Don King and Ron Burt Duetto in A major
(Lauffenstener).
APRIL/ JUNE, 1971 GUITAR NEWS 23

0 RTF CONCOURS, 1969-1970

ERIC HILL 1st accessit

24 GUITAR NEWS APRIL/JUNE, 1971

classic guitar construction

By Irving Sloane
This unique, comprehensive book gives all the
information necessary for the building of a fine ,
classic guitar. Handsomely illustrated, it is an
indispensable guide for the novice luthier, and
con veys much of the romance of the Spanish
classic guitar, gives a brief history and discussion
of guitar construction theory, and provides a picture
gallery of guitars by the great makers : including
Torres , Hauser, Santos , Est eso, Arias , and Barbero .

The author's method of construction conforms to

classic guitar-making principles and is superbly
well -suited for the amateur craftsman , Specific
diagrams and 125 clear , professional photographs
illuminate each step. A simple wood 'sandwich '
yi e lds the principle elements of the basic forms
necessary to build a guitar: A meld , bending form, purfling forms , and template,
The author tells one how to make his own clamps, purfling cutter, and even the
rosette (the sound hole mosaic inlay), He explores each aspect of guitar construc-
tion, and includes a directory of suppliers for wood , tools, and all guitar-making
accessories .

Distributed by :
Send me ........... copies of CLASSIC GUITAR VITALI IMPORT COMPANY
CONSTRUCTION by Irving Sloane at $7.50 5944-48 Atlantic Blvd ,
each (inclu des postage and handling) Maywood , California, 90270, USA
APRIL/JUNE, 1971 GUITAR N EWS 25

MEMBERS'ANNOUNCEMENTS
Members' Announcements are intended for the use of MEMBERS only.
Prepaid announcements of up to 50 words (maximum) one insertion 5/-, One Dollar
USA. Series of 6 for the price of 5, 25/-, Five Dollars USA.
No advertisements for guitars or strings can be accepted as Members' Announcements.

WALTER F . SPAULDING, guitar instructor at University of New Hampshire, Durham,

N .H ., Phillips Academy, Andover, Massachusetts; accredited classes and private
instruction, accepting a limited number of classical guitar students. Beginners to
advanced, emphasizing technical perfection and discipline towards virtuoso study and
interpretation. R .F .D . No. 1, Newmarket, N .H. 03857, U.S.A. (Tel.: 603-722-5462).
PETER 0. CORRAL is accepting additional pupils of classical guitar, both beginning and
advanced students. 1456 Holbrook Street, Los Angeles, California. (Tel. 255-08 I 5).
GUY B. SIMEONE, guitarist, 8 Holborn Street, Milton, Mass. 02186 and 316 Hatherley Road,
Scituate, Mass. 02066, U.S.A.
JOHN MULHOLLAND, classical guitarist, studio at 121 Fiske Street, Waterbury, Con-
necticut 06710. Tel.; 755- 1413, and West Hartford School of Music, 411 Park Road,
West Hartford, Conn.
WANTED : BACK ISSUES of Guitar News- Nos. 1 to 38. State price. Mr. J.C. Robertson,
96 Woodstone Avenue, Stoneleigh , Epsom, England.
BLANCHE MUNRO, A.G.S.M., Professor of Guitar at the Guildhall School of Music,
accepts pupils, including beginners, at 35 Corringham Road. London, N .W.11.
Enquiries SPEEDWELL 7740.
CLASSICAL GUITARIST has openings for students. Training will be in the tech-
nical and musical principles laid down by Aguado, Tarrega and Segovia towards
the mastery of the instrument. For information contact: Axel S. Kjellberg, Jr.,
4 Brattle Street, West Hartford, Connecticut 06110, U .S.A. (Tel. 233- 7487).
CHESNAKOV, A. Elements of music and harmony in the study of the Classical Guitar.
Theoretical and practical training in modern technique as a basis for development
of artistic playing and for elimination of faults, self acquired or instilled by wrong
teaching. Progressive, selected studies. 48a Cathcart Road, London, S.W.10.
(FLA. 4354.)
ROBERT A. WESTERBERG, formerly guitar instructor at the Pease Conservatory in
Sacramento is now guitar instructor at the Sacramento Fine Arts School , 2804 P Street,
Sacramento, California 95816, U.S.A. Tel. : 916-457-1911.
WANTED: Guitar literature and records. Vaughan Aandahl, 1228 Jasmine Street, Denver,
Colorado 80220, U .S.A.

COURSE FOR GUITAR-MAKERS

HE demand for guitars is now so great that Sr. Arturo Sordo,
T director of the College of Arts and Crafts in Madrid, Spain, has
decided to organise a course for guitar-makers. Sr. Sordo has
made it plain that he aims to set a high standard- a policy which is
warmly approved by leading guitarists.
26 GUITAR N EWS APRI L/ JUNE, 1971

FOR THE FIRST TIME IN THE HISTORY

OF THE GUITAR
A device for tuning the instrument so that it will compare in
"intonation practices" with the tuning of string instruments like
the violin, viola, cello. It is possible now to play true octaves,
etc., throughout the guitar.

GUITAR WITH MOBILE BRIDGE

D
PATENT PENDING Mobile Units
for Each
String
Invented by
MANUEL RODRIGUEZ
GUITAR MAKER
From MADRID, SPAIN

For more information write :

MANUEL RODRIGUEZ
8408 WEST THIRD STREET
LOS ANGELES
CALIFORNIA 90048, USA
AP RIL/ JuNE, 1971 GUITAR NEWS 27

TRINITY COLLEGE
OF MUSIC
PRINCIPAL · MYERS FOGGIN, HON FTCL, FRAM, HON RCM, HON GSM
DIRECTOR OF STUDIES - CYRIL CORK, B MUS, FTCL, LRAM, ARCM

The Classic Guitar is one of many instruments for which examinations are
regularly conducted in the United Kingdom and 34 other countries. There
are examinations in five Grades and also at Diploma level.
A syllabus and full details will be sent on application to the Secretary :
Ernest Heberden, MA, Hon.FTCL. Trinity College of Music, Mandeville
Place, London, W.l. Telephone 01-935 5773

PIONEERS IN MUSIC EDUCATION SINCE 1872

GUITAR MAKING MATERIALS

Finest spruce , rosewood , and all other materials for building a fine classic
guitar. Also 2 complete kits available . Kit No. 1 includes the same fine
materials (and plan~) which are used in building the $1 ,000 .00 model
Wallo Classic Guitar . For catalog and d iscount price list, send 35c in U.S.
coins or foreign equivalent .

Please reply to :

JOSEPH F. WALLO
1319 F Street Northwest , Washington D.C. 20004, U.S.A.
28 GUITAR NEWS APRIL/JUNE, 1971

Nothing has been left to chance

• Scientific research and testing;
• Trained technicians and skilled labor.

As a result : Excellence
Accuracy. True tone, rich, fine and
delicate tonality, enjoyed by the most
famous guitar performers the world over.

RECTIFIED NYLON

STRINGS
APRIL/JUNE, 1971 GUITAR N EWS 29

JOSE YACOPI
LUTHIER

accepts orders for custom-made

CONCERT GUITARS
1st Prize Barcelona 1944 1st Prize Barcelona 1947
1st Prize Madrid 1944 1st Pri ze London 1948
1st Prize Buenos Aires 1969

•
Rivadavia 1188, Buenos Aires, Rep. Argentina

NEW GUITAR MUSIC

GUITAR SOLO
co 172 Boda, Introducti on and Dance $1.50
co 179 Boda, Quatres Etudes By zantines $2.00
co 176 Falcon, Greek Dance and Lament $1.50
co 177 Ferrer, Album of Spanish Favorites $1.50
co 178 Harris, Sonatina $2.00
co 183 Duarte , For My Friends 11 Pieces $2.50
co 185 Gomez-Crespo, Nortena $1.00
TWO GUITARS
co 175 Debussy-Zarate, Clair de Lune $1.50
co 182 Ponce-Zarate, Five Pieces $3.00
THREE GUITARS
co 180 De Call, Suite in C $1 .50

Write for free catalog.

COLUMBIA MUSIC CO.
P .O . Box 19126, Washington , D . C ., 20036 USA
30 GUITAR NEWS APRIL/ J UNE, 1971

Special Nylon
guitar strings
highest tonal
quality.
l1
Write to:
Rifat Esenbel
35 Rue La Boetie
(75) Paris (Se)
France
In Germany
Hermann
H auser
world famous guitar
CONCERTISTE maker
8386 Reisbach /Vils
NYLON
Postfach 10
cordes pour guitare classique
PAR IS

GUITAR MAKERS' SUPPLIES

WOOD : Brazilian Rosewood, Cypress, Spruce, Maple, Mahogany.
FINGERBOARDS : Sem i-fin ished Ebony or Rosewood .
Wood fibre Purfl ings, celluloid bind ings .
Rosettes - black and wh ite or colored.
Mother-of-Pearl Inlays.
Ivory for Nuts and Saddles.
GUITAR NECKS - BRIDGES - MACHINEHEADS
STRINGS : SAVAREZ, CONCERTISTE, LA BELLA, AUGUSTINE ,
D' ANGELICO
GUITAR CATALOG MAI LED UPON RECEIPT OF $2.00
Th is amount dedu cted from minimum purchase o f $5.00

VITALI IMPORT co.

5944 Atlantic Blvd., Maywood, California, 90270, U.S.A.
APRIL/JUNE, 197 l GUITAR NEWS 31

JIUTO"ATIONS 4 VALUATIONS
' ALL flt l SKS' INSURANCE
T D. [VUIYTHING FO!ll PLAYER .. MA KE. Ill

(l/:e{J~Slwp-
49 BERKLEY STREET
BIRMINGHAM BI 2LG
TELEPHONE : 021-6'3 0088

NYLON STRINGS
"FISOMA •·
These strings are the result of many years of patient research by
the makers, with 175 years of experience as string makers to the
World's Artists. "FISOMA" strings are used and recommended
by Luise Walker. We can supply 3 distinct types which are
specially de igned for different tonal standards. Some instruments
will produce best results by u ing a mixed set of strings.
E 1st Nylon 2/8
B 2nd 3/-
G 3rd ., 3/6
Alloy covered Bronze covered Pure si lver covered
D 4th 3/6 6/2 7/4
A 5th 4/1 6/9 9/-
E 6th 4/5 9/- 11/-
G 3rd Nylon, covered with Tape-sec tion nylon 5/10
Set with Alloy lower strings 2l i2
Set with Bronze lower strings . . . 31/1
Set with Silver lower strings 36/6
Any et with covered G 3rd will be 2/4 extra to above
The Bronze and Pure Silver lower strings are finely burnished and
very highly polished.
Trade enquiries invited British Isles.

" AUGUSTINE" NYLON

Segovia's Choice
E 1st Nylon . . . 2/9 D 4th covered silver colour 5/6 gold 5/9
B 2nd 3/5 A 5th 6/- 6/4
G 3rd 3/8 E 6th ,, ,, 6/8 ,, 6/7
Per set silver colour . . . 28/2 Per set gold colour ... 29/ 1

GUITAR MAKING
All parts and materials for the professional and amateur maker.
Please send for lists, post free .
 ~
3

32 E S APRIL/ JUNE, 1971

~7 /,
55'5/,/&b _ IN THIS JSSUE '
A New Dissertation on the Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page
3
Per-Olof Johnson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Guitar in Gothenburg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Josef Holecek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music for Practice, Part Jll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harold Dench 9
John Arran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Contest in Japan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
" The Ohara Guitars" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Cheltenham Classic Guitar Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Cheltenham Town Hall ......................... . .... .. ... . .... .. .. L ... . . . . . . 14
Purley Guitar Society ... ... . .. . ......... . ... ... .... .. ...... .. ... ... .(,. :-V . .... . . 14
Manuel Lopez Ramos Guitar Course 1970 . .. ................. ~~ 'L . . ........ 15
Guitar on Finnish Radio . .......... .. ........... . . .. .. '(',, · C,·\ .... ... .... . .... 15
+ ..
The Bennett Guitar Concerto . . ..... . . .......... . . ... \. ·;r 7-'.................. 16
Eva~gelos Boudounis ...... .. . . .. ....... ..... . ..... . .. j . . . . . . . . . . . . . . . . . . . . . . . . . 16
Rational Guitar Technique, Pa rt 28 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miguel Abloniz 16
Tewkesbury Abbey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Saint-Omer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Francisco Carbonell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Wellington, New Zealand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Members' Announcements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Course for Guitar Makers .. .... . ......... . .... ......... ..... . .. . .... . ..... ~. . 25

THE INTERNATIONAL CLASSIC GUITAR ASSOCIATION

(A non-profit making Or.ganisation)
President : P. J. Gamble, B.A. ; Hon. Treasurer: Mrs. Kay Appleby ;
Auditors: E. J. Dance, P.d. Gamble; Committee Member. : E. V. Ridge
Hon. Organiser: Wilfrid M. Appleby, 47 Clarence Street, Cheltenham (Glos.),
England, to whom all payments should be sent.
'Foundation' an d 'Supporting' members subscribe the extra amounts to help maintain
the financial stability of I.C.G .A. and "Guitar News".
FOUNDATION Member - £1.20 (24/-) 6 issues ($5.00 U.S.A. and Canada)
SUPPORTING Member - £1.00 (20/-) 6 issues ($3.00 U.S.A. and Canada)
ORDINARY Member - - £0.80 (16 /-) 6 issues ($2.00 U.S.A. and Canada)
Membership includes "Guitar News" - 6 issues.
USA payments are. best made in Dollar Bills or INTERNATIONAL Money Orders
which should be made paya ble to Wilfrid M. Appleby. Checks require the addition
of 50 cents for bank charges.
"GUITAR NEWS" Six issues, as issued. Copyright reserved.
Hon. Editor: Wilfrid M. Appleby. Business Editor : Kay Appleby.
The Editors do not necessarily agree with the opin ion s expressed by contribut ors .

.
Gloucester Printers Ltd ., Blackfriars Press, Ladybelleaatc Street, Gloucester.

' )
o/()
39vvt/1c.,,zl'