Etude

The complete Etude magazine article text by Sophocles Papas and George C. Krick
published from 1930 to 1943.
Source: entered by hand from original Etude magazines

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1 Etude Krick, G. C. Fun With Fretted Instruments 35 Etude Krick, G. C. Carlo Munier, Mandolinist and

2 Etude Krick, G. C. The Classic Guitar Composer

3 Etude Krick, G. C. The Plectrum Guitar 36 Etude Krick, G. C. The Orchestra Guitarist

4 Etude Krick, G. C. The Mandolin 37 Etude Krick, G. C. Dionisio Aguado, Guitarist and

5 Etude Krick, G. C. The Banjo Composer

6 Etude Krick, G. C. Right Hand Technic for the Classic 38 Etude Krick, G. C. Teacher or Salesman?

Guitar 39 Etude Krick, G. C. Luigi Legnani, Guitar Virtuoso and

7 Etude Krick, G. C. Preparing a Concert Program Composer

8 Etude Krick, G. C. The Tremolo on Fretted Instruments 40 Etude Krick, G. C. The Mandolin and Banjo

9 Etude Krick, G. C. The Guitar 41 Etude Krick, G. C. Guitar Duos

10 Etude Krick, G. C. A Fresh Start for Teacher and Pupil 42 Etude Krick, G. C. Getting Ready for the Fall Season

11 Etude Krick, G. C. Franz Schubert, Guitarist 43 Etude Krick, G. C. The Carcassi Guitar Method

12 Etude Krick, G. C. Miguel Llobet 44 Etude Krick, G. C. Practice Hints for Guitarists

13 Etude Krick, G. C. Electrical Instruments 45 Etude Krick, G. C. The Future of Fretted Instruments

14 Etude Krick, G. C. The Guitar in Chamber Music 46 Etude Krick, G. C. Special Exercises for Guitar

15 Etude Krick, G. C. Fundamental Guitar Technic 47 Etude Krick, G. C. What the Great Masters Thought of the

16 Etude Krick, G. C. Luigi Mozzani Mandolin and Guitar

17 Etude Krick, G. C. The Care of Instruments 48 Etude Krick, G. C. Ferdinando Carulli, 1770-1841

18 Etude Krick, G. C. The Mandolin 49 Etude Krick, G. C. Napoleon Coste, Guitarist and

19 Etude Krick, G. C. Ferdinand Sor Composer

20 Etude Krick, G. C. The Guitar - Fingers or Plectrum 50 Etude Krick, G. C. Guitar Recordings and Flamenco

21 Etude Krick, G. C. The Guitar and Modern Music 51 Etude Krick, G. C. Personal Glimpses

22 Etude Krick, G. C. Tone Production 52 Etude Krick, G. C. Will the Banjo Stage a Comeback?

23 Etude Krick, G. C. William Foden 53 Etude Krick, G. C. Marco Aurelio Zani de Ferranti

24 Etude Krick, G. C. Ensembles of Fretted Instruments 54 Etude Krick, G. C. The Guitar - Classic, Plectrum,

25 Etude Krick, G. C. Artistic Effects on the Guitar Hawaiian?

26 Etude Krick, G. C. Francisco Tarrega 55 Etude Krick, G. C. Guitar Music

27 Etude Krick, G. C. Playing and Teaching the Fretted 56 Etude Krick, G. C. Legato Playing for Guitarists

Instrument as a Profession 57 Etude Krick, G. C. Mandolin Music

28 Etude Krick, G. C. Julio Martinez Oyanguren 58 Etude Krick, G. C. The Tarrega Guitar Method

29 Etude Krick, G. C. World Artists on the Classic Guitar 59 Etude Krick, G. C. The Electric Hawaiian Guitar

30 Etude Krick, G. C. Niccoló Paganini, Guitarist 60 Etude Papas, Sophocles Romance of the Guitar

31 Etude Krick, G. C. Johann Caspar Mertz 61 Etude Papas, Sophocles Romance of the Guitar

32 Etude Krick, G. C. Some Tips on Strings 62 Etude Papas, Sophocles Romance of the Guitar

33 Etude Krick, G. C. Mauro Giuliani 63 Etude Papas, Sophocles Romance of the Guitar

34 Etude Krick, G. C. Scale Practice for Guitarists

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 ETUDE
November 1937
volume LV
number 11
page 756

Fun With Fretted Instruments

"It's fun to listen but more fun to play."

By George C. Krick

REGARDLESS of the ease with which one can listen to musical programs of every description, there
comes a time when most of us have the desire to "make" music or to join others for the same purpose.
This craving for self-expression is mainly responsible for the birth and growth of folk songs and again
for folk instruments. Italy has its mandolin, Russia the balalaika, Spain the guitar, and Hawaii the steel
guitar. Since the advent of these instruments in our own country we have added to their number the
banjo and plectrum guitar, and together they have become an important factor in the musical life of
our people.

When we examine the fingerboards of the guitar, mandolin or banjo we find metal strips fixed thereon
transversely at regular intervals, each space representing a half step in the scale. These metal strips are
called "frets''; hence the name "fretted instruments." It can be readily seen that these frets offer great
assistance to the young player while acquiring the rudiments of left hand technic. For the same reason
he is able right from the beginning to play in tune and to produce a pleasing tone, providing the
instrument is a good one and the strings are correctly tuned.

Add to the advantages just mentioned the sonorous, ingratiating tone quality of the guitar, the silvery
bell-like tone of the mandolin and the snappy exhilarating tone of the banjo, and there will be evident
the main reasons for the unprecedented popularity of the fretted instruments. Considering music
mainly as an avocation, we must admit that fretted instruments are instruments "par excellence" for
the amateur or lover of music. Especially for the young people as a cultural means of self-expression
and as an asset in their social life they are unsurpassed.

Instruments That Are Sociable

ONE OF THE MOST pleasureable experiences for the young player is to join others in forming an
ensemble, and it is most interesting to consider the many different combinations that can be formed. A
first and second mandolin, mandola and guitar or mando-cello make an ideal quartet to which might
be added a mando-bass. An orchestra consisting of 1st, 2nd, 3rd mandolins, mandolas, mando-cellos,
tenor banjos, guitars, and mando-bass, ranging from ten to one hundred members, can be found to-day
in many communities. Hawaiian trios, quartets, and larger units; Spanish guitar ensembles, banjo
quartets, banjo bands with from ten to seventy-five players have been organized in many cities and
towns in all parts of the country. At the last convention of the American Guild of Banjoists
Mandolinists and Guitarists, held in Detroit in the early part of July, more than five hundred players
were present for the concert activities; and a number of large banjo bands and mandolin orchestras
traveled several thousand miles to take part in the festival concerts and band contests.

The writer recalls with pleasure a rendition, a few years ago in Washington, D. C., of the Schubert

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"Unfinished Symphony," by a fretted instruments orchestra of one hundred, directed by Walter Holt.
Somewhat different from a regular symphony orchestra; yes, but how beautifully it was done.

A Rich Repertoire

WHEN WE LOOK into the matter of printed music, scored for small and large ensembles, we find
that, while there is still room for improvement, the publishers give quite a selection of compositions
and arrangements. The writer still remembers the difficulties, during the early days of his career, in
finding worth while solos or orchestra numbers arranged for mandolin or banjo. The student of to-day
is fortunate in having at his disposal original compositions and transcriptions, classic and modem,
instruction books and etudes of an endless variety.

During all these years, while thousands of musically inclined people have come under the spell of the
fretted instruments, it was inevitable that from this mass of players there should appear, from time to
time, a genius to demonstrate that with hard study and persistence the guitar, mandolin or banjo in the
hands of an artist could easily become a concert instrument of the first order.

Those fortunate enough to have attended a recital by Andres Segovia or William Foden on the guitar;
Giuseppe Pettine or the late Valentine Abt on the mandolin; Alfred Farland or Frederic Bacon on the
banjo, will look back on that occasion as a never to be forgotten event of their musical experience.

An Open Field

THE YOUNG STUDENT with talent and willingness to work and study hard for several years has
unlimited opportunities in the fretted instrument field. The radio and concert stage are waiting for
those with exceptional ability to "put it across." Orchestra leaders are ever on the lookout for guitarists
and banjoists with superior technic and musical ability and the future promises great rewards for those
willing to "pay the price." Many professional guitarists and banjoists are now sitting "on top of the
world," so to speak; and there is room for many more.

The same thing may be said of the successful teachers of the fretted instruments. Never was the
demand for the good teacher greater than it is at present. But in order to be counted amongst the
successful ones, he must be progressive, keep abreast of the times, study the new music and modern
methods of teaching, and keep up his technic on the instruments so that he may demonstrate them
whenever called upon to do so.

In conclusion: Greetings to the fretted instrument fraternity! It has been our purpose to address this,
the first article of the series to follow, to those whose acquaintance with the fretted instruments is
limited. In the next issue we shall begin to take up each instrument separately, starting with the classic
guitar, treating it from a historical and technical standpoint. Remember that this department has been
inaugurated for your information and help and it is our sincere intention to make it fulfill its purpose.

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 ETUDE
December 1937
volume LV
number 12
page 831

The Classic Guitar

By George C. Krick

OF ALL THE FRETTED instruments, the guitar may well boast of the most ancient and romantic
history. To give a complete historic outline of this beautiful instrument is somewhat beyond the scope
of this article, but those of our readers sufficiently interested, will find a comprehensive description in
the issues of THE ETUDE for April, May and June, 1930.

It has been recorded that the ancestors of the guitar were in use long before the Christian Era, and later
amongst the Greeks, Romans and Egyptians. During the eighth and ninth centuries, when the Arabs
invaded Spain, they brought along the guitar; and eventually it became the most popular instrument of
that country. This guitar was rather primitive, having only three strings, but before long the Spaniards
added a fourth. The sixteenth century finds the five string guitar making its way into Italy, Germany
and France. Not until the early part of the eighteenth century appeared the guitar with six strings, and
this has been recognized as the standard instrument to the present day. The lower three strings are
made of silk wound with silver wire, the higher three ones of gut; and they are tuned to E, A, D, G, B,
and E. This stringing and tuning have been approved and adopted by all the great guitarists of the past
and the present.

The "Golden Era" of the guitar began with the eminent Italian guitarist and composer, Ferdinand
Carulli (1770-1841), whose "Guitar Method" became popular throughout Europe. He was followed by
Matteo Carcassi, author of a "Method," etudes and technical works, known to every guitar student.
Next came Mauro Giuliani, Luigi Legnani, and Zani di Ferranti, all Italians. In Spain we find Dionisio
Aguado and Ferdinand Sor, the latter acknowledged as the greatest composer, and called the
Beethoven of the guitar. Somewhat later appeared Napoleon Coste in France and J. K. Mertz in
Austria. These men not only were great artists, giving recitals in all the music centers of Europe, but
composers as well, leaving behind them hundreds of beautiful compositions for their instrument. To
students of to-day the classic works of these masters are indispensable.

Amongst the American guitarists the name of William Foden stands out preeminently; and his recitals
in the past have proven him to be the greatest guitarist this country has produced. As a composer and
arranger he has greatly enriched the guitar literature, and his "Grand Method" shows the work of a
master.

A name that will be cherished forever by guitarists throughout the world, is that of Francisco Tarrega
(1854-1909), guitarist and composer of Spain and founder of the modern Spanish School. Using the
methods of Aguado and Sor as a foundation, Tarrega developed the technic of the guitar to a point
where the critics are compelled to acknowledge it as a full fledged concert instrument. His original
compositions and transcriptions of the works of the great masters in music are veritable gems.

Amongst his pupils Miguel Llobet, Emile Pujol and Sainz de la Maza are the most prominent, and
their names are household words with the concert public in Europe.

We now come to a man who in the past ten years perhaps has done most to bring the guitar to its
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present eminence on the American concert stage - Andres Segovia, the Spanish guitar virtuoso. Mr.
Segovia is practically self-taught, but he admits being strongly influenced by Tarrega.

A Segovia recital is a revelation and a never to be forgotten event. His playing has been called a
musical miracle. Segovia's technic is flawless, yes, almost uncanny. The tone he extracts from his
instrument is a constant delight to the ear of the listener. It is no wonder that on his concert tours he is
greeted everywhere by sold out houses. The programs of Mr. Segovia contain the names of Sor,
Giuliani, Bach, Beethoven, Mozart, Schubert, Haydn, Mendelssohn, and the modern Spanish
composers.

It is inevitable that on the strength of these triumphant successes of Andres Segovia, a great many
musical people are becoming guitar conscious. Students are convinced that the guitar is a worth while
instrument and are beginning to study it seriously. One drawback in this country has been the lack of
capable teachers, but this promises to be remedied in the near future. In the past few years the writer
has received numerous letters from guitar enthusiasts inquiring as to the proper methods and studies to
use to perfect their technic.

In the South American city, Buenos Aires, there are many music schools devoted exclusively to the
study of the classic guitar. The course in most of these covers a period of five to six years, and this
must be completed in order to obtain a diploma.

To become a real guitarist, a student should approach his instrument similarly to the piano or violin. In
the beginning one should learn the correct position of the right and left hands, practice scales in one
octave with alternating first and second fingers, and the same scales again with second and third
fingers, as the third finger of the right hand should not be neglected. A thorough knowledge of the
entire fingerboard is next in order, followed by the practice of scales and chords in all positions. Right
from the beginning a round beautiful tone should be the principal aim of every student, as without it
the most dazzling technic will remain unconvincing.

As the basis of all sound guitar playing, we now suggest these etudes from the classic guitar literature:
Carcassi's "Caprices and Etudes," Giuliani's exercises, all Etudes of Sor, advanced Etudes of Giuliani,
Legnani's "Caprices," "Concert Etudes" of Coste. Along with these an exhaustive study should be
made of the embellishments, including the glissando, vibrato, legato, staccato, pizzicato, tremolo, and
so on.

Not until all these things are mastered can the student safely begin to build up a concert repertoire
from the classic and modern guitar literature.

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 ETUDE
January 1938
volume LVI
number 1
page 61, 64

The Plectrum Guitar

By George C. Krick

OUR NEW DEPARTMENT of Fretted Instruments came into THE ETUDE last month on "gum
shoes." We had made no special announcement of it: but, nevertheless, a large number of our readers
have expressed their delight with this innovation. The Department is to be edited by George C. Krick.
for several years the president of the American Guild of Guitarists, Banjoists and Mandolinists, and an
Honorary Member of the International Mandolin-Guitar Society. His repertoire includes compositions
by Bach, Chopin, Mendelssohn, Schubert, and many other masters; and he has appeared as guitar
soloist in representative concerts in New York, Boston, Philadelphia, Vienna, Paris, and Munich.
Among his pupils have been many now famous concert and radio artists. His library of classical guitar
music ranks as one of the most comprehensive in existence, including many rare manuscripts.

If you are pleased with this new department and are interested in its continuance, we would be glad to
have you to send us a message to that effect.

The Plectrum Guitar

THE PHENOMENAL GROWTH in public favor of the plectrum guitar during the past few years
must be attributed to its introduction into the dance bands. Always on the alert for novel effects, the
orchestra leaders were not slow in discovering that the sonorous tones of this instrument would
provide a beautiful background and add something different to their rhythmic sections. The
manufacturers also helped the cause along, by producing instruments of superior workmanship and
greater carrying power. The plectrum guitar differs from the classic guitar mainly by being
constructed of carved or arched top and back and having two plain wire and four wound wire strings,
these being played with a "plectrum" or "pick."

Most guitarists agree that the classic guitar is out of place in a dance orchestra. The mellow tones of
gut and silk wound strings, while they are distinctly heard in concert halls, when the instrument is in
the hands of an artist, are entirely overshadowed by the penetrating tones of the trumpet, saxophone
and other instruments of the modern dance orchestra Here is where the plectrum guitar properly
belongs, playing rhythmic chords in the higher positions, bass runs and occasional solo passages.

A Budding Prima Donna

AS A SOLO INSTRUMENT it may be said to be still in its infancy, although there are quite a number
of clever compositions and transcriptions on the market, mostly in a lighter vein and of the popular
type. Whether the tone quality of the wire strings would have sufficient appeal to hold the attention of
a sophisticated concert audience for an hour or two, remains to be proved by some great artist, who
has yet to make his appearance on the guitaristic horizon.

Since radio stations and orchestra leaders are continually on the lookout for talented players, the
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plectrum guitarist will find unlimited opportunities for artistic and financial gain. The days of the
guitarist with a knowledge of only the three principal chords in the commonly used keys, have passed,
and in order to hold down a job with a prominent orchestra he must know his guitar as a good pianist
knows his piano. He must be able, when called upon, to read at sight, transpose from a piano or
second violin part, and to play bass runs and treble scale passages and solo parts. He should be
thoroughly familiar with the entire guitar fingerboard, and be able to form chords in every key in all
positions. A study of harmony is also essential, so he may know "what it is all about." Instruction
books and other study material for the beginner as well as for the advanced student can be found in the
catalog of almost every music publisher. These should be thoroughly mastered under the guidance of a
reputable teacher. The advanced student will also find it profitable to get acquainted with the right
hand technic of the classic guitar and its music. The literature for this instrument is so extensive, that
amongst it many items can be found that will interest and benefit the plectrum guitarist.

The Hawaiian Guitar

THE NATURAL CHARM and beautiful tonal qualities of the Hawaiian guitar have endeared it to a
large portion of the American public, so that to-day it has become one of the most popular
instruments. Since its introduction into this country by native Hawaiians some twenty years ago, it has
undergone many changes and improvements at the hands of American players and manufacturers. The
original guitars were mostly constructed of Hawaiian koa wood, strung with six wire strings tuned
from the first string to the sixth, E, C sharp, A, E, A, E. This tuning was adopted as standard, and most
of the numerous instruction books, exercises, albums of music of every variety have been published in
this form. When shopping for a guitar to-day we have a choice of those made of rosewood or
mahogany and spruce top, and some made entirely of aluminum or German silver. Amongst the
prominent professional players one uses a guitar with two fingerboards, another an instrument with
ten strings, and still another with fifteen strings. The tuning of the strings also varies considerably
with many radio and orchestra players. The recent development of the electric guitar is responsible for
its introduction into the modern dance orchestra, and its enchanting, powerful new orchestral voice is
proving a revelation. This guitar has probably "arrived" and its future looks bright. Plectrum guitarists
will have to take up this instrument as a part of their professional equipment in order to double on
both instruments. For the young student of the Hawaiian guitar, we suggest the instrument made of
selected wood, with six strings in the original A tuning. Having mastered this, he is ready to delve into
the other tunings. The strings should be somewhat heavier than those for the regular guitar and the
three wound bass strings should be of the polished kind, in order to avoid a grating sound, when using
the steel. For the same reason the strings should be kept free of rust.

A GREAT VARIETY of steels are in use, different in shape, size, weight and length. Most
professionals prefer the round steel rounded at the end, of medium size and weight, and made of
rustless steel. The tips for the fingers are made of metal and the thumb pick of celluloid. The technic
of the steel in Hawaiian guitar playing is of great importance and should be carefully and thoroughly
mastered. In that connection we may say that a relaxed position of the left hand, wrist and forearm is
absolutely necessary for a free oscillation of the steel and this should be a part of the daily practice.
For right hand technic, we suggest scale practice in two and three octaves with alternating thumb and
first finger, and again with alternating first and second finger. This should be carried out in all major
and minor scales. Being an instrument complete in itself, the Hawaiian guitar is admirably adapted to
the home. Music of every type to suit everyone's taste is now published, so with very few exceptions it
is not necessary to be able to transcribe. To obtain still more musical satisfaction a group of players
consisting of first and second Hawaiian guitar, Spanish guitar, and ukulele, may come together and
find real enjoyment in making music instead of just listening.

Fretted Instrument Questions Answered

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R. S., Pittsburgh - The society you refer to is evidently the "American Guild of Banjoists,
Mandolinists, and Guitarists," 117 Broadway, Providence, Rhode Island. Organized thirty-six years
ago, the American Guild has held yearly conventions in different cities, and in connection therewith,
has conducted orchestra concerts, artists recitals, banjo band and mandolin orchestra contests. The last
convention was held in Detroit, in July of 1937, with attendance of over 500. Organizations devoted
exclusively to the Guitar are: The Chicago Classic Guitar Society, 1229 West Jarvis Avenue, Chicago,
Illinois, and the American Guitar Society with headquarters at 2280 West Twenty-third Street, in Los
Angeles, California.

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 ETUDE
February 1938
volume LVI
number 2
page 127-128

The Mandolin
By George C. Krick

ITALY THE LAND of sunshine and romance has given to the world this instrument, that has made
friends and admirers of all those within its hearing. According to reliable records it was in 1879, when
a group of about twenty musicians calling themselves "Figaro Spanish Students" under the leadership
of Denis Granada arrived in America and created quite a furore wherever they appeared. The
instrumentation of this orchestra consisted of twelve bandurrias, six guitars, one violin and one
violoncello. Their triumphant success artistically and financially induced a prominent Italian violinist
of New York city to gather together an orchestra of somewhat smaller dimensions, made up of players
of Neapolitan mandolins; and, adopting the name of "Spanish Students" they toured the country quite
successfully for several years. Later they disbanded and the leading mandolinists of this group settled
in various cities. During these concert tours the Italian mandolin captured the heart of the American
public and in a short space of time became the fashionable instrument of the day. At this period Italy
had to supply all of the better grade of mandolins. Before long, however, American manufacturers
caught up with the demand, and instruments of exquisite workmanship and superior tone quality
appeared.

Credit for development of the mandolin into a high class concert instrument must be given to one
Pasquale Vinaccia of Naples (1806-1882). Before his time the mandolin was smaller and strung with
gut strings. This outstanding lutenist enlarged it, extended the fingerboard, gave it steel strings,
improved the tone quality, and added to its carrying power. Since then the Italian mandolin makers
have followed in his footsteps, until to-day the Neapolitan mandolin is a thing of beauty, and
throughout the European countries this classic type of mandolin seems to have remained the favorite
with the players. The American manufacturers some years ago cut loose from these classic traditions
and began to experiment with a flat model instrument and again with one constructed similar to the
violin, with carved top and back, requiring a higher bridge. This latter type has proved such a success
that most mandolins now follow its lines.

Abundant Literature

TURNING TO THE MUSIC composed for the mandolin, we are compelled once more to go to Italy
as its fountain head. Contrary to the belief of many, the system using the plectrum on the mandolin is
quite different from that of the down and up bow on the violin. Many violinists, finding the left hand
technic for the mandolin corresponding to that of the violin, have in the past applied the same rule for
the right hand, which, to say the least, is a poor substitute. The mechanism of the plectrum is so
intricate that several years of study are required to understand and to master it. Giuseppe Branzoli, of
Rome, Italy, was one of the first to give, in his method many examples of attacking the strings in
different ways to get certain effects. This method might be considered as containing the fundamental
principles of the art. A number of books have been published since then, having to do primarily with
the mechanism of the plectrum. Other Italian composers who have contributed to the advancement of
original mandolin literature are, Pietrapertosa, Christofaro, Bellenghi Matini, Graziani-Walter,
Arienzo, Marucelli, La Scala, Bertucci, and Mezzacapo. The man recognized as the greatest composer
and virtuoso of that period, was Carlo Munier. Born in Naples in 1859 he died in Florence in 1911 and
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his passing was quite a loss to the mandolin fraternity. Munier's compositions number over three
hundred, including a complete Method in two volumes, numerous etudes, duets, trios, mandolin solos
with piano accompaniment, a "Mandolin Concerto in G Major," three plectrum quartets in the style of
the classic string quartets, mandolin solos duo style unaccompanied, and so on. His music shows him
to have been a highly gifted musician.

Another composer of great merit, who is still living in Naples, is Raffaele Calace, author of a beautiful
"Concerto for Mandolin and Piano" of which the opus number is 113, showing that he is quite a
prolific composer.

The Italian virtuoso Silvio Ramieri now residing in Brussels has to his credit a number of short
compositions together with a "Concerto for Mandolin and Piano," in three movements. The writer had
the pleasure, several years ago, of hearing it performed by the author, and it was an excellent
performance of a beautiful work.

American Writers

WE HAVE ALREADY MENTIONED the conditions under which the mandolin made its appearance
in this country. Since then many highly talented and cultured American musicians have realized the
artistic value of the instrument and have devoted their lives to its advancement and its music. To
THESE AMERICAN VIRTUOSOS and composers we are indebted for the development of one of the
most characteristic features of mandolin technic, the duo, trio and quartette form - playing the melody
and accompaniment at the same time. Eugene Page, Aubrey Stauffer, Samuel Siegel, Valentine Abt,
proved themselves as virtuosos of high rank and fine composers as well.

The man who undoubtedly has contributed more than anyone else to the American literature of the
mandolin, is Giuseppe Pettine. Coming to his adopted country in his 'teens, Pettine brought with him
an all consuming love for his instrument and a highly developed musical culture. Well known as a
band and orchestra leader, it is as a mandolin virtuoso and composer for this instrument that the name
of Giuseppe Pettine is treasured amongst the serious mandolinists. His concert repertoire includes
many of the great violin concertos and original compositions and his concert tours have taken him
from Maine to California. Amongst his numerous compositions the "Concerto Patetico," for mandolin
and piano, is his greatest contribution to mandolin literature. It is in three movements melodious, and
it calls for all the characteristic resources of the instrument. The Fantasia Romantica and many other
original works of smaller dimensions, arrangements in duo form, and a "Mandolin Method," in four
volumes, are the fruits of a lifetime devoted to his favorite instrument.

This article would be incomplete without mentioning the names of a few of the great masters who
showed interest in the mandolin. Mozart evidently appreciated its delicate and charming voice, and the
Serenade with mandolin accompaniment in his immortal opera, "Don Giovanni," was the result. He
also composed two songs, Come, dearest Mandolin, Come, and Contentment, with mandolin
obbligato.

Beethoven wrote an adagio and a short "Sonatina for Mandolin and Cembalo," undoubtedly
influenced by his intimate friend the mandolin virtuoso, Krumpholz. Nicola Spinelli, an Italian
operatic composer, makes frequent use of the mandolin and guitar in his opera, "A Basso Porto," and
preceding the last act, there occurs a beautiful intermezzo for mandolin and orchestra. In his opera,
"The Jewels of the Madonna," Wolf-Ferrari introduces a Serenade for mandolin and guitar, which is
quite effective.

On account of its fretted fingerboard the fundamental technic of the mandolin offers no particular
difficulty to the average student, and for this reason it is often misjudged as to its artistic possibilities.
Frequent recitals by capable concert mandolinists would soon convert the most skeptical. To be able

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to interpret the concertos and other high grade original compositions by the masters requires an
intense study for a number of years. There is no lack of material, as to the student of to-day; numerous
methods and other works are available that contain every phase of mandolin technic. To those with
limited time, the plectrum quartette - first and second mandolin, mandola and mandocello - or the
mandolin orchestra offers many opportunities for musical enjoyment.

Fretted Instrument Department

Questions and Answers

Q. After taking lessons on the guitar for a year I still have trouble in tuning the instrument. My mind
seems to be more intent on tone quality than the right pitch. - W. K.

A. Every guitarist should strive to obtain a beautiful tone from his instrument. But, if the instrument is
not tuned properly, you will not be able to produce correct melody or harmony. Get a good guitar
tuner, having a corresponding note for each string, and keep at it until you can tune the instrument
correctly.

Q. Could I get orchestrations for a group of twelve players, mandolins, Spanish and Hawaiian guitars,
tenor banjos, and violins? - A. T.

A. Ask your music dealer for catalog. If he does not have what you want, write direct to the
publishers. Most of them carry a large stock for fretted orchestra.

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 ETUDE
March 1938
volume LVI
number 3
page 192, 198

The Banjo
By George C. Krick

THE RISE OF THE BANJO and the other members of the banjo family to their present prominent
position is one of the most interesting developments in American musical history. Although
frequently called a distinctly American instrument, we must not overlook the fact that for hundreds of
years in many countries of the old world, gourd shaped instruments covered with snake or sheep skin
were in use. The invention of the American banjo is credited to one, Joe Sweeney, who was supposed
to be the first white man to construct one and play upon it. According to the story which is generally
accepted, Joe Sweeney produced so much music from his instrument that he was called a whole band
in himself and was nicknamed "Band-Joe," and from this we derive the present name of the
instrument. With the advent of the blackface minstrels the banjo came into its own, as no minstrel
troupe was complete without a clever banjo player. Amongst the players of this period the names of
Gus Mead, Tom Briggs, John Savarie and Frank Converse stand out preeminently. During the latter
part of the nineteenth century a veritable wave of banjo popularity swept across the country, and
everywhere banjo clubs were quite the rage. The five string banjo, plucked with the fingers, was
reigning supreme; and in the course of time a number of outstanding performers appeared on the
concert stage. The names of Vess Ossman, Van Eps, Fred Bacon, Frank Bradbury and Alfred Farland
are familiar to all lovers of the banjo.

Farland in his prime was considered the greatest artist of them all. For many years his concert tours
took him from one end of the country to the other; and his recitals were invariably sold out long in
advance. His programs included many transcriptions of classical compositions, which were executed
with the greatest of skill and artistic taste.

The Jazz Influence

WHILE THE FIVE STRING banjo still retains its popularity, some vaudeville players have
experimented with wire strings and plectrum, in order to get a greater volume of tone, and we now
have the plectrum banjo with four strings. Eventually this instrument was introduced into the dance
orchestra; and most of the young banjo students now prefer this style of playing. The change from the
old A notation to C, tuning the strings to C, G, B, D, also makes matters simpler for the beginner, as
he is now able to read directly from the piano score. But the final blow to the five string banjo, came
with the advent of the tenor banjo.

The jazz age arrived, and old and young began to dance. Small and large dance bands sprang up over
night, and every one of these needed one or more tenor banjoists to supply rhythm. Teachers were
swamped with pupils, manufacturers were working overtime, turning out tenor banjos selling from
fifty to five hundred dollars. Publishers were printing numerous instruction books, collections of
studies, solos, duets and orchestra parts for tenor banjo. Harry Reser and his Eskimos and many other
banjoists were heard over the radio, and the popularity of the tenor banjo was ever up and up.

But now enters the guitar, sonorous, somewhat subdued, not as boisterous as her younger brother the
banjo, but preferred for its mellow voice, and gradually the tenor banjo apparently loses its "place in
14
the sun."

When banjoists come together the question frequently is asked, "Will the banjo stage a comeback?" In
the writer's opinion it is still here and here to stay. It is a far cry from the crude instrument of sixty
years ago to the artistic creation of to-day and American youth will always succumb to the
exhilarating, scintillating tone of the banjo.

Throughout the middle west, many dance bands still prefer the plectrum banjo to the guitar. In
England and its colonies the banjo has never been more popular than during the past year.

It is to be regretted that the five string banjo has been neglected by aspiring concert players. Its full
chords, rippling, sparkling arpeggios, snappy staccatos, its beautiful right hand tremolo with thumb
accompaniment, all will bring an audience "to its feet." A clever banjoist, whether he plays the five
string, plectrum or tenor banjo, is always received with open arms, be it on the concert stage, on the
radio, or in private gatherings.

After all, the banjo is the instrument "par excellence" for entertainment and relaxation; and for this
reason it will always attract a large following.

The prospective student should first of all place himself in the hands of a reputable teacher, one who
not only is a good performer but also knows how to teach. In buying an instrument, select the best that
you can afford. A cheaply and poorly constructed banjo is worse than useless and is a hindrance to the
progress of the student.

The literature for banjos of every type is most extensive; and all the leading publishers are in a
position to supply instruction books, scale and chord exercises, music of every variety, modern and
classical transcriptions, also arrangements for small and large banjo ensembles.

An effective ensemble of banjos should include first and second banjo-mandolins, first and second
tenor banjos, cello banjo and bass or guitar-banjo, with drums and
traps.

In Earlier Days

IT MIGHT BE OF INTEREST to some readers to mention the instrumentation of banjo clubs during
the early days. A representative group of which a photograph was recently seen, included a piccolo
banjo, banjeaurine, five string banjo, and bass banjo. This combination was used extensively by
professional and college clubs.

While it is true that some otherwise well informed musicians still frown upon the banjo, there are
others who seem to feel that its characteristic voice should be exploited in scoring for theater or
concert orchestras. The tone color of the banjo is so different from that of all other instruments, that
creative musicians might find possibilities that so far have been neglected.

Percy Grainger, the Australian composer-pianist, in a published interview some years ago, expressed
his opinion that "the plectrum instrument will play an important role in the orchestra of the future.
There are superb possibilities in these instruments, when used in sufficient numbers. You know the
happy effect produced when the entire string section of an orchestra occasionally strums the strings;
and one can imagine how a large body of instruments intended to be plucked or strummed would
sound. Some new and ravishing color combinations inhere in this class of instruments."

Then, here is a paragraph from a review of the first performance of the opera, "Life of Orestes," by
Krenek, whose "Jonny Spielt Auf" proved an international success: "Unquestionably the most

15
beautiful and inspired portion of the score is Orestes' monologue: Es ist Abend, with the shepherds'
song. This exquisite lyrical passage is accompanied throughout by the humming of the invisible
chorus of the orchestra, with a passage between flute and banjo which is ravishing in effect and is as
novel in invention as it is inspired in treatment."

And so the banjo's lure lives on.

16
 ETUDE
April 1938
volume LVI
number 4
page 271, 275

Right Hand Technic for the Classic Guitar

By George C. Krick

ONE OF THE MOST important phases of guitar technic is the proper manner of attacking the strings.
When we examine the works of the great masters of bygone days, most of whom were self-taught, it
appears that they experimented for longer or shorter periods until they found the method most
satisfactory to obtain their object - a clean cut, round, full tone. While there are some slight
differences in their methods, results prove that a real artist instinctively finds the correct answer to his
problems. The most commonly used system amongst the guitarists of an early period was based on
using the thumb for the bass strings and the alternating first and second fingers to strike the treble
strings. For rapid scale passages on the bass strings many used the alternating thumb and first finger.
This is still used by a number of present day guitarists; and, when properly developed great speed can
be obtained. The third finger was used principally for chords and arpeggios. The modern Spanish
school makes use of the third finger more extensively and advocates that most of the scale passages be
played with first and second fingers from lowest to highest including those on bass strings.

A subject that has caused considerable controversy amongst guitarists concerns the finger nails of the
right hand. Should they be trimmed closely, so that they will not come in contact with the strings?
Most of the classic guitarists, with few exceptions, kept the nails short and touched the strings with
only the fleshy part of the finger tips

The so-called nail stroke was strongly advocated by Francisco Tarrega and is used almost exclusively
by the modern guitarists of every country. In his later years Tarrega experimented, playing with his
nails cut short; and Emilio Pujol, one of his pupils during this period, is one of the few adherents to
this style of playing.

So that there may be no misunderstanding in connection with the "nail stroke," let us state, right here,
that it does not mean that the nails should be long enough to be used as a sort of plectrum. They
should be filed and kept smooth and project only about one thirty-second of an inch beyond the fleshy
part of the finger tips. One can readily see that, when striking the strings in this manner, the finger tip
begins and the edge of the nail ends the stroke, giving the tone a certain amount of crispness and
brightness impossible to procure with the fleshy part of finger tip alone. All those fortunate enough to
hear Andres Segovia, have marveled at the beautiful, scintillating tone he gets from his instrument and
the variety of color and other tonal effects resulting from his using this so-called "nail stroke."

In the Manner of Tarrega

UP TO THE TIME of Francisco Tarrega the manner of striking the strings was to rest the thumb
against one of the bass strings then to strike one of the treble strings with the first finger, drawing this
finger slightly backward towards the palm of the hand. The Tarrega method is to force the finger
across the string with a gliding downward movement towards the next string. By this method one is
able to procure a strong round tone; and it is especially useful in slow or legato passages where it is
desirable to have the melody stand out prominently above the accompaniment. It is obvious that this
stroke cannot he used for chords, or arpeggios, or staccato passages.
17
The writer has met, personally, many of the foreign guitarists and prominent teachers in the European
musical centers, he has heard them play and has been present during some of their practice hours.
This, together with his many years of experience as concert guitarist and teacher, should suffice to
enable him to make some additional suggestions to the young student of the guitar or to those players
wishing to improve their technic. When selecting an instrument, see to it that it is made especially for
gut and silk strings. The sound board is much thinner on this type of guitar, than on those constructed
for wire strings. The guitar should be of fairly large size, strings adjusted close to fingerboard, evenly
balanced as to treble and bass and responsive to the lightest touch of the fingers.

The playing position assumed by all the prominent artists is to sit on a chair of medium height, placing
the left foot on a footstool six to seven inches in height, and resting the guitar on left thigh in almost
vertical position, with neck of instrument slanting slightly upwards. Now hold neck in the crotch
between thumb and first finger of left hand near first fret. The thumb should press against the neck on
the side of the E bass string, and not project over and above the finger board. Place the right forearm
lightly on top of the widest part of the guitar and let the hand hang in a relaxed position over the
strings, the thumb near the center of the sound hole, with the first joint turned to the left. The right
wrist should be slightly curved upwards and in this position place the thumb on the A string. Bend the
fingers until they touch the treble strings, first for G, second for B and third for E. Hold the wrist well
up, thereby keeping the fingers almost at right angles with the strings.

The Fingers Glide

PRACTICE WITH THE THUMB by gliding it across the A string until it touches the D, also gliding
it across the E string until it touches the A string. This gliding stroke with the thumb produces the best
tone and should be practiced with fingers resting on the treble strings and the hand kept steady. It is
well to strike lightly at first and gradually to increase the force, avoiding all noises due to the pulling
of the strings sideways. The best point of contact of thumb with strings is the fleshy part next to the
left side of the thumb nail.

Practice with the first, second and third fingers should be begun by resting the thumb on one of the
bass strings; the little finger should not he placed on the sound board, as this interferes with the action
of the other fingers.

Having placed the finger nails in proper condition, practice the gliding stroke on the open strings at
first, using the first finger for the G string, second for B and third for E. Glide first finger with an
energetic movement over the G string towards the D string and repeat, using the second finger over B
string towards the G string and third finger over E string towards B.

Use the same stroke by alternating first and second fingers on the same string and later practice all
scales in the same manner. When this stroke is mastered begin again with the scales, using the
orthodox manner of striking by letting the fingers turn towards the palm of the hand. Chords and
arpeggios and other intricate movements can be done only with the stroke of this type. A common
fault of many amateur guitarists is placing the fingers under the strings and pulling them upwards.
When released the strings will snap back on to the fingerboard and create more noise than tone.

No matter what stroke is being used the hand should always be kept quiet and all action should come
from the fingers which must be held closely together; the movement of each finger should be kept to a
minimum, especially so in rapid passages.

QUESTION BOX

18
J. E. R., Washington, D. C.

The bass strings for classic guitar are made of silk wound with silver wire. The treble strings are made
of gut and for these a good grade of first, second and third violin strings of medium thickness may be
used. These gut strings must be true in their entire length on account of the fretted finger board. Some
dealers carry a string made especially for the guitar. Try to obtain this, if possible. If you will send
your name and address we will be pleased to give you the other information desired.

19
 ETUDE
May 1938
volume LVI
number 5
page 347

Preparing a Concert Program

By George C. Krick

IN A LETTER recently received from one signing himself "Guitarist," a subject was brought up, that
should be of interest to every player of a fretted instrument. We quote the principal portion of this
letter:

"I have been devoting two hours daily to the study of the guitar for the past three years. Not until
about six months ago did I begin to play in public, and so far have confined my efforts to the rendition
of pieces of medium difficulty. I have memorized about fifteen numbers and when I play them at
home, they appear to sound perfect. But when I get on the stage my fingers do not seem to function
right and I can never get my solos "across" the way I would like to. Can you suggest any way that
would help me to overcome this condition ?"

We can most heartily sympathize with this player, as a great many public performers are subject to
this condition commonly known as "stage fright," especially prevalent during the early stages of one's
career. One of the first requisites for any one appearing before an audience is to try to keep fit
physically and mentally. A healthy mind in a healthy body will give you self confidence and
assurance and this in itself will react favorably on the audience. Keep your mind from dwelling upon
the possibility of failure, step on the stage with a smile on your face and an inward determination that
you are going to do your best, and half of the battle is won.

One of the main causes of nervousness is the lack of a thorough preparation of the numbers to be
rendered, especially noticeable amongst the younger players. When a new composition is taken up for
study nothing should be slighted. Play it over a few times at a slow tempo to obtain a general outline
of its musical structure and the intent of the composer, then practice every phrase diligently over and
over; do not pass over technically difficult passages, until they are mastered and respond to the fingers
as readily as the easier sections. Expression marks must be carefully noted and memorized. Allowing
about thirty or forty minutes daily, at the end of two weeks this number should be fairly well
mastered. Now put it aside for a week and then resume practice just as seriously as at first for another
week, and again every other week for a period of two or three months. At that time the number should
be ready for performance.

This system of practice is primarily recommended to the average player having about two hours at his
disposal. The proper division of this practice period, devoted to the mastery of any instrument is also
of great importance. The usual procedure with many students is to begin with scale exercises,
arpeggios, etudes, and conclude with concert pieces. The writer for many years has been in favor of
reversing this order; and those who have adopted his suggestion in the past have adhered to it and
obtained good results. At the beginning of the practice period place yourself in the proper frame of
mind and concentrate on what you are going to do to the exclusion of everything else. Now play over
the numbers in your repertoire that you expect to use in the next concert, just as though a
discriminating audience were listening to you. Follow this with memorizing a new composition and
this in turn with scale and arpeggio exercises and etudes. After a time you will have cultivated the
habit of playing your numbers perfectly, without first having gone through the process of limbering up
20
your hands and fingers. This will prove a valuable asset when you are called upon to play without
having an opportunity to "warm up."

One of the problems the player of fretted instruments has to contend with is the lack of opportunities
to play in public, unless he is a recognized artist of considerable reputation. For this reason the young
player should miss no chance to play in front of others and remember that amateur entertainments and
musicales in churches, lodges and private homes offer a great field for the budding artist to gain the
necessary experience for further musical development.

Selecting a Program

LET US NOW for a moment give consideration to the proper selection of the program numbers. Too
many artists think of themselves only and what they like to play and forget that the audience
sometimes differs with their musical taste. To be a success your performance must please and arouse
your listeners. If your program calls for two groups of three or four numbers, start with a selection
well within the range of your technic, one of bright and cheerful character, that will put your audience
into a receptive frame of mind. Follow this with a composition in a slow tempo and then play your
principal number, keeping in mind that these three selections should be in different keys to avoid
monotony. Use a similar method in selecting the pieces for your second group.

Those having professional aspirations should attend the recitals of all the great artists, observe their
methods, stage deportment and program building.

Since the literature for the fretted instruments contains many original compositions of great merit,
some of them should be included in the repertoire of every artist, as they will generally give him an
opportunity to bring out all the resources of his respective instrument and often these will be hailed as
musical novelties. In addition to these there are unlimited numbers of light classic transcriptions that
can be used with gratifying results.

What we must not forget is that every instrument has its limitations; but we must remember that it also
has characteristics of its own, which, when properly projected, will appeal to many.

When a banjoist steps before an audience, it at once begins to feel cheerful because of the bright
snappy music it is accustomed to associate with the banjo. The guitar suggests romance, Mozart
minuets and Bach preludes; the Hawaiian guitar, dreamy waltzes and hulas; the mandolin, Venetian
barcarolles and Neapolitan tarantelles.

But remember also, that present day audiences are discriminating, made so through hearing the best
artists over the radio. The big prizes go to those at or near the top in the musical entertainment field.
To reach it means not only natural talent but hard study for some years.

It is worth it, why not try for it?

21
 ETUDE
June 1938
volume LVI
number 6
page 410, 420

The Tremolo on Fretted Instruments

By George C. Krick

THE INSTRUMENTS played with a plectrum - mandolin, banjo and modern guitar - have one
characteristic feature in common, the tremolo. This is produced by a rapid, alternating down and up
movement of the plectrum, and its purpose is to prolong or sustain the tone in a manner similar to that
which we are accustomed to associate with the violin or other bowed instruments. While it is
impossible to equal the smooth effect obtained with a violin bow, the student should make an effort to
approach it as nearly as possible. For mandolin, mandola or tenor banjo a small plectrum is most
satisfactory, which should be pliable but not too much so. The guitar and mandocello require one of
medium size. Both edges of the plectrum must be beveled and smooth, and it should be kept so with
the aid of fine emery paper. A few drops of furniture polish, occasionally applied to the playing edge
will help also to keep it in good condition. Hold the plectrum loosely between the thumb and first
finger, as a too firm grip will interfere somewhat with the freedom of the stroke. A free flexible wrist
motion is essential, with movement of the forearm restricted to a minimum. Please remember that the
best tremolo can be obtained only by "rubbing" or "skimming" over the strings, using just the tip of
the plectrum and taking care not to dip in too far between the strings.

If the instrument is equipped with a raised guard plate it is permissible to rest the end of the little
finger lightly on top of this guard, and to move this finger along with the hand, as it must not be kept
tightly in one spot. In some instances it is advisable for the beginner to count the number of strokes to
be used in the tremolo, dividing the whole note into four groups of four sixteenths, and extending this
to four groups of eight thirty-second notes. Just as soon as sufficient rapidity has been acquired and
the ear has become accustomed to the correct musical beat, the counting of strokes should be
discontinued. One must guard against swinging the plectrum too wide on either down or up stroke,
and should always keep the width of the stroke to a minimum on either side of the string. This is
especially recommended for single string tremolo on the banjo or guitar. When the tremolo is used on
double stops, or chords of three or four notes, it is advisable to lower the wrist somewhat, so the
plectrum will not miss either the lower or higher string on down or up stroke. Extreme rapidity is to be
avoided, as a good tremolo depends more on smoothness and evenness of execution than excessive
speed.

When to Use It

WHEN AND WHEN NOT to tremolo certain notes depends on the style of composition. Whole and
half notes usually require the tremolo. In slow movements the quarter notes, eighths, and sometimes
even sixteenths may be tremoloed. In marches or foxtrots it is often advisable to use an accented down
stroke for half notes, especially if they happen to occur between two quarter notes. Experience and the
good judgment of the player should guide him to choose the right way. One thing that is frequently
overlooked or neglected by fretted instrument players is "phrasing." This is an important matter in the
rendition of any composition. Throughout the phrase, usually marked with a slur, the tremolo should
be continued without interruption, to the end, even when passing from one string to another. After a
slight pause the tremolo begins the next phrase, and so on. Occasionally one finds the same note
repeated several times. In cases of that kind, the tremolo may be continued; but an accent at the
22
beginning of each note is necessary, which is accomplished by a momentary increased pressure of the
thumb against the plectrum. One of the most interesting and instructive volumes teaching the use of
the plectrum from many angles, is the "Plectrum Mechanism," by Giuseppe Pettine. While this work
was originally published for mandolin, it contains a great deal of information that should prove
helpful also for players of the tenor banjo or plectrum guitar.

Tremolo on Classic Guitar

ONE OF THE MOST beautiful effects obtained on the guitar is the right hand finger tremolo, the
accompaniment being played simultaneously with the thumb. In looking over the compositions of the
old masters, we find many passages where the melody note is repeated with first and second finger. J.
K. Mertz employs this method in his Fantasie Originale, Op. 65, No. 2, and several other operatic
arrangements.

He goes a step farther in his Fantasie on "Ernani," repeating the melody note with first, second and
third fingers. Mertz's style of playing the guitar was quite different from the Italian and Spanish school
and, judging from his compositions and arrangements, his right hand technic must have been
marvelous. The two finger type tremolo can be found also in works of Manuel Ferrer, Luis Romero
and other American guitarists. The Spanish guitarist Vinas, and later on Tarrega, employed the
tremolo as exemplified in the well known Recuerdos de la Alhambra popularized by Andres Segovia.

While the thumb strikes the accompanying notes, the third, second and first fingers, in the order given,
play the melody. This system seems to be the most popular one at the present time, and it is used by
most of the prominent guitarists. In rapidity of movement the tremolo of William Foden, the
American guitarist, is said to excel all others. It is the nearest approach to the sostenuto on the violin
and is executed thus: thumb for bass, then first, second, third, second, first, second third fingers for
rapid repetition of the melody note.

Ex. 3 shows the first measure of one of the variations in his Fantasia, Alice Where art Thou, and this
type of tremolo is employed in a number of other arrangements of well known melodies by the same
master.

23
For the proper execution of the three finger tremolo, evenness and smoothness of the finger action is
essential. The third finger, being generally the weakest one, special exercises should be used to
strengthen it. Excellent practice material for this purpose can be found in "Six Caprices, Op. 26," of
Carcassi, Etudes 2, 3, 4, 7, 13 from "Op. 50" of the same composer, the "six Capriccios," of Luigi
Mozzani and "Preludes, Op. 83," of Mauro Giuliani.

The chapters on "Tremolo" in the Second Book of the "Foden Grande Method" and the "Albert School
for Guitar" also contain examples, exercises and valuable hints in connection with this important
phase of guitar technic. In the past few months there have been a number of letters containing
questions regarding the tremolo, and it is hoped that the foregoing suggestions will prove helpful.

24
 ETUDE
July 1938
volume LVI
number 7
page 482, 488

The Guitar
By George C. Krick

ACCORDING TO RELIABLE STATISTICS, the number of guitars sold in this country in 1937
reached the almost unbelievable total of half a million. This, of course, includes all varieties, classic,
plectrum and Hawaiian. By way of contrast, it is interesting to note that Torres, the most celebrated of
the Spanish guitar makers, whose productive period occurred during the middle of the nineteenth
century, made not more than three hundred instruments during his lifetime. Of these about twenty-five
were considered instruments superior to all others and gradually found their way into the hands of
guitar virtuosos in different parts of the world, where they are prized very highly by their proud
possessors. Miguel Llobet, one of the leading Spanish guitarists, is the owner of one made in 1853.
Emile Pujol uses one; and the Torres guitar of Tarrega, after the latter's death, crossed the Atlantic and
is now owned by Maria Anido, the celebrated guitarist of Buenos Aires. These guitars are noted for
their beautiful tone quality, carrying power and excellent workmanship. The instrument treasured
above all others by Torres, was produced in 1856, and was named by him "La Lione" For many years
he refused to part with it at any price, but finally it came into the possession of a young woman, a
pupil of Tarrega and a member of a family of great wealth. Twenty years later this family experienced
severe financial difficulties and the instrument was sold to an amateur guitar enthusiast and collector,
Nicolo Gimenez for twenty thousand dollars. It is said that on the day of change of ownership the
whole family was dressed in mourning and, with heavy hearts and tears in their eyes, bade farewell to
their beloved guitar.

Senor Gimenez took the guitar to Paris, had it insured against fire and theft for the amount quoted, and
frequently permitted some of the prominent artists to use it in their concerts. It created quite a
sensation amongst the fraternity, and everyone agreed that it was the finest guitar ever constructed.

While there were other guitar makers of high rank in Spain at that time, none of them was considered
quite the equal of Torres. The guitars of Lacote enjoyed great popularity in the early years of the
nineteenth century; and after Ferdinand Sor made his home in Paris he used the instruments made by
this French master. These guitars were somewhat smaller than those of the Spanish makers. The
Italian model was also of smaller dimensions, rather slender and shallow, producing a crisp tone of
fine quality and good carrying power, but lacking the depth and sonorous quality of the Spanish
model.

Some Famous Viennese Makers

DURING THIS PERIOD Vienna was the guitar hub of Europe, and sooner or later most of the players
of note were to be found in this beautiful city on the banks of the Danube. Amongst the numerous
guitar makers of Vienna, J. G. Stauffer (1800-1850), J. G. Scherzer (1834-1870), and F. Schenk
( 1809-1850) were the most renowned; the instruments produced by these craftsmen were most
popular with the Russian and many of the Italian virtuosos. While the six string guitar was widely
used, some of these artists preferred an instrument with three or more added bass strings. J. K. Mertz,
the celebrated Austrian guitar virtuoso and composer, played an instrument having four extra bass
strings. The Terz guitar, a smaller model tuned a minor third higher than standard, was also quite
25
popular at this time, especially for playing duets with another guitar or piano, or in ensemble with
string quartet.

From that time up to the present, it has been the ambition of every serious maker to improve the
instrument, to give it greater carrying power and, withall, to retain its characteristic tone quality. It
was after the sensation created in Europe by the performances of Miguel Llobet, followed, a few years
later, by that of Andres Segovia, that the European makers came to accept the principles as laid down
by Torres, with results that have been, quite surprising and satisfying to players. The most successful,
perhaps, of the present generation of guitar makers is Hermann Hauser. His concert guitar, called the
"Segovia Model," is slightly larger than the old Torres, and has been acclaimed by many of the great
artists, including Segovia, who used one during his recent American concert tour. Classic guitars that
also deserve recognition are those made by Vincente Tatay and Luigi Mozzani.

And in America

AMONGST THE AMERICAN manufacturers of gut string guitars, the F. C. Martin Company has
enjoyed an enviable reputation since the house was founded in 1833, and the instruments made by this
firm have been most popular with the American guitar fraternity.

It was the founder of the Gibson Company who first conceived the idea of making guitars with carved
top and back, and this type is now recognized as the ideal instrument for the professional orchestra
player and has been adopted as a standard model by all of the leading American manufacturers. These
instruments are of a much heavier construction, in order to withstand the strain of wire strings and are
intended to be played with a plectrum.

The writer hopes that at least a few of our guitar makers will put some of their ingenuity and inventive
genius into the creation of a gut string guitar that will equal or perhaps excel those made abroad, in
order to satisfy the desires of many players who prefer the classic school of guitar playing.

Now a few words of advice to those contemplating buying an instrument.

Consult a reliable dealer; and, if possible, have someone along who knows something about guitars,
preferably the teacher from whom you expect to take lessons.

Do not buy an instrument because it is cheap, but get the best you can afford. Remember that this
guitar may become your companion for the rest of your life.

A poorly constructed instrument is a handicap to the beginner as well as to the advanced player.

The best of the classic type are made of Rosewood, with a thin, sensitive spruce top, strung with three
gut and three silk wound strings. See that the treble and bass strings are evenly balanced as to tone;
strings should be adjusted fairly close to the fingerboard.

For orchestra work most professionals choose the guitar with carved top and back, as the tone of this
instrument is big, crisp and penetrating. Some players still prefer the instrument with flat top, for its
subdued and ingratiating tone quality. On all modern orchestra guitars the body of the instrument joins
the neck at the fourteenth fret. Most Hawaiian players use the flat type of guitars of fairly large size,
with body joining the neck at the twelfth fret.

Having selected your instrument, get busy with it.

26
 ETUDE
September 1939
volume LVII
number 9
page 610

The Guitar and Modern Music

By George C. Krick

NOT LONG AGO the writer received a letter from a former pupil, now residing in a large western
city, describing an interview he had with a guitar teacher, on whom he called in order to resume his
studies. After telling him of his two years work with the guitar, using the "methods" of Carcassi and
Foden, and supplementing them with etudes by Giuliani, Sor and Tarrega, the teacher turned, picked
up a wire strung plectrum guitar, strummed a few chords with a pick, and then made the statement:
"This is the modern way of playing the guitar, yours is old fashioned and out of date and most present
day guitarists use this plectrum method." Needless to say that teacher did not get a new pupil.

To this young student the plectrum guitar was not a novelty, he had heard this instrument in the hands
of many clever players, but he had also heard Segovia, Oyanguren, Gomez, Foden and others play the
guitar in the way it was intended to be played; and his discriminating musical sense convinced him
that he was traveling on the right road.

Any one stating that the classic guitar is "old fashioned" or "out of date," thereby admits his lack of
knowledge of the history and literature of the instrument. How ridiculous it would sound if we should
apply those terms to the violin, because the finest instruments were made during the time of
Stradivarius, and present day violinists still play the works of Bach, Mozart, Haydn, and of other
composers living several hundred years ago.

Let us for a moment go back to the early keyboard instruments, the forerunners of the modern grand
piano. Here we find the harpsichord, spinet, virginal and clavichord, which have virtually disappeared
from the concert platform, although the harpsichord is staging somewhat of a comeback. The present
day piano is the result of changes and improvements in the former keyboard instruments, until today it
is considered the perfect instrument for the artist.

While the history of the guitar dates back hundreds of years, and while there have been periods during
which its popularity was on the wane, it always has reappeared on the musical scene, and through its
beautiful tone quality it continues to capture the hearts of listeners and to attract the attention of
thousands of talented students.

The instrument itself has retained its shape and size, and the method of stringing it with three gut and
three silk wound strings. Through the careful selection of wood, and different bracings of top and
back, the tone quality and carrying power have been improved by some of the prominent guitar
makers, but it is still the same guitar, beloved by Schubert, Beethoven and Paganini. It has been
adopted by many great artists of the past and present as the means of musical expression and of
providing pleasure to those millions of amateur players of the instrument during several centuries.

Doubtful Claims

THE CLAIM that the plectrum guitar is an improvement or a modern version of the classic guitar is
not based on facts; it should be called the noisy brother to that romantic, aristocratic and highly
27
cultured member of the guitar family. It was invented to compete with the trumpet and saxophone in
the dance band, where it is primarily used to strum chords as a rhythmic background for the melody
instruments. It is true that the shape is the same and it has six strings tuned in a like manner However,
the strings are made of steel wire and played with a heavy plectrum, in order to get quantity of tone.
The difference in tone quality is so pronounced in favor of the classic guitar that there is hardly a
division of opinion amongst those who have made a thorough study of both instruments.

Another claim frequently made is that the plectrum guitar is better fitted to play popular music and for
that reason the younger element prefers it. It is the writer's opinion that the main reason for the
consistent popularity of the classic guitar is its versatility. When played by even a mediocre performer
it will adapt itself to the playing of simple popular melodies; it will provide a satisfactory
accompaniment to songs; or will take its part in the performance of chamber music. The alluring tone
of its gut and silk strings blends beautifully with that of the flute, violin, violoncello or mandolin. In
the hands of an artist the guitar becomes an instrument of the highest order, and its artistic possibilities
are unlimited. Listening to a sonata by Ferdinand Sor, or pieces by Coste, Giuliani, Legnani, and
Mertz, one is astonished at the many beautiful effects possible on this instrument seemingly limited in
scope. When one hears the works by Mozart, Bach, Haydn, Chopin and Scarlatti, one begins to
wonder how these things are possible on an instrument with six strings. But, looking over the
literature for guitar by modern writers, we are reminded that the classic guitar is to-day more alive
than ever and able to hold its own against all comers. Since the advent of Segovia, many of the present
day composers have given us a number of beautiful works especially written for guitar, of which
mention is made of a few of the prominent ones: Moreno F. Torroba - A Sonatine and eight other
pieces, Manuel M. Ponce - Three sonatas and about twenty smaller numbers; Joan Manen - Several
pieces, including Tansman Mazurka; Joaquin Turina - One Sonatina, three shorter numbers; and many
more.

Since all of this music is the product of living composers and written in the modern vein, we must
admit that the classic guitar and the method of playing it are not "old fashioned" but very much up to
date, and it probably always will remain so.

G. Jean Aubrey, the distinguished French critic, had this to say of the guitar, after a Segovia recital:
"The principal merit of the guitar is to be at the same time sonorous and not noisy, and even in a large
hall its sound carries everywhere. Because of the variety of tone possible on the guitar, people can
listen to it for a longer time than to almost any other instrument played alone. It is an instrument of the
present, which succeeds in preserving the sonority belonging to ancient works, without, however,
erecting a barrier of several centuries between the listener and the music."

28
 ETUDE
October 1938
volume LVI
number 10
page 694

Franz Schubert, Guitarist

By George C. Krick

THE LIFE OF FRANZ SCHUBERT has been the subject of many historians and it is not the object of
this article to restate what is already known to most music lovers throughout the world, about the
struggles and triumphs of this veritable genius, creator of the immortal "Symphony in B minor," and
peer amongst the writers of song. Only in rare instances, however, do we find references to his intense
interest in the guitar, the instrument he loved, and played with great skill.

Schubert was born January 31, 1797 in Vienna, and died in that city November 19 1828, the period
which is often referred to as the golden era of the guitar. Sor and Aguado, the great Spanish guitarists
were concertizing in European cities and the Italian virtuoso Mauro Giuliani was creating a furore in
Vienna with his astonishing guitar performances. Together with J. N. Hummel and later Ignaz
Moscheles, Giuliani performed original concertos for guitar and piano. Hummel wrote a number of
serenades for piano, guitar, violin and violoncello and these were performed by Hummel, Giuliani, the
violinist Mayseder and the violoncellist Merk. Frequently this quartet appeared at the musical soirees
given at the royal castle Schoenbrun. No home in Vienna was considered complete without a guitar
and most musicians of that period devoted some of their time to the study of this instrument. These
were the years when the "family orchestra" flourished and in the evenings after the day's work was
done and friends gathered together, the "making of music" was the all absorbing interest; and in these
groups the guitar played quite a prominent part. Numerous compositions published during this period
were written for small combinations of instruments, trios, quartettes, quintettes and most of them
included a part for guitar.

In this guitaristic atmosphere Franz Schubert was born and received a thorough musical foundation
from his father and older brother on piano, violin and guitar. Even as a boy he began setting poems to
music and singing them to the accompaniment of his guitar. When sixteen years of age he composed
in honor of his father's birthday a cantata for three male voices with guitar accompaniment. It was
Theodore Koerner, the poet and liedersinger, who induced Schubert to devote more time to the serious
study of the guitar and from all accounts he must have acquired a technic bordering on virtuosity in a
comparatively short time.

In straitened circumstances during most of his life, frequently changing his lodgings, often deprived of
the use of a piano, Schubert found solace in his guitar and it became his constant companion. Most of
the accompaniments for his songs were conceived on the guitar and only later were they transcribed
for piano. Quite a number of his early songs and many appearing during the years 1822-23-24 were
originally published with guitar accompaniments. Amongst these are the well known Ungeduld, Das
Wandern, Heiden Roeslein, Lied der Mignon, Morgengruss, Wiegenlied, Geist der Liebe, for four
male voices and guitar, Op. 11, No. 3 and many others.

The greatest contribution Franz Schubert made to the literature of the guitar is undoubtedly his
"Quartet for Flute, Guitar, Viola and Violoncello." The original manuscript of this composition was
accidentally discovered in the attic of a country home belonging to Karl and Marianne Feyerer in
"Zell am See," in 1918 and published in 1926 by the "Drei Masken Verlag" in Munich. According to
29
George Kinsky, the music historian, a great uncle of Feyerer, Ignaz Rosner, was a friend of Schubert.
He was an excellent flutist and violoncellist and a fairly talented composer of songs. There were also
Friedrich Stenzl, a government official, who played viola in the orchestra of the "Friends of Music,"
and a sister of Stenzl, who was a clever guitarist. It is supposed that the quartet was dedicated to this
lady, who later became the wife of Rosner and this no doubt accounts for the manuscript coming into
possession of the Feyerer family. The published version includes a facsimile of the first page of the
manuscript, with a notation that it was first intended as a trio for flute, guitar and viola, and it appears
that a violoncello part was added, before it was completely finished. Similar to most of Schubert's
manuscripts it is dated showing that it was begun February, 1814, and the handwriting from first to
last is unmistakably that of the master. The quartet is in five movements: first, Moderato, second,
Menuetto, third, Lento e patetico, fourth, Zingara and the fifth, Tema con variazioni.

From the appearance of the manuscript it was evident that several more pages belonged to it, but these
have not been found. They possibly contained more variations and a final coda to bring the quartet to
a proper close, as was his custom in compositions of this type. Next to the flute, the guitar has the
most important part, containing many solo and obbligato passages and other characteristic effects
generally associated with the guitar. It calls on all the resources of the instrument and also proves that
Schubert was a consummate master of guitar technic. From beginning to end the five movements are
gems of musical invention and contain melodies that are typically Schubert at his best. The initial
public performance of the quartet was given on June 6, 1925, at the Fourth German Chamber Music
festival held in the music room of the beautiful castle, "Zu Bruehl," near Cologne, with the guitar
virtuoso Heinrich Albert playing the guitar part. On May 4, 1926, it was again heard in Vienna at a
concert sponsored by the Schubert Society of that city.

Schubert frequently found his way to the workshop of Stauffer the celebrated guitar maker, whose
instruments were quite popular at that time. Stauffer had also constructed a so-called guitar-cello, an
instrument about the size of a small violoncello, with fingerboard raised above the sounding board and
to be played with a bow. It had six strings, the fingerboard was fretted and its tone is said to have
resembled that of the Viol d'amour. Schubert was quite taken with it and composed for it a "Sonata in
A minor" with piano accompaniment.

Of the guitars that had been in Schubert's possession, three are still in existence. One is owned by the
Schubert Society and may be seen in the Schubert Museum of Vienna, another is in possession of
Richard Schmid and the third is in the hands of Major Hans Umlauf, of Vienna.

30
 ETUDE
November 1938
volume LVI
number 11
page762

Miguel Llobet 1878 - 1938

By George C. Krick

THE RECENTLY REPORTED death in Barcelona of Miguel Llobet will come as a great loss to the
guitar fraternity.

The younger generation of guitarists will be interested to know that in his native land Miguel Llobet
was considered the greatest guitar virtuoso and a worthy successor to his teacher Francisco Tarrega.
Born in Barcelona, October 18, 1878, son of a celebrated wood carver, young Miguel quite early in
life displayed exceptional talent for the fine arts. When ten years of age he entered the Municipal
Conservatory, where he received a thorough training in all branches of music. One day his uncle,
owner of a hostelry in Barcelona, came into possession of a guitar left with him in settlement of a
debt, and he presented this instrument to his nephew. At once the youngster was attracted to the guitar
and within a short time mastered its technic sufficiently to entertain his friends. Realizing the boy's
exceptional musical talent, his father placed him in the hands of the incomparable Francisco Tarrega,
and now his studies were carried on in earnest. His concert activities began when he was about twenty
years of age and were at first confined to the cities of his native land, where he scored great successes
whenever he appeared. After the death of Tarrega, Llobet made his home in Paris, where he was
received with the greatest admiration by the cultured musicians; and his recitals in the Schola
Cantorum, as well as those with the Trompette Societe Nationale were veritable triumphs. In 1910
there followed a trip to the Argentine, where he gave over one hundred concerts and became quite the
"Enfant Cherie" of the public. In 1912 and 1913 he toured France, Belgium, Germany, Austria and
Spain creating a furore wherever he appeared and impressing the critics with his astonishing technic
and musicianship. After the world war Llobet undertook several more concert tours to South America,
Mexico, and Central Europe, after which he returned to his native city, where he spent his leisure
hours amongst his vast collection of books and paintings gathered during his travels.

Miguel Llobet was the greatest exponent of the school of Tarrega, who regarded him as his favorite
pupil; and it was Llobet who made the name of Francisco Tarrega immortal amongst guitarists
throughout the world.

An extract from "Le Courier" of Paris (1910) makes interesting reading. "At his recent recital in
Madrid, Miguel Llobet received a welcome never to be forgotten, and the entire royal family united in
their felicitations to this exceptional virtuoso. He is the fortunate possessor of an admirable instrument
made by the great master Torres. Upon this instrument he has done wonders in music - on this
instrument, the guitar, which once we thought, and so wrongly, was capable only of rendering a
serenade under a starry sky. The works of the great composer Ferdinand Sor give to this true magician
an opportunity to make us feel and thrill in moments of artistic emotion. We must say in passing that
many pages of Sor are true masterpieces; and has not this Ferdinand Sor been called the Beethoven of
the Guitar? Mr. Llobet executes these works with a style and a rare charm such as he only can do.
From Bach, Beethoven, Chopin to Albeniz, his talent has reached an extremely rare artistic perfection.
We may compare him with Paderewski and Kubelik. In other words he is not a guitar player, he is a
great artist."

31
A Changing Attitude

IT IS AN INDISPUTABLE FACT that the Llobet recitals greatly influenced the guitaristic movement
throughout Europe and South America and gave it an impetus that reached its culmination with the
Segovia recitals in late years. Before Llobet came upon the scene the guitar was heard frequently in
concert halls, but failed to attract the general musical public, neither did the music critics think it
worth while to attend a guitar recital.

The remarkable technic and rare musicianship displayed by Llobet brought about a change in their
attitude towards the guitar and it was his rendition of the classics that convinced everyone within his
hearing that this instrument was capable of producing musical effects that equalled, and in some
instances surpassed, those one is accustomed to associate with violin, piano or violoncello.

The writer was fortunate enough to attend the only recital given by Llobet in Philadelphia, on October
29, 1912. Stopping in New York for a few days on his way from South America to Paris, Llobet
happened to meet the late Paul Eno, prominent guitar and banjo teacher, who persuaded him to come
to Philadelphia for an afternoon concert. Having only a few hours we went to work with the telephone
and managed to get together an audience of about two hundred fifty, in the Orpheus Club rooms.

To the best of the writer's knowledge this was the first complete guitar recital ever given in
Philadelphia, and it goes without saying that it proved a great artistic success. The late Camille
Zeckwer, pianist and composer, who happened to be my guest of the afternoon, turned to me after
Llobet played the Chopin Nocturne, Op. 9, No. 2, and remarked: "This was the most artistic rendition
of that beautiful Chopin classic I've been privileged to listen to." His program consisted of:

1. Menuet, Sor
2. Etude de Concert, Coste
3. Nocturne, Op. 9, No. 2, Chopin
4. Variations, on a theme by Mozart, Sor
5. Baurrée, Bach
6. Andante ("Sonata, No. 10"), Beethoven
7. Reve, Tarrega
8. Caprice Arabe, Tarrega
9. Fantaisie Espagnole, M. Llobet

As an artist Miguel Llobet has set a standard every ambitious guitarist should strive to reach.

32
 ETUDE
December 1938
volume LVI
number 12
page 836

Electrical Instruments
By George C. Krick

DURING THE PAST MONTHS quite a number of letters have been received by this department from
readers requesting information regarding the new electrical instruments, and in this article we shall
endeavor to give a fairly accurate picture of the development of electrical amplification as applied to
the fretted instruments.

The first instrument of that type to make its appearance several years ago was the electrical Hawaiian
guitar. The latest model offered in the catalog of a leading company is a triumph of instrument making
and engineering skill. The complete unit consists of a small sized guitar made of curly maple,
mahogany neck and rosewood finger board with twenty-nine frets, giving a range of almost four and a
half octaves. Tone and volume control are both placed on one side for fast, easy action; with a
sensitive pick up unit, containing the finest steel magnets, placed inside under the strings to avoid
interference with fast playing. A cord connects the guitar with the Amplifier which will accommodate
two instruments, a microphone and an extra speaker. Seven tubes with tremendous reserve power, and
with four stage amplification, guarantee maximum volume and reproduce the tone without any
distortion. The control panel shows: 1. On-off switch; 2. replaceable fuse; 3. extra speaker socket; 4.
control dial for microphone; 5. Ruby light on-off indicator; 6. control dial for instruments; 7. sockets
for microphone; 8. sockets for two instruments; 9. Bass or normal tone control.

Another device just recently developed is the "foot volume control." It is made of aluminum with a
rubber pad to keep it steady on the floor; it is connected with the amplifier, and its purpose is similar
to that of the pedal on the piano. Being worked with the foot it can readily be seen that the playing
positions of the right and left hand are not disturbed. This device has opened to the player many
possibilities for new and beautiful effects, at a moment's notice the tone can be changed from the
softest pianissimo to a powerful crescendo and fortissimo, at the same time sustaining the tone to
sound almost like an organ In addition to changing and controlling the tone volume, it is also possible
to effect a change in the quality or character of tone from a deep sonority to a high pitched soprano
voicing.

Easily Adapted

THE AVERAGE PLAYER should have very little trouble changing from a standard instrument to one
of those just described, but some additional study will be required to enable one to use readily the
different resources of this new electric guitar. Many orchestra leaders, ever on the alert for something
new and different, have given this instrument a permanent place in their organizations and this in turn
is responsible for the creation of several new varieties of the instrument. Gene Mack with Lee
Shelley's Orchestra uses a guitar with a double neck, one having seven strings, the other eight - two
instruments combined in one. The different tunings make possible a wider range of harmony and
simplify the forming of any chord combination. A somewhat similar instrument is used by Alvino
Rey, member of the Horace Heidt Orchestra.

The orchestra guitar (often called "Spanish") also the mandolin were next in order to receive the
33
attention of the sound engineers. Both guitars and mandolins used are regular concert size
instruments; they are held and played just as any ordinary guitar or mandolin and in appearance they
differ very little. With the exception of the coil and volume control the entire pick up unit is built
inside the body of the instrument; and the tone may be amplified to any volume desired. In using the
tone control the tonal color may be changed from a rich sonorous bass to a brilliant treble. A decided
advantage is the low and easy string action requiring very little force from either hand, which helps
considerably to facilitate left and right hand technic, at the same time reproducing with remarkable
fidelity the characteristic tone of these instruments. Several manufacturers have put out some
amplifying units, that may be attached to any instrument and while they are quite satisfactory, it is the
opinion of the writer that the units built right into instruments constructed for that purpose, give the
best results.

The latest electrical instrument perfected is the banjo. To the best of our knowledge Ken Harvey, one
of our outstanding banjoists, is the first one to use an electric banjo in his concerts, and with it he
created quite a sensation on his concert tour through England during the past season. Since the writer
has had no opportunity to hear this artist, the information given here comes from one of the English
critics and from the company which constructed the instrument especially for Mr. Harvey.

The instrument is a plectrum banjo with an eleven inch rim and a standard finger board with five
additional frets. The main visible difference between it and a standard banjo is that no vellum is used,
but a maple top containing the pick up unit placed under the strings in front of the bridge. The pick up
transfers the string vibrations into electrical impulses, which in turn are carried to the amplifier.

Unlimited Tonal Possibilities

AS WITH THE OTHER instruments described the tone of this banjo, while it retains its characteristic
banjo quality, is greatly enhanced through amplification and the "volume and tone control" gives the
player unlimited opportunities to vary his performance.

Ken Harvey includes such numbers as Rachmaninoff's Prelude in C-sharp Minor, Gershwin's
Rhapsody in Blue and others of similar type in his program; and in his rendition of classic music this
new banjo with its improved tone and volume control has proved a revelation.

It seems an undisputable fact that electrical amplification has opened up new fields for the player of
fretted instruments; no more is he hampered and handicapped through lack of tone volume, but he is
able to appear in large size theatres and concert auditoriums. Many of the leading companies are
putting on the market these beautiful instruments and it is up to the players to perfect their technic to
cope with this new development. One correspondent recently wrote: "Sales of electrical instruments
have more than exceeded our fondest expectations and they are constantly growing from day to day."

Who knows what will prove the most popular musical instrument of the future.

34
 ETUDE
February 1939
volume LVII
number 2
page 136

The Guitar in Chamber Music

By George C. Krick

IF YOU SHOULD HAPPEN to visit the "rare book" room in the Congressional Library in
Washington, do not fail to pause before the glass case containing some of the greatest musical
treasures existing in this country. This case is the permanent home of five stringed instruments created
by the most celebrated violin maker of all times, Antonio Stradivarius. The collection consists of three
violins, one viola and one violoncello, together with a bow for each. These bows were made by the
great François Tourte of Paris and are excellent examples of his work. All of this represents a gift to
the nation by that public spirited lady, Mrs. Matthew John Whittall. In times past instruments of this
nature were bequeathed to Museums, their voices stilled, never to be heard again; witness the priceless
violin of Paganini resting in a glass case in a Genoa Museum for many years, from which it was never
moved. A recent examination revealed that it had deteriorated to such an extent that it is almost
useless.

To avoid such a calamity Mrs. Whittall provided a trust fund, the income from which is to be applied,
through the Music Division of the Library, to the maintenance of the instruments, and to programs in
which they will be used. Thus Mrs. Whittall's generosity and foresight assure these precious
instruments not merely security and proper physical attention, but also an active and continuing
service to the cause of music and musical appreciation.

Antonio Stradivarius was horn in Cremona, Italy, in 1644 and died there in 1737 in his ninety-third
year. According to reliable statistics he produced over eleven hundred instruments, mostly violins,
violas and violoncellos; but he made as well some violas-de-gamba and a few guitars.

The five Stradivarius instruments in this collection were created during the master's best period, and
each one is a perfect specimen of his matchless work. The "Betts" violin, made in 1704, is generally
conceded to be the most beautiful and perfect violin he ever made; and the "Ward," dated 1700, is a
close second; the "Castelbarco," 1699, is a perfect specimen of the "long pattern" violin, while the
"Cassavetti" viola, 1727, and the "Castelbarco" violoncello, 1697, are equally perfect from every point
of view.

To give here a complete history of these instruments is beyond the scope of this article; they passed
through many hands before finally coming into possession of Mrs. Whittall and, through her
generosity, to the Music Division of the Library of Congress.

Provision tor Concerts

ONE OF THE STIPULATIONS in creating the trust fund was the inauguration of a series of annual
concerts by some of the outstanding chamber music organizations, at which these instruments are to
be used; and on December 2, 1938, in the Elizabeth Coolidge Auditorium of the Library of Congress,
the public was privileged to be present at the first concert sponsored by the Gertrude Clarke Whittall
Foundation and played by the Stradivarius Quartet of New York. This Quartet appeared again on
December 4. The other organizations booked for this series, extending through December, January
35
and February, are the Gordon Quartet, the Musical Art Quartet, and the Roth Quartet of Budapest.
Tickets to these concerts are free to the public, but there is a service charge of twenty-five cents per
ticket. Reservations for the February concerts are available on and after January 30. All the concerts
are being broadcast in part; so it is advisable to consult your radio time table.

Of special interest to guitarists will be the two concerts scheduled for Thursday evening, February 23,
and Saturday afternoon, February 25, when Andres Segovia will appear on the programs with the
Roth Quartet. While no details of the numbers to be played are available at the time of this writing, it
is probable that the Schubert "Quartet for Violin or Flute, Guitar, Viola and Violoncello" and some of
the Boccherini quintettes for two violins, viola, guitar and violoncello will be heard. These two days,
when the instruments of Stradivarius mingle their exquisite voices with that of the "Hauser" guitar in
the hands of Segovia, should be marked down as "red letter" days for the guitar.

It is to be regretted that the guitar is not heard more frequently in chamber music, as its tone blends
most beautifully with that of any other instrument. Duets for flute or violin and guitar; and trios and
quartets in which the guitar takes a prominent part would appeal to any music lover. A great deal of
chamber music with guitar was published in the early part of the nineteenth century, and many of
these numbers are listed in some of the foreign catalogs.

Some Excellent Program Material

HEINRICH ALBERT, guitar virtuoso and composer, has done excellent work in revising a number of
these compositions. Amongst them are trios for violin or flute with viola and guitar, by Molino, J.
Kreutzer and DeCall; three quintettes for two violins, viola violoncello and guitar by L. Boccherini;
"Grand Sonata for Violin and Guitar," by Mauro Giuliani; three sonatas for violin and guitar by
Gragnani; two quartets for four guitars by Albert and Op. 15 by Ferdinand Sor; and last, but not least,
the Schubert "Quartet" discussed in detail in the October issue of THE ETUDE.

In the fretted instrument field we have three plectrum quartets by Carlo Munier, also one by
Giangreco, that are full of beautiful effects of each instrument; and, while the original score calls for
first and second mandolin, mandola and mandocello, there is also a guitar part for each one of them;
and, since it almost duplicates the mandocello part it may well be used in place of it, as sometimes it is
difficult to find a player for the latter instrument.

Frequently a good guitarist may not have all that it takes to become a top notch soloist, but he may
prove a valuable player with a small chamber music organization.

36
 ETUDE
March 1939
volume LVII
number 3
page 206

Fundamental Guitar Technique

By George C. Krick

ONE OF THE MOST serious mistakes made by many guitar students especially those trying to master
the instrument without the benefit of a teacher, is to attempt to play a composition that is far in
advance of their technical ability. In a recent letter the writer complains that after several months hard
practice he is still unable to play the Recuerdos de la Alhambra by Tarrega, at the same time stating
that he has been playing the guitar for almost two years.

Buenos Aires, the beautiful capitol city of Argentina, boasts of a large number of guitar schools,
where no other instrument but the classic guitar is taught. The most renowned is that presided over by
the distinguished guitarist, composer and teacher, Domingo Prat. The course for guitar in this school
covers a period of seven years; and the above mentioned Tarrega number is listed in its year book as
one of the compositions to be studied towards the end of the fourth year. Pupils are pledged to a
minimum daily practice period of two hours. Similar to that is the course for guitar at the State
Conservatory in Vienna with an average yearly enrollment of fifty students under the direction of
Professor Jakob Ortner.

These courses are carefully and intelligently outlined so the students progress gradually and surely,
skipping nothing, leading up to the time when they are ready for public appearance.

After all, there are no short cuts in learning to play any instrument and any one wishing to become an
outstanding player must pay the price by hard work for a number of years.

Practice and More Practice

ANDRES SEGOVIA devoted six hours daily for almost ten years to the development of his
incomparable technic and yet we have known of players of one or two years experience attempting to
play the difficult compositions performed by this virtuoso. To do this without sufficient preparation is
nothing but folly and eventually leads to discouragement and failure. The foundation of good guitar
technic is primarily daily practice of scales and arpeggios. Scales in all keys in two and three octaves
should be practiced with alternating first and second fingers of the right hand, slowly at first with a
firm decisive movement of the fingers and later with gradually increased speed and a lighter touch.
Arpeggios are beautiful and effective on the guitar and should be practiced in all keys and positions.
The third finger of the right hand, being the weakest, requires special attention and should be used
whenever possible. It is utterly impossible to play a tremolo movement similar to that in Recuerdos de
la Alhambra satisfactorily unless the control over the third finger is absolute. The first two "Preludes
Op. 83" of Mauro Giuliani, the Etude, 0p 6, No. 11, by Ferdinand Sor and "Six caprices, Op. 26," by
Carcassi are excellent for this purpose.

While the guitar, as far as volume of tone is concerned, cannot be compared with the piano, guitarists
will do well to experiment with their instruments and try to bring out all the tone there is in them,
putting much energy into their finger action, while practicing scales, chords or arpeggios in a slow
deliberate manner. For an audience to appreciate the guitar, it must be able to hear it and it is
37
surprising how the tone volume can be improved by intelligent and systematic practice.

Using at the start a complete "Guitar Method," such as that by Foden, Carcassi or Albert, this should
be supplemented with the exercises and etudes by the classic composers Giuliani, Sor, Carcassi,
Legnani, Coste, Aguado and the modern etudes and preludes by Albert and Tarrega. Along with these
a repertoire of concert numbers may be taken up for study, carefully graded to fit in with the technical
proficiency of the student. The literature for classic guitar is so extensive, that a student can find the
right material, which, if properly selected and intelligently studied for a number of years, will help
him to reach his goal.

Luigi Boccherini

IN DRAWING ATTENTION, in one of our recent articles, to the chamber music of Luigi Boccherini,
we invited several inquiries regarding the life and career of this highly gifted violoncellist, guitarist
and composer. Born in Lucca, Italy in 1743 he received instruction in the rudiments of music,
violoncello and guitar from his father and later from the Abbe Vannecci. Recognizing his musical
ability, they sent him to Rome where in a comparatively short time he became famous as a performer
and composer. A concert tour through Italy and France brought him to Paris, where his concerts
proved highly successful and publishers vied with each other for the privilege of publishing his
quartets and trios. At the suggestion of the Spanish ambassador in Paris, Boccherini now visited
Madrid and after a time was appointed composer and virtuoso to the Infante Don Luis, brother of the
King. In 1797 ill health compelled him to give up public performances and, having met a generous
patron in the person of the Marquis de Benavente, a talented performer on the guitar, he began to
devote more time to this instrument. The Marquis commissioned him to write guitar parts for all his
orchestral compositions and these were performed with Boccherini and his patron playing the guitar
score.

Other members of the aristocracy became interested in him and from then on he was kept quite busy
writing guitar solos, guitar parts for his symphonies, quartets and accompaniments to songs. At this
period he wrote a "Symphony Concertante" for guitar, violin, oboe, violoncello and bass and twelve
quintettes for two violins, viola, violoncello and guitar. His facility in composition was so great, that
he has been described as a fountain whose stream never ceased. Over three hundred compositions
from his pen were published but it is to be regretted that many of his guitar works were in manuscript
and in time disappeared.

The "First Quintett in D major," the "Second in C major" and the "Third in E minor" were recently
published by Zimmermann, of Leipzig, and they call for two violins, viola, violoncello and guitar.

His celebrated Minuet is known to every music lover and this beautiful composition has made the
name of Luigi Boccherini known throughout the world.

Towards the end of his career Boccherini suffered many financial reverses brought about through the
unfortunate conditions existing in Spain at that period and he was reduced to abject poverty, when
death overtook him May 28, 1805.

38
 ETUDE
April 1939
volume LVII
number 4
page 280

Luigi Mozzani
By George C. Krick

WHILE AMERICAN GUITARISTS are accustomed to associate with the classic guitar only such
names as Segovia, Llobet, Gomez, Sainz de la Maza, Alfonso and others coming to us from Spain,
little is known of Luigi Mozzani, the most celebrated living guitarist, of Bologna, Italy, who,
according to competent critics, ranks with the best. One of the most unique personalities in guitar
history, Mozzani is not only a virtuoso, composer, and teacher, but also a guitar maker, whose
instruments are said to compare favorably with those of the old masters and even to surpass them in
tone quality and carrying power

Born some sixty-five years ago in Cento, Italy, young Luigi lived and attended school in his native
town until he was ready to enter the Bologna Conservatory, where he studied music for a number of
years, electing the oboe as his principal instrument, and also devoting some of his spare time to the
guitar. Upon graduation he accepted a position as first oboist with a prominent orchestra, and for ten
years he was thus professionally engaged, playing at different times under Hans Richter and Arturo
Toscanini. A concert tour to America was arranged for an orchestra with which he was connected at
that time, but this venture proved a failure and a few months after its arrival the orchestra was
disbanded. Finding himself stranded far away from home, Mozzani, as a guitarist, joined a group of
mandolin and banjo players and managed to eke out a meager existence until he found a number of
guitar pupils eager to study with him, which helped to put him back on his feet financially.

During this time he composed a set of "Studies for Guitar" which were published in three books. The
writer still recalls a visit paid by Mozzani to William Foden, the American guitarist, in his St. Louis
studio. After Foden entertained him with a number of guitar solos, Mozzani expressed his surprise and
astonishment at the wonderful technic displayed by this artist; especially was he entranced by the right
hand tremolo. Fritz Buek in his book, "Die Gitarre und ihre Meister," discussing the technic of
Mozzani makes the statement that "the tremolo of Mozzani is unrivalled''; and it is our firm conviction
that Mozzani being a keen observer, took with him the impression made upon him by Foden; for from
that time on he devoted all his time to the improvement and development of his technic.

A few years later we find him in Paris, where he spent two years in the congenial companionship of
the well known guitarists Cottin, Zurfluh, Castillio, Gelas and Llobet; and from there he departed as a
full fledged virtuoso of the guitar.

A recital in Nuremberg, in the fall of 1906, sponsored by the "International Guitar Society,"
established his reputation in Central Europe; and in the following season we find him giving guitar
recitals in the principal cities of Germany and Austria and later in Italy.

The Artist Turns Craftsman

WHILE PURSUING his concert activities Mozzani was continually thinking of the shortcomings and
limitations of the instrument and decided to devote himself to the improvement of the guitar. Having
returned to his native city he now carried out his plans by experimenting with the making of different
39
types of guitars.

Impressed with the wonderful tone of an old guitar in the form of a Iyra made in 1839, by Schenk of
Vienna, he worked for many years until to-day he has produced one that is considered a masterpiece
of his art. In addition to guitars, he is making violins, mandolins, mandolas and violoncellos; and he
has taken on young men as apprentices in the making of these instruments. So successful has he been
as a teacher in this department, that about ten years ago he was induced to transfer his "school" to
Bologna where later on it was incorporated as the "State School for the Making of Stringed
Instruments," with Mozzani as its head. While all these activities absorb a great deal of his time
Mozzani, the virtuoso guitarist, has not neglected his technic. Most of the guitarists from Central
Europe come from time to time to him for a post graduate course, in order to polish up their technic;
for he is recognized as a master teacher. A born musician, with many years of orchestral training,
Mozzani extracts from his instrument the most beautiful tone imaginable, and his phrasing and rapid
scale passages are a delight to the ear. His sense of humor may be gauged by the following incident
related to the writer by a young guitarist of Munich, who lived and studied with Mozzani for several
months. "One evening we were sitting on the balcony of his home, when along came an organ grinder
who stopped just below us and began playing an Italian tune. Quickly Mozzani grasped his guitar and
improvised the most delightful variations. With a grin the street musician looked up and then began
another tune. For fully a half hour this 'duet' continued until, with a handful of small coins, the 'brother
musician' made his exit."

As a composer Mozzani has given us a limited number of works in the smaller forms. Several are
published in Paris, a set of six "Capriccios" is published in Leipzig, and a set of five solo pieces, in
Berlin. "Twenty-five Preludes" and some other works are still in manuscript; as is also the "Modern
Method," which we sincerely hope will before long be available to guitar students.

Mozzani once stated to a mutual friend, "During my early years I had all the short-comings and
limitations of most guitar students, and I had to depend on my own ingenuity and inventiveness to
overcome them gradually. My own experience along those lines has taught me what to do and what
not to do. To progress in any artistic endeavor we not only must study what others have created, but
also must build and expand upon this, and contribute our own ideas, in order to have our instrument
and its music conform to modern standards. That should be the underlying principle of a new
method."

Many times in recent years this master has been urged to return to the concert platform, but, in spite of
the promises of financial rewards and additional fame, he has refused all such temptations. He is
happiest when playing for small gatherings of friends and admirers and when he is engaged in
carrying out his long cherished plans to use his knowledge and skill for the improvement of his
favorite instrument, the guitar.

40
 ETUDE
May 1939
volume LVII
number 5
page 346

The Care of Instruments

By George C. Krick

SOME YEARS AGO we were happy in the possession of a fine guitar that had just arrived from
abroad. Its tone was superb, the workmanship beautiful. Four months later it was in the hands of an
expert repairman, as the top had split in several places.

We had overlooked the fact that it had been made in a country where central heating plants in homes
are still a luxury; and, while the wood used in its construction had been thoroughly seasoned, it was
not prepared for a sudden climatic change.

Instruments of very light construction are easily affected by changes in atmospheric conditions and
should be handled accordingly. To keep them for any length of time in a room with a temperature of
seventy-five to eighty degrees is inviting disaster. During the winter season, whenever the instrument
is not in use, it should be put in its case and placed in a room with a temperature between sixty-five
and seventy degrees, with the case kept on or near the floor and not on top of the piano, and of course
some distance away from a radiator. When traveling about in cold or stormy weather, it is advised to
have the regular carrying case enclosed in a weatherproof covering to insure the safety of the
instrument. While the guitars and mandolins with carved top and back are able to withstand greater
wear and tear, on account of their heavier construction, it is well not to take too great chances with
them, but to use the same caution as outlined above.

Be a Good Housekeeper

MOISTURE AND DUST left to gather on the instrument will eventually clog up the pores of the
wood, regardless of the lacquer finish; and an occasional treatment with a little furniture polish is
strongly recommended as this will help to preserve the wood, and in addition it will enhance the
appearance of the instrument.

We have known players of the classic guitar who were of the mistaken opinion that the lowering the
tension of the gut and silk strings before putting the instrument away for the night, would help to
minimize their breaking; but long experience has taught us that keeping the strings at the same pitch
will actually improve the tone of the guitar, as the wood of the sound board will gradually adjust itself
to this string tension and on that account prove more responsive. The frequent lowering and tightening
of strings make it difficult to keep them in perfect tune after returning them to pitch, and they will lose
their brilliance of tone sooner than if kept at the same pitch.

Banjoists should keep a careful check on the "head" of their instruments, which at all times, should be
kept stretched as tight as possible. After a spell of moist and humid or rainy weather, it is well to wait
until the head is thoroughly dry before beginning to tighten it again. On the night of a concert
engagement it is advisable to arrive at least a half hour before the performance, to give the instrument
a chance to adjust itself to the temperature of the auditorium. A pick guard made of aluminum or
tortoise shell, to protect the head against the pick, and also against the moisture of the right hand, is a
good investment.
41
Selection and Care of Strings

NO MATTER HOW GOOD the instrument, unless the strings used are of a better grade, the guitar,
mandolin or banjo will not give the player the satisfactory tone one might expect from it. We have met
players who have spent seventy-five, a hundred or two hundred dollars for a guitar; but, when buying
strings, they will try to save a few cents and then wonder why the tone is not brilliant and of as good
quality.

Perhaps no string has given us as many headaches as the gut string for classic guitar. Until we finally
find the right string, a great deal of experimenting is necessary, as some instruments sound better with
thin strings and others require heavier ones depending on the thickness of the sounding board. In the
beginning it is advisable to gauge the strings used and after carefully deciding which gives the best
results, stick to that particular kind.

While violin strings can be used for first, second and third strings on the guitar, they frequently prove
"false," especially in the higher positions; and so we prefer a gut string made expressly for the guitar.
Some makers now offer these strings, guaranteed to be "true" in all positions.

As the fretted fingerboard of the guitar and the right hand action both contribute to the wear and tear, a
string that is made of hard rather than soft gut and one that is of even texture without any yellow spots
is preferable. Occasionally rubbing the entire length of the string from nut to bridge with a bit of oil
will lengthen its life.

When putting on a gut string it has been customary to tie a knot at the end and to insert this in the slot
of the bridge. If instead, a small loop is made and the knot tied into it and then inserted in the slot,
breakage of strings at that point may be kept down to a minimum.

In selecting the wound silk bass strings the use of a gauge is again advisable, as a thick heavy string
will produce a dull lifeless tone, while a string too thin for that particular instrument will lack sonority
and carrying power.

The life of strings depends of course on the amount of usage; but when once they begin to lose their
brilliance it is time to replace them. In the matter of replacing strings, the worst offenders are
generally found amongst players of plectrum and Hawaiian guitars, the tenor banjo and the mandolin,
instruments requiring metal strings. These strings do not break easily and players will argue, "Why
buy new ones?" The main trouble with plain wire strings is that perspiration of the left hand fingers,
together with moisture in the air cause them to rust, and, in addition, the wound wire bass strings do
eventually gather dust, which after a time will deaden the tone. Wiping the strings regularly with a
woolen cloth kept in the instrument case for that purpose, will help to delay this accumulation of rust.

On the plectrum guitar with carved top and back, also on the Hawaiian guitar, a heavy string gives the
best results; the flat top guitar sounds best with strings of medium thickness. We are very much in
favor of the polished strings used for some time on Hawaiian guitars and now available for all
plectrum instruments. Their use facilitates plectrum technic and also helps to minimize the "squeak"
often caused by some finger of the left hand gliding over one of the bass strings from a lower to a
higher position.

During the past few years American string manufacturers have made great efforts to improve the
quality of their product and we are thoroughly convinced that the best grades of American strings are
superior to those from other countries.

42
 ETUDE
June 1939
volume LVII
number 6
page 414

The Mandolin
By George C. Krick

"WHAT METHODS AND EXERCISES do you recommend to a young student, seventeen years of
age, anxious to become a real mandolinist with ability to play all the high grade mandolin solos
especially written for this instrument by the prominent classic and modern composers." This
paragraph from a recent letter addressed to this department shows that we still have players that take
the mandolin seriously, but are somewhat in the dark as to its literature.

It is a deplorable fact that many people have only a vague idea of the artistic possibilities of this
romantic instrument, being of the opinion that it is limited to the performance of popular melodies,
marches or serenades; and while it is true that, on account of its fretted fingerboard, a fair amount of
technical proficiency in the first position may be acquired in a comparatively short time, this should
be considered only a beginning. An ambitious student, wishing to acquaint himself with all the
beautiful music composed for the mandolin, will find this a most interesting task, and, having reached
his goal, may well be proud of his achievement.

In commencing the study of instrumental music, it is most essential to have a good instrument. You
cannot get a good tone from an inferior, cheaply constructed mandolin, and the production of a
beautiful tone should be the aim of the student, right from the beginning. The most widely used
American mandolin to-day is the flat model with carved top and back; while in most European
countries the so called classic model, pear shaped, is still the favorite. There is a decided difference in
tone quality, that of the classic type having more of a piercing, soprano voice, while the flat model
reminds one of a contralto, the tone round and full with good carrying power. A fair instrument may
be purchased for twenty-five to fifty dollars, an excellent one for seventy-five or a hundred dollars,
and the cost of superior instruments is anywhere from one hundred dollars upwards.

Mandolin "Methods," treating all phases of mandolin technic, starting with the fundamentals and
leading in progressive stages to the advanced courses, are now published and we shall mention here a
few of the well known ones. Amongst those by foreign writers the "Methods" of Branzoli,
Christofaro, Munier and Calace have enjoyed great popularity. The "Mandolin Schools" by Pettine,
four Books; Bickford, four Books; Odell, three Books; Stahl, two Books, and others, are published in
this country and contain splendid study material.

As each composer of teaching material for the mandolin presents his own ideas and experiences in a
different way from others, it is advisable to incorporate in one's library every book of instruction by a
recognized authority and thereby gain a most comprehensive knowledge of the subject.

Along with these books, at the proper time and in progressive order, it is imperative to make an
exhaustive study of the "Concert Etudes" in three volumes by Jules Cottin, "La Scioglidita" (velocity
exercises), in four volumes by Carlo Munier, together with "Grandi Studi di Concerti Op. 200," by the
same writer; also "Etudes," by Bertucci and "Preludes and Etudes," by Raffaele Calace. Most of the
"Methods" mentioned contain chapters dealing with the "duo style" of mandolin playing, but these
should be supplemented with the special courses on duo playing as contained in the "Duo Methods"
43
by Pettine and Stauffer, and others.

This phase of mandolin technic is one of the most effective characteristics of the instrument and
requires a great deal of preparatory practice. One must be thoroughly familiar with the entire
fingerboard and must have a complete knowledge of all chords in the principal positions, and a perfect
control of the plectrum.

Much time and great care should be given to the right hand fingers and wrist, in the early development
of the various plectrum movements. A good tone, a smooth and even tremolo, speed in scale passages;
all these depend on the proper manipulation of the plectrum. Nearly all mandolin authorities now
seem to agree that the curved wrist motion of the right hand is preferable, as in this position the hand
and wrist are entirely relaxed. It goes without saying that the plectrum should be carefully selected,
that it is of sufficient flexibility, beveled on both sides, and that it is kept always in good playing
condition. When the student is sufficiently advanced to begin building up a concert repertoire, each
number should be carefully analyzed, practiced and memorized, before beginning the next one. He
should not make the mistake of selecting numbers too difficult for his stage of technical development.
There are numerous concert solos of medium difficulty by Pettine, Mezzacapo, Arienzo, La Scala
Leonardi, Marucelli, Munier, and Calace; these to be followed later by the more ambitious
compositions of these masters, and finally the mandolin concertos by Pettine, Calace, Munier and
Ranieri.

We are putting the emphasis on original mandolin compositions written by masters who are well
aware not only of all the possibilities of the instrument but also of its limitations; as we believe that its
artistic future is bound up with the music written for it.

It is also permissible and, from the standpoint of further musical development, advisable to delve into
the violin literature as many classic and so called semiclassic compositions may be adapted to the
mandolin. However one should make these selections rather judiciously, as something more than
technical proficiency is necessary to render a musical composition to the satisfaction of listeners. To
play the famous Mendelssohn "Concerto" on the mandolin, before an audience that perhaps has been
accustomed to hear it played by some of the outstanding violin virtuosos, is sheer folly and
undoubtedly would be judged primarily as a technical feat. There is quite a supply of fine mandolin
music available to the ambitious soloist, music that will agreeably surprise an audience by its sheer
beauty and novelty of invention.

Mandolin Questions Answered

Q. What instrumentation do you suggest for a group of four or five players, also for one of about
twenty, most of whom play mandolins. - W. M., Birmingham, Alabama.

A. The so-called "Romantic Quartet" is made up of first and second mandolins, mandola and guitar.
The "Classic Quartet" substitutes a mandocello for guitar. Adding a mandobass will give you the ideal
quintet in either case. A great variety of excellent music has been published for these combinations.

An orchestra of twenty players should have six first mandolins, four second mandolins, three
mandolas, two mandocellos, four guitars and one mandobass. For the sake of variety, two tenor banjos
may occasionally be substituted for two of the low voiced instruments.

44
 ETUDE
July 1939
volume LVII
number 7
page 480

Ferdinand Sor
By George C. Krick

FERDINAND SOR, one of the most renowned guitarists of all history, has been acknowledged as also
the greatest composer of original music for guitar. Born in Barcelona, February 17, 1780, he died in
Paris, July 8, 1839. His musical talent showed itself quite early, for at the age of five he composed
little pieces, which he performed on the violin or guitar. Musicians who came in contact with the boy
soon recognized his genius, and his parents were persuaded to place him under a teacher for
instruction on the violin and violoncello. So remarkable was his progress that after a few years he
entered a monastery of his native city to receive a thorough general education including lessons in
harmony and composition. Young Sor soon discarded the violin and violoncello, owing to his
becoming fascinated by the guitar, and from this time it commanded his undivided devotion.

When at the age of sixteen he left the monastery his teachers had every reason to be proud of him, for
he astonished musicians by his unrivalled technical proficiency in guitar playing and his profound
knowledge of harmony and counterpoint. He became a member of an Italian opera company in
Barcelona, which afforded him opportunity of becoming acquainted, in a practical manner, with the
art of song and instrumentation. Inspired by this association, he wrote an opera, "Telemacco," which
had great success in Barcelona and later in London.

Sor now journeyed to Madrid, where members of the aristocracy became interested in the young artist,
and here he composed several symphonies and quartets, some church music and a number of Spanish
songs. After the outbreak of war between Spain and Portugal we find him as captain in the Spanish
army, and, several years later in Paris, where he resumed his artistic career, associating with all the
musical personalities of that period.

In London

In 1809 Sor went to London, where his extraordinary skill on the guitar and his beautiful original
compositions created a furore. Up to this time the Spanish guitar was scarcely known in England and,
this new instrument presenting, in the hands of an artist, a new phase in tonal art, was hailed with
delight by the elite of society. Teaching and composing now kept Sor fully occupied, and these years
in England represent the most prosperous and successful period of his career. In 1817 he appeared as
soloist in a concert of the London Philharmonic Society, at the Argyle Rooms.

While Sor was popularizing the guitar in England, Giuliani was doing the same in Austria and Russia,
finally going to London where there was great rivalry between the two artists. Each of the great
masters had his partisans and there were Sor Clubs and Giuliani Clubs. But eventually both left
London, Giuliani traveling to Italy, Sor to Paris and later to Russia. There he wrote a funeral march
for the obsequies of Alexander I and he composed also the music of the Ballet "Hercules and
Omphale." Returning again to Paris and London, he wrote the music of the ballet, "Le dormeur
Eveille," and the fairy opera, "La belle Arsene." In 1831 Sor, with the violinist Lafont and the pianist
Herz, performed Hummel's trio, the "Sentinelle." The "Harmonicon" of February 1831 stated:
''Ferdinand Sor stands at a vast distance from all other guitarists, both as a performer and composer."
45
Ill health now forced Sor to restrict his public appearances; and, hoping that a change of climate might
help him, he returned to Paris but to no avail; and, after a painful illness, he died on July 8, 1839.

Ferdinand Sor was a composer of distinctive genius. Aside from those already mentioned he wrote
numerous works for the theater-operas, ballets and pantomimes, amongst them "The Fair of Smyrna,"
''Le Seigneur Genereux," "Le Sicilien," "Gil Blas," and "Cendrillon." Of these "Gil Blas" and
"Cendrillon" were quite popular for many years and were produced at the Royal Opera, London, and
also in Paris.

As a composer for guitar, Sor stands above all others. One critic of that time wrote: "What
Mendelssohn is to the piano, Sor is to the guitar." Others have spoken of him as "The Beethoven of
the guitar."

Up to the time when Sor came upon the scene, most so-called sonatas and other works for guitar
contained long passages in single notes with occasional basses on open strings, although Carulli,
Aguado and Giuliani had already cut loose from this system and had greatly improved the method of
writing for guitar.

Sor, with his thorough training in harmony and counterpoint and experience in instrumentation, soon
found that the guitar was capable of producing three and four part harmony; and his original
compositions for guitar show the hand of the master. Upon his method are built the modern school of
Tarrega and others. Without the study of Sor's "Etudes" and other guitar compositions, the present day
guitarists cannot expect to reach the top.

His "Method," the result of many years of observation and teaching, is a remarkable work containing
numerous examples of technical nature and a great deal of text, giving explanations of everything
pertaining to their execution. His four volumes of "Etudes" cover almost all phases of guitar technic
and at the same time are melodious and from beginning to end contain nothing but beautiful
harmonies. The first one of these "Opus 6" (12 Etudes) was evidently too difficult for beginners and
he later on wrote "Opus 31" and "Opus 35," each consisting of 24 Etudes. A student will do well to
begin with "Opus 35, Book 1," then "Opus 31, Book 1," follow these with "Opus 35, Book 2," and
"Opus 31, Book 2," and after these are thoroughly mastered, one is ready for "Opus 6," and later for
"Opus 29," 12 Etudes of considerable difficulty. Of his "Fantasias" the Opus 4 is perhaps the easiest
one, but withal quite effective. The second, third, fourth and fifth Fantasias, Opus 7, Opus 10, Opus
12 and Opus 16, require more advanced technic. The "Variations on a Theme by Mozart, Opus 9" is
one of the most effective of concert numbers and can be found in the repertoire of all the leading
guitarists; this is true also of several of the Minuets in "Opus 11." Other numbers of outstanding merit
are Grand Solo Opus 14, "Sonata, Opus 15," "Grand Sonata, Opus 22" and "Second Grand Sonata,
Opus 25." The "Opus 22' is undoubtedly his greatest work and demands the utmost technical
proficiency and musical insight from the artist. While at first a student may find the music of Sor
rather difficult, he will soon discover that the left hand fingering employed will prove logical and
practical.

46
 ETUDE
August 1939
volume LVII
number 8
page 540

The Guitar - Fingers or Plectrum

By George C. Krick

WHENEVER GUITARISTS come together it is inevitable that eventually the conversation drifts
towards the question: Will the plectrum guitar supplant its classic predecessor? And in frequent letters
to this department it is asked: "What do you advise me to study for the purpose of a professional
career - the classic guitar or plectrum?

To answer this question intelligently it is necessary at first to make a comparison of these instruments,
as to their tonal quality and the purpose for which each is intended. During many years of playing and
teaching the guitar, the writer has yet to meet one who, after listening to Andres Segovia, Vicente
Gomez or Julio Oyanguren, did not admit that the tone quality of the classic guitar, strung with gut
and silk strings, is far superior to that of the plectrum guitar strung with wire and played with a pick.
Beauty of tone in an instrument being the prime requisite of an artist, we cannot help but cast our vote
in this connection for the classic guitar.

For several hundred years this type of guitar has been the accepted instrument of all great virtuosos,
until to-day it is recognized as the standard guitar. Its technic has been developed and standardized;
original compositions, in unlimited quantities by the great classic and modern writers, have been
published; transcriptions of classic gems are available, and all of these are possible only to the
guitarist using his right hand fingers and not a plectrum.

Some one will ask: Why do we not hear more players of this type? First of all, to play the classic
guitar pleasingly requires a person of a sensitive, thoroughly musical nature, one who is able to "feel"
beautiful tone and eventually is able to produce this on his instrument, one who is attached to the
instrument, for the same reason, and is willing to study his instrument for years until he gets the
desired result. Persistence, patience and perseverance are additional requirements for those ambitious
to master the guitar; and, sad to relate, many of our American music students do not possess these
qualities - they like to "cut across lots," so to speak. Some music dealers, and even certain music
schools, tell us in their printed advertisements - "Play guitar, it is easy to learn." To play the classic
guitar requires the same amount of application and study as the piano or violin, and a practice period
of an hour daily is essential in order to acquire even a fair technic to enable one to play compositions
of medium difficulty within a period of one to two years. As an instrument for the home circle, either
alone or as a companion to other instruments or voice, the classic guitar is unsurpassed, even in the
hands of an amateur who is enamored with its beautiful tone quality. One of the discouraging features
for the beginner is the difficulty of producing a sufficient amount of tone, owing to the softness of the
finger tips; but this is soon overcome by diligent daily practice, after the fleshy part of the fingertips
has begun to harden.

Another factor to consider is the instrument itself. A guitar made for gut and silk strings must be
constructed on a more scientific basis; and on that account it costs more; and, in addition, gut strings
and also the silk wound basses break more easily and thereby add to the cost of upkeep. These matters
frequently have a tendency to influence a prospective player to turn to the wire string guitar. From a
professional standpoint, there are two avenues open to the ambitious guitarist, either that of concert
47
artist or teacher.

To become a public performer, one must have musical talent, personality, an all consuming love for
the instrument, and willingness to work hard for many years. If one has these attributes, he cannot fail
to reach the desired goal.

The guitar, strung with wire strings and played with a plectrum, has often been called the "American
guitar." It is true that the instruments with carved top and back, and F holes instead of the rosette,
were first constructed in this country, but in Italy for many years the street musicians have used wire
strings, mainly because they could not afford to buy gut strings, that would break easily out in the
open air. For the same reason wire stringed guitars have been on the American market for many years.

When, as often happens, a new dance music style developed some seven or eight years ago, the tenor
banjo, was displaced, in most of the dance bands, by the softer voiced and romantic guitar. In order to
compete with the strident tones of the trumpet and saxophone, guitar manufacturers developed the
present day plectrum played instrument. The purpose of this guitar is entirely different from that of the
classic type, as it is mainly intended to provide a rhythmic background for the other instruments. This
is where the plectrum guitar properly belongs, and for that reason it is the writer's opinion that it will
never compete successfully with its classic relative, as a solo instrument. While soloists possessing
remarkable digital dexterity have appeared from time to time, we venture to state that none can be
compared from a purely musical standpoint, with any of the modern exponents of classic guitar
playing. Its popularity with the younger generation can be attributed to the ease with which a tone may
be produced. with the aid of the pick, and the absurdly low prices at which these so-called guitars may
be purchased. However, we must admit that many have been attracted to the instrument by listening to
plectrum guitarists either as soloists or accompanists; but after studying a year or two they finally
turned to the classic guitar.

As an orchestral instrument the plectrum guitar offers the prospective serious student splendid
opportunities for financial reward. While perhaps only one in a million may become a "Segovia,"
many may find their niche in a prominent dance band. It should be understood, however, that the time
has arrived when a so-called guitarist, able to play only from symbols, cannot hope to connect with a
first class dance band. The members of these bands are well trained musicians and technical experts
on their respective instruments; and guitarists are expected to equal them in musicianship. Already
some of these bands have eliminated the guitar primarily on account of the lack of musical training of
the players. On the other hand, a guitarist who knows his instrument from A to Z, reads music at sight,
can play from a piano score if necessary, has had training in harmony, and who is able to improvise,
can make himself so valuable to his orchestra that he cannot be dispensed with. The exit of the tenor
banjo from the dance orchestra may well be traced to the low standard of musicianship amongst its
players. But the classic guitar will grow in popularity among those who love it for its exquisite tone
and adaptability to render all types of music.

48
 ETUDE
September 1939
volume LVII
number 9
page 610

The Guitar and Modern Music

By George C. Krick

NOT LONG AGO the writer received a letter from a former pupil, now residing in a large western
city, describing an interview he had with a guitar teacher, on whom he called in order to resume his
studies. After telling him of his two years work with the guitar, using the "methods" of Carcassi and
Foden, and supplementing them with etudes by Giuliani, Sor and Tarrega, the teacher turned, picked
up a wire strung plectrum guitar, strummed a few chords with a pick, and then made the statement:
"This is the modern way of playing the guitar, yours is old fashioned and out of date and most present
day guitarists use this plectrum method." Needless to say that teacher did not get a new pupil.

To this young student the plectrum guitar was not a novelty, he had heard this instrument in the hands
of many clever players, but he had also heard Segovia, Oyanguren, Gomez, Foden and others play the
guitar in the way it was intended to be played; and his discriminating musical sense convinced him
that he was traveling on the right road.

Any one stating that the classic guitar is "old fashioned" or "out of date," thereby admits his lack of
knowledge of the history and literature of the instrument. How ridiculous it would sound if we should
apply those terms to the violin, because the finest instruments were made during the time of
Stradivarius, and present day violinists still play the works of Bach, Mozart, Haydn, and of other
composers living several hundred years ago.

Let us for a moment go back to the early keyboard instruments, the forerunners of the modern grand
piano. Here we find the harpsichord, spinet, virginal and clavichord, which have virtually disappeared
from the concert platform, although the harpsichord is staging somewhat of a comeback. The present
day piano is the result of changes and improvements in the former keyboard instruments, until today it
is considered the perfect instrument for the artist.

While the history of the guitar dates back hundreds of years, and while there have been periods during
which its popularity was on the wane, it always has reappeared on the musical scene, and through its
beautiful tone quality it continues to capture the hearts of listeners and to attract the attention of
thousands of talented students.

The instrument itself has retained its shape and size, and the method of stringing it with three gut and
three silk wound strings. Through the careful selection of wood, and different bracings of top and
back, the tone quality and carrying power have been improved by some of the prominent guitar
makers, but it is still the same guitar, beloved by Schubert, Beethoven and Paganini. It has been
adopted by many great artists of the past and present as the means of musical expression and of
providing pleasure to those millions of amateur players of the instrument during several centuries.

Doubtful Claims

THE CLAIM that the plectrum guitar is an improvement or a modern version of the classic guitar is
not based on facts; it should be called the noisy brother to that romantic, aristocratic and highly
49
cultured member of the guitar family. It was invented to compete with the trumpet and saxophone in
the dance band, where it is primarily used to strum chords as a rhythmic background for the melody
instruments. It is true that the shape is the same and it has six strings tuned in a like manner However,
the strings are made of steel wire and played with a heavy plectrum, in order to get quantity of tone.
The difference in tone quality is so pronounced in favor of the classic guitar that there is hardly a
division of opinion amongst those who have made a thorough study of both instruments.

Another claim frequently made is that the plectrum guitar is better fitted to play popular music and for
that reason the younger element prefers it. It is the writer's opinion that the main reason for the
consistent popularity of the classic guitar is its versatility. When played by even a mediocre performer
it will adapt itself to the playing of simple popular melodies; it will provide a satisfactory
accompaniment to songs; or will take its part in the performance of chamber music. The alluring tone
of its gut and silk strings blends beautifully with that of the flute, violin, violoncello or mandolin. In
the hands of an artist the guitar becomes an instrument of the highest order, and its artistic possibilities
are unlimited. Listening to a sonata by Ferdinand Sor, or pieces by Coste, Giuliani, Legnani, and
Mertz, one is astonished at the many beautiful effects possible on this instrument seemingly limited in
scope. When one hears the works by Mozart, Bach, Haydn, Chopin and Scarlatti, one begins to
wonder how these things are possible on an instrument with six strings. But, looking over the
literature for guitar by modern writers, we are reminded that the classic guitar is to-day more alive
than ever and able to hold its own against all comers. Since the advent of Segovia, many of the present
day composers have given us a number of beautiful works especially written for guitar, of which
mention is made of a few of the prominent ones: Moreno F. Torroba - A Sonatine and eight other
pieces, Manuel M. Ponce - Three sonatas and about twenty smaller numbers; Joan Manen - Several
pieces, including Tansman Mazurka; Joaquin Turina - One Sonatina, three shorter numbers; and many
more.

Since all of this music is the product of living composers and written in the modern vein, we must
admit that the classic guitar and the method of playing it are not "old fashioned" but very much up to
date, and it probably always will remain so.

G. Jean Aubrey, the distinguished French critic, had this to say of the guitar, after a Segovia recital:
"The principal merit of the guitar is to be at the same time sonorous and not noisy, and even in a large
hall its sound carries everywhere. Because of the variety of tone possible on the guitar, people can
listen to it for a longer time than to almost any other instrument played alone. It is an instrument of the
present, which succeeds in preserving the sonority belonging to ancient works, without, however,
erecting a barrier of several centuries between the listener and the music."

50
 ETUDE
October 1939
volume LVII
number 10
page 678

Tone Production
By George C. Krick

ON MANY OCCASIONS, after listening to a rendition of a guitar solo, the writer was unfavorably
impressed with the tone quality the player extracted from his instrument. In trying to analyze the
shortcomings in this respect of some of the players, we have come to the conclusion that too much
attention has been given to the right hand technic, either fingers or plectrum, and not enough to the left
hand fingers. Especially on the guitar, the frets in the lower positions are quite some distance apart;
and, unless the fingers of the left hand are placed close to the frets, the tone will lack clearness and
brilliance, regardless of the amount of pressure exerted. Too often students will devote most of their
time to the development of speed, forgetting that in a musical performance beautiful tone quality
should be the most important factor. In other words, on one hand we have the musical acrobat and on
the other the artist.

If we place the tip of a left hand finger somewhere between two frets the string when plucked will
probabLy produce a buzzing sound; at best the tone will be weak, even with a firm pressure of the
finger upon the string. Bring the same finger close to the fret and with the same pressure the tone
should be strong and brilliant.

This brings us to the first underlying principle of procuring a good tone - train the left hand fingers to
drop unto the string with an energetic motion, close to the fret. We suggest this simple exercise that
will help, if persisted in and repeated frequently. Adopt playing position, drop the first finger on the
first string, first fret, seeing to it that the finger tip rests close up to the fret; now strike with right hand
finger and be careful not to relax the pressure of the left hand finger, then place the second finger on
the second fret in similar manner, at the same time keeping the first finger on the first fret. Proceed
with third and fourth fingers on third and fourth frets. At this time all four fingers should be resting on
the first four frets. Now shift the hand so the first finger will come to rest right near the fifth fret,
having raised the second, third and fourth fingers while shifting. Repeat the exercise in this position,
and continue in this manner up to the twelfth fret. This exercise should now be done in the same
manner on the second string and continued on all the other strings from first to twelfth frets.

It will be noticed that as we ascend this chromatic scale the distance between the frets becomes
gradually smaller; and it is suggested that the fingers be watched carefully, so they will drop unto the
strings just at the proper place, and eventually will get used to the smaller distances between frets in
the higher positions, and will instinctively find the right spot.

It goes without saying that "overreaching" the mark is just as bad as falling short of it, and this must
be guarded against in the same manner.

Retain the Pressure

BUT IT IS NOT SUFFICIENT to drop the finger on the right place and with sufficient pressure; the
important thing is to retain this pressure during the full note values.

51
Now every guitarist is aware of the fact that it requires considerable strength for a finger of the left
hand to continue an even pressure upon the string, and a natural tendency is to release that pressure at
once. As this is the next important step in the development of a strong brilliant tone it is advisable to
devote a great deal of time and study to the subject. For this purpose we suggest scales in thirds, sixths
octaves and tenths, playing them slowly at first, from the lower to higher positions, and sustaining all
notes as long as possible with a strong, even pressure of the left fingers. Gradually this exercise should
include four, five and six string chords, with chromatic scales between.

When practicing chords of four or more notes, the student should form the habit of listening to every
note of the chord, as only too often one or two notes of the chord for some reason do not sound
distinctly. Playing these chords in the form of an arpeggio will help to find just where the trouble lies,
so that the proper remedy may be applied. As a great many chords on the guitar require the barre, this
phase of technic should receive special attention.

The "grand barre" is made by placing the first finger across the six strings and pressing firmly on all
strings with a corresponding pressure of the thumb against the lower part of the neck of the instrument
The left wrist should be well curved and held far enough away from the fingerboard so that the first
finger forms a straight line from first to and including its third joint. A little time each day should be
devoted to the practice of barre chords; and for this the following procedure will prove quite
advantageous. Form the six string tonic chord in the key of F by placing the first finger across all
strings at the first fret, third finger on C, A string, fourth finger on F, D string, and second finger on A,
G string. Play this chord eight times, bringing out each note distinctly. Now move the left hand fingers
to the next fret keeping them in the same order and play again eight times. Keep moving this chord
one fret at a time until the twelfth fret has been reached and then return fret by fret to the starting
point. Each finger employed must be placed right close to the fret, and to do this smoothly and
correctly slow practice is advised in the beginning. Once the fingers have acquired the knack of
moving into the next position with accuracy, only then may one begin to increase the speed, by
playing the chord once and then passing on to the next fret.

And Now the Right Hand

SCALE PASSAGES of single notes are usually played with alternating first and second fingers, using
the tip of the finger only to guard against hooking or pulling the strings. The different methods of
attacking the strings can be found in detail in the Fretted Instrument column of THE ETUDE for
April, 1938. It can readily be seen that in order to procure a good tone it is necessary, in addition to
the advice given here regarding the left hand, to synchronize thoroughly the action of both hands. This
is best accomplished by the daily practice of scales in all keys in second and third octaves. Just a few
more words of advice to the young students and to those players not quite satisfied with their tone. Do
not let your practice become mechanical, but use your head as well as your fingers. Concentrate on
what you are trying to accomplish, and constantly listen carefully to your playing. Buy all the records
by the great artists, listen to them, and strive to produce their beautiful tone on your instrument.

52
 ETUDE
November 1939
volume LVII
number 11
page 750-751

William Foden
By George C. Krick

DURING THE PAST FEW YEARS the guitar world has been dazzled by the playing of Andres
Segovia, Martinez Oyanguren, Sainz de la Maza and other Spanish virtuosos of the instrument. A
great portion of the younger generation of players is unaware of the fact that we still have amongst us
an American born guitarist and composer who ranks with the best of them, the great master William
Foden.

Born in St. Louis, Missouri, March 23rd, 1860, young Foden, at the age of seven, began his musical
studies on the violin, and at sixteen he organized his own orchestra, which became quite a favorite in
his native city. Having by this time acquired a thorough knowledge of harmony and composition he
used mostly his own arrangements of music of the higher type.

About this time he became acquainted with the guitar in the hands of one of his friends, and at once he
felt that this was the instrument of his choice. Foden is practically self-taught, although he had some
instruction from one Jeremiah McGrath and again with William O. Bateman, the latter being a highly
cultured gentleman and a fervent lover of the guitar. The writer still has in his possession a volume of
compositions and arrangements by Bateman containing also a unique treatise on harmony in
connection with the guitar. Close application to and concentration on the best guitar literature by
Ferdinand Sor, J. K. Mertz, Luigi Legnani, Zani di Ferranti and Mauro Giuliani resulted in rapid
progress, and, while still a young man Foden was hailed as the foremost guitar virtuoso this country
had produced. While at this time the instrument did not enjoy its present universal popularity the
concerts and recitals in which Mr. Foden appeared astonished the critics and delighted his audiences.
The concert given under the auspices of the American Guild, in Philadelphia in the spring of 1911, in
which Foden appeared as guitar soloist, proved a turning point in his career. With Giuseppe Pettine,
mandolinist, and Fred Bacon, banjoist, Foden formed a trio which toured the entire country with great
success, and after the conclusion of this concert tour he settled in New York, where until a short while
ago he has been active teaching and writing for guitar and the other fretted instruments.

Marvelous Technic

AS IT OFTEN HAPPENS in the lives of artists, there comes a time when they feel the urge to return
to the place of their early triumphs, and William Foden recently returned to his native St. Louis, where
he expects to continue his successful career. His numerous friends and pupils in the East wish him
many years of successful activity.

The writer who, since his boyhood, has been intimately acquainted with Mr. Foden and, who, for a
number of years, received instruction from him on mandolin and later on the guitar, recalls his first
impression of the marvelous technic displayed by this artist on the guitar. Perfection is the only word
to describe his rendition of the "Grande Sonata," by Ferdinand Sor or an operatic "Fantasie" by J. K.
Mertz. A right and left hand that seem to have been especially made for the guitar, enabling him to
overcome the greatest difficulties with an ease and nonchalance, and these combined with instinctive
musical insight and unfailing memory, have helped him to reach the top rung of the ladder to fame as
53
virtuoso. His favorite classic composers have been Sor, Mertz, Legnani and Ferranti; and we have yet
to meet a guitarist to surpass him in playing some of the difficult "Fantasies" of J. K. Mertz.

Foden's early compositions and arrangements for guitar show somewhat the influence of Mertz; in
them we find frequent use of arpeggio movements and florid cadenzas of which the Fantasie on
themes from "Der Freischütz" and the Sextette from "Lucia" are good examples. Many original
compositions for guitar came from the pen of this prolific writer and aside from the numerous small
pieces for teaching purposes there are quite a few that should be included in the repertoire of every
player. Ballerina Valse (solo or duet), Esperanza Mexican Dance, Grand Valse Caprice, Gavotte,
Chevalier March and Minuet in F are of medium difficulty, quite melodious and thoroughly
guitaristic. The most popular of Foden's works are perhaps his transcriptions of the old songs, such as
Alice, Where Art Thou?, Annie Laurie, Old Black Joe, My Old Kentucky Home, and others. The list of
these comprises several dozen and they are of similar construction - Introduction, theme, a number of
variations and finale. In these transcriptions Foden shows great inventive genius, and they require an
accomplished technic for their performance. Julio Martinez Oyanguren has included some of these in
his recent radio broadcasts and letters on their reception have been highly complimentary.

Foden was one of the first guitarists to include in his programs his own arrangements of some of the
lighter classics which show his thorough musical knowledge and also his intimate acquaintance with
all the resources of the instrument. Of these the Spring Song by Mendelssohn, The Minuet by
Boccherini, Pizzicati from "Sylvia" by Delibes and the Serenade by Moszkowski, were published by
the composer and have been for many years popular with guitarists.

In the Foden transcriptions we find that he makes frequent use of the right hand tremolo, reiterating
the melody note with first, second and third finger in groups of thirty-second notes, the thumb playing
the accompaniment simultaneously, and in the performance of this style of composition Foden even
today has few equals.

A Valuable Work

HIS MOST IMPORTANT WORK for guitar is the "Foden Method" published in two volumes. These
books of more than two hundred pages contain the most scholarly and complete treatise on the technic
of the instrument, leading the student from the beginning, step by step, to the advanced art of guitar
playing. Not since the advent of the celebrated "Method" of Carcassi, more than one hundred years
ago, have we had such an exhaustive and thorough method; and it has been hailed with delight by all
guitar teachers and students. Mr. Foden may be said to have the distinction of being also one of the
American pioneers on the mandolin, on which he became quite proficient upon its introduction into
this country in the latter part of the nineteenth century; and the Foden Mandolin Quintette, quite a
novelty during those days of mandolin popularity, had for many years a very successful career.

Aside from his compositions and transcriptions for guitar, Mr. Foden has been contributing original
music to the literature for mandolin, mandolin orchestra, tenor banjo and Hawaiian guitar, and his
name is known throughout the fretted instrument world. During a recent conversation we had with this
many sided artist he told us that he had completed a book on harmony in connection with the guitar,
also there were more than one hundred transcriptions for guitar in manuscript, waiting for some
enterprising publisher to put them in reach of guitarists. In spite of all the honors that have come to
him during his long and industrious life as virtuoso and composer, Mr. Foden has at all times
maintained a most unassuming and modest disposition.

54
 ETUDE
December 1939
volume LVII
number 12
page 822

Ensembles of Fretted Instruments

By George C. Krick

MOST OF US, when taking up the study of a musical instrument, do so with the desire of playing for
the pleasure to be derived from it, and perhaps of adding to the enjoyment of family and friends. After
a student has acquired a fair amount of technical proficiency, he often happens to meet other players,
and here is where the most interesting chapter in his musical career has its beginning. Aside from the
social contacts he will make, the playing together in small or large ensembles is a quite enjoyable
experience.

Several years study under the guidance of a teacher is, after all, only the foundation and preparation
for the years during which the student will have to rely on himself and to develop his own
individuality. With his eyes and ears open at all times he will gain in knowledge and self-confidence
by meeting others pursuing the same aims.

Another great help to the director of an orchestra or to its members is the radio. It is time well spent to
listen to the orchestras on the air; to find those that are similarly organized as to size of membership
and type of instrumentation, and then to try to develop your own organization along these lines,
continuously striving for perfection in ensemble.

An interesting point regarding fretted instruments is their variety, which includes mandolins,
mandolas, mandocellos, mandolin banjos, tenor banjos, plectrum and five stringed banjos, guitar
banjos, classic and plectrum guitars, Hawaiian and tenor guitars. Since some of these are primarily
melody instruments, while others are ideal for accompaniment purposes, complete ensembles can be
formed without calling upon the bowed instruments for assistance. In order to select the proper
combination, however, one must consider carefully the timbre or tonal character of each instrument.

Varied Instruments, Varied Tones

AS WE ALL KNOW, the classic guitar is a perfect solo instrument and requires no support from
others; but there are also a great many duets, trios and even a few quartets, that should be heard more
often.

A great deal of literature which is quite effective, is available for mandolin solo with piano
accompaniment but the accompanist should be an experienced one, able to subdue the tone of the
piano sufficiently to obtain a proper blending with the delicate tone of the mandolin.

A mandolin and guitar make an excellent duet; the banjo mandolin requires an accompaniment of a
tenor banjo or plectrum guitar; a Hawaiian guitar is most effective with either Spanish or plectrum
guitar; a tenor banjo and a plectrum banjo make an excellent duet; and the same may be said of two
plectrum guitars.

Combinations of three instruments should be arranged as follows: two mandolins and guitar;
mandolin, mandola and guitar; mandolin, mandocello and guitar; mandolin banjo, tenor banjo and
55
guitar banjo or plectrum guitar; tenor banjo, plectrum banjo and plectrum guitar or bass banjo;
mandolin, Hawaiian guitar and plectrum or Spanish guitar, first and second Hawaiian guitar, and
Spanish guitar; and, finally three plectrum guitars, the first and second playing single or double notes
for melody and harmony, the third for accompaniment.

The most effective combination for small groups is the quartet, as this furnishes opportunity for full
and complete harmony. First and second mandolin, mandola and mandocello form what is known as
the classic quartet; while first and second mandolin, mandola and guitar are the instruments of what is
called the romantic quartet. For the small ensembles of mandolins the writer prefers the classic guitar
as an accompaniment, as the gut and silk strings have a tendency to soften the metallic tone of the
other instruments. Quartets of the banjo family may be arranged thus: First and second mandolin
banjos, tenor banjo and bass banjo; or first and second tenor banjos, plectrum banjo and bass banjo (a
plectrum guitar may be used in place of the bass banjo, when this is not available).

There are several ways in which an Hawaiian ensemble can be made effective: first and second
Hawaiian guitars, ukulele and Spanish guitar; Hawaiian guitar, mandola, mandocello and Spanish
guitar; or first, second and third Hawaiian guitars and Spanish guitar.

The quartet is completed by adding a mando bass or contra bass banjo, which will add the
fundamental bass giving depth and body to the combination.

The Larger Group

TO FORM A SEXTETTE we usually add another melody instrument playing the first part in unison
or in octaves. Seven or eight players will find it advantageous to use the same combination as the
sextette with the addition of one or two instruments playing the higher voices. If it so happens that no
mando bass is available, the use of a piano is recommended for an ensemble of seven or more players,
and if possible the addition of drums and traps is advisable.

In forming larger orchestras one must always keep in mind the proper balancing of the different
instruments, and as an example, we suggest this instrumentation for a sixteen piece mandolin
orchestra: - Four first and three second mandolins, two mandolas, two mandocellos, three guitars, one
mando bass, drums and traps. For an orchestra of thirty players, double the instruments for each voice;
and for a banjo band, substitute the corresponding banjo instruments for those of the mandolin family.

As stated before, it is not advisable, in small ensembles, to combine the instruments of a different
tonal character; a duet of mandolin and tenor banjo is not satisfactory, neither is that of tenor banjo
and Hawaiian guitar. On the other hand when organizing a larger orchestra it is not only permissible
but advisable to add instruments of different timbre for the sake of variety. For instance, a mandolin
orchestra of thirty players, as previously outlined, might be augmented by adding two tenor and two
plectrum banjos and several Hawaiian guitars. By the use of proper orchestrations, giving the banjos
and Hawaiian guitars opportunities to play occasional melody passages, the possibilities for variety
and special orchestral effects may be greatly enhanced. We must not forget that a high standard of
orchestral performance is the result of technical proficiency of the individual members and of their
enthusiastic cooperation with a competent leader; and, since the fretted instruments are sufficient unto
themselves, the player has splendid opportunities to come in contact with the world's beautiful music.

56
 ETUDE
January 1940
volume LVIII
number 1
page 60-61

Artistic Effects on the Guitar

By George C. Krick

A GUITARIST, HAVING ATTAINED a fair amount of technical proficiency on his instrument, will
find it quite enjoyable and profitable to make a study of the many ornamental effects possible on the
guitar.

So called "harmonic tones" are used extensively, and we will discuss them first. The natural
harmonics are produced by touching the string at the proper fret with a left hand finger and striking it
with the thumb or one of the fingers of the right hand. The string must not be pressed down on the
finger board, but the finger should just touch the string and then be quickly raised a fraction of a
second after the string is plucked. To play several notes harmonically, the finger should be held stiff
and straight across the strings exactly over the metal fret - not between frets as in ordinary fingering.
To get a clear bell like harmonic, it is advisable to pluck the string somewhat nearer the bridge than is
usual.

In Spanish guitar music, harmonics are usually indicated by the abbreviation "Ar." followed by the
number of the fret over the open string. For instance, if we see the three line E below the staff, or the
open sixth string, topped by Ar. 12, this string should be touched at the twelfth fret and plucked as
directed. These natural harmonics can be produced on the twelfth, ninth, seventh, fifth, fourth, and
third frets, and, beyond the end of the finger board, on what would be the sixteenth and nineteenth
frets. This applies to any of the six strings. It can be readily seen that the placing of a finger on any of
the frets mentioned divides the string into certain sections, the resultant tones of which are based on
scientific principles. Lack of space, however, prevents us from going more deeply into this phase of
the subject.

The Harmonic Octave

Now let us for a moment dispense with the left hand and use only the right, extending the index finger
of this hand so that the tip comes in contact with the first string at its twelfth fret, at the same time
plucking the string with the thumb or third finger. This produces the harmonic octave of the same
string.

We will now stop the first string at the first fret with the first finger of the left hand, and, with the
index finger of the right hand extended, touch the string at the thirteenth fret and pluck it with the
thumb or third finger; which gives us the harmonic octave of F natural.

We now are prepared to play in harmonics the complete chromatic scale on the first string, by
stopping the string at each fret with the proper left hand finger and using the right hand fingers as
already indicated, twelve frets or one octave above. This of course applies to all strings.

Occasionally we come across a three note chord with the top note to be played as a harmonic. In this
case the notes of the chord are fingered by the left hand as usual, the right hand index finger touches
the top note twelve frets higher with third finger plucking it, while the thumb and second finger strike
57
the remaining two notes on the inner strings simultaneously.

The glide, or glissando, is very effective on the guitar, if executed properly, and it should be practiced
extensively until mastered. It is usually indicated by a straight line between the two notes involved.
Strike the first note and glide to the next, keeping a firm pressure as the finger moves across the frets,
in order to maintain enough string vibration to sound the higher note, without striking it again.
Observe the same rule on the descending glide. If the glide ends with a grace note followed by the
principal note, this note is to be plucked again. Glides of two or more notes are performed in a similar
manner, although occasionally it is necessary to substitute another finger, which is done immediately
after the glide has been started.

The legato is quite an important phase of guitar technic and should be practiced religiously. It is
generally indicated by a curved line connecting the notes to be played thus. It is most effective when
these notes are located on the same string, the first one being plucked, the others produced by
dropping the fingers quickly and firmly on the proper frets, the notes sounding without the assistance
of the right hand. In descending passages it is necessary to place all fingers needed on the respective
frets and, after striking the first note of the group, the others are snapped quickly in succession. This
so called slur and snap employed in legato is used also to play grace notes. If the grace note Is below
the principal note; it is played in the usual manner and the principal note slurred; if above, the
principal note is snapped after striking the grace note. If there is a group of two or more, all the notes,
including the principal note, are slurred or snapped after the first note of the group has been plucked.
When a chord accompanies the principal notes, the lower notes of the chord are played together with
the first grace note and the following grace and principal notes are slurred or snapped.

To get a staccato effect, strike the note or chord and immediately drop the fingers of the right hand
back on the strings to stop the vibration and mute the tone. When playing five or six string chords it is
advisable to use the palm of the right hand, when this staccato effect is desired. Another way of
producing the staccato when playing chords, one that is most effective on the plectrum guitar, is to
release the pressure of the left hand fingers for a moment after the chord is struck with the plectrum.
Care should be taken, however, not to lift the fingers off the strings, and to relax the fingers just
enough to cause a break in vibration.

Other Effects

The pizzicato is used considerably in modern Spanish compositions, and its use in the proper place
adds variety to one's technic. To execute it, lay the outer edge of the right hand along and over the
bridge, covering a small section of the strings at the same time, then strike the strings with the tip joint
of the thumb, being sure that the hand is entirely relaxed. To get satisfactory results, the practice of
major and minor scales is strongly recommended, until the right hand accustoms itself to this position.

The vibrato is employed to prolong the tones. Since the string vibrations of the guitar are of
comparatively short duration, the vibrato should be practiced and used extensively. To execute it
properly, press the string firmly with the tip of the finger and sway the hand back and forth, keeping it
relaxed and the thumb exerting only a slight pressure against the neck of the instrument. When using
the vibrato on double notes or chords it is advisable to keep the thumb clear of the neck. It is
important that the tip of the finger be kept in the same place during the time of the vibrato - if moved
sideways it will cause a deviation from the correct pitch and a "blue" note will result.

58
 ETUDE
February 1940
volume LVIII
number 2
page 131, 135, 139

Francisco Tarrega
By George C. Krick

SPAIN MIGHT WELL BE PROUD , of having given to the world one of the greatest guitarists of all
time, Francisco Tarrega. Unrivaled as composer of original music for the guitar, he also excelled all
others in transcribing the works of the great masters in music, classic and modern for his favorite
instrument.

Born November 29, 1852 (1854?) at Villareal, he died on December 15, 19O9 in Barcelona, mourned
by a host of friends and pupils. In his youth Tarrega entered the Madrid Conservatory, and upon his
graduation he received the first prize in harmony and composition. Visits to the most important
continental cities brought him recognition as the greatest exponent of guitar playing during his period,
and many honors were showered upon him. Possessed of a genial personality, an ardent temperament,
and extraordinary intelligence, Tarrega devoted all these qualities, with fervent spirit, to his chosen
art; and, throughout his whole life, he was imbued with the resolve to improve and develop the technic
of guitar playing and thereby to gain recognition for his instrument from the severest music critics.
HIs genius was equaled only by his modesty, and this, together with his retiring disposition, caused
him to refuse offers to go out into the world where fame and fortune were awaitIng him. It is said that
one of his admirers, a wealthy Englishman, offered to finance a concert tour around the world, but
Tarrega declined. He was happiest when he and his guitar were amongst a few friends and disciples.
On such occasions he would play for hours, producing on his instrument the most beautiful tones
imaginable, and hold his listeners spellbound. It was on such occasions that his original "Preludes"
and "Capriccios" took form. And how he played Bach, Beethoven, Schumann or Chopin! In his hands
the works of these immortals were created anew, just as though they were originally composed for the
guitar.

A Bold and Daring Spirit

Tarrega was an explorer and innovator, constantly experimenting, trying to find new beauties in his
guitar. He would sit for hours producing a tone in different ways, first on one string then on another,
striking the string with the first finger, then with the second or third, until he got what he wanted. As
an example, let us take the note E on the open first string. The same note may be played on the second
string, fifth fret; on the third string, ninth fret; or again on the fourth string, fourteenth fret. On all
these frets we get the E of the same pitch, but the timbre, or tone quality, of each differs somewhat
from the others. When we add to this note three or four notes to form a chord, we begin to understand
the many varieties of tone color possible on the guitar, when in the hands of an artist; and it may be
said that this is one of the secrets of Tarrega's music. This mastery of the guitar, his thorough musical
training, and his acquaintance with the entire piano literature, all enabled him to transcribe many
classic compositions to be found in the repertoire of the great guitar virtuosos of the present time.
While lack of space does not permit us to give here a complete list of the Tarrega classic
transcriptions, we cannot refrain from citing a few that are particularly interesting. Bach, Bourrée
from the "Second Sonata," and Fugue from the "First Violin Sonata"; Beethoven, Scherzo from
"Sonata, Op. 2," first movement of the "Moonlight Sonata" and Largo from "Sonata, Op. 7"; Chopin,
Nocturne, Op. 9, No. 2, Mazurka, Op. 33, No. 4, Valse, Op. 64, No. 1 and "Five Preludes."
59
Handel, Choral-Minuet; Haydn, Andante and Minuet; Mendelssohn, Canzonetta; Mozart, Two
Minuets; Schubert, Adieu and Au Soir; Schumann, Fugue, Berceuse, Reverie, and Romanza. There are
many more that could be included in this list, but these numbers show Tarrega at his best. We must
not forget that he also transcribed quite a number of compositions of the two leading Spanish
composers, Albeniz and Granados. It goes without saying that, to begin with, this Spanish music is
guitaristic, and in these Tarrega transcriptions, when played by an artist, the real Spanish atmosphere
reveals itself in a manner more effective than on any other instrument. Of these the Dance No. 5 of
Granados, and the Cadiz, Cordoba, Granada, Sevilla and Torre Bermeia of Albeniz, have been
popularized by Andres Segovia and others.

Originality in Creation

The original compositions of Tarrega are artistic creations of the highest order. Beautiful melodies and
intriguing harmonic progressions, not found in the music of any other composer, combine to set these
gems of guitar literature apart from all others. Whoever has once listened to the tremolo study,
Recuerdos de la Alhambra, will always cherish it as a musical miracle. Another number of
outstanding merit is the Capricho Arabe, a most delightful and effective piece showing the Moorish
influence upon the music of Southern Spain. This has been successfully recorded by Julio Martinez
Oyanguren, on Columbia record #69457D. The Danza Mora, Grande Jota de Concerto, Tango, and
many others, may be found on the programs of guitarists; and altogether there were published over
fifty original compositions of Tarrega, while many others remained in manuscript.

It Is a curious fact that the name Tarrega became best known in the musical world, through his pupils,
amongst whom the late Miguel Llobet was the most celebrated. Others are Emilio Pujol, now residing
in Paris; Garzia Fortea of Madrid; Domenicus Prat, in Buenos Aires; and a host of others still residing
in Spain or having emigrated to South America. These men, imbued with the spirit of Tarrega,
introduced his compositions and transcriptions to the world and caused the name of the master to
become known to all interested in the guitar.

Much has been written about the new technic and the Spanish School founded by Tarrega. For long,
until a few years before his death, he used the so-called nail stroke. This does not mean that he
cultivated long finger nails and struck the strings with these exclusively. Information given the writer,
by several persons intimately acquainted with Tarrega, may be taken as authentic, and a brief
description is here submitted. The nails on the fingers of the right hand should project about a thirty-
second of an inch beyond the fleshy part of the finger tip. As the finger tip strikes the string, the edge
of the nail is the last part of the finger to leave the string, imparting a certain crispness to the tone.
This system is used by Segovia and most of the other great artists. During the last few years of his life,
Tarrega shortened his nails and played with the finger tips alone. When he played in this manner,
some of his friends remonstrated with him, pointing out that while his tone was pure and round, it was
not as powerful as formerly. To this Tarrega replied that he preferred less volume and more beautiful
tone.

It was during this period that Emilio Pujol studied with him and adopted this nailless stroke. This
method is also employed by Francisco Alfonso, said to be one of the finest of the younger generation
of guitarists, now living in London, where he has given a number of recitals. In an article on guitar
technic, which appeared in an English magazine, Alfonso expressed himself thus: "It is not so much a
question of obtaining good tone by finger tips or nails; the question of temperament of each guitarist
must be considered. There are nails equal to fingertips, and fingertips equal to nails. The ideal is a
combination of both for the sake of variety. The 'Tarrega School' consists of 'caressing' the strings
instead of 'striking' them, and of keeping the movement of the fingers at a minimum, striving always
for beautiful tone."

60
 ETUDE
May 1940
volume LVIII
number 5
page 350-351

Playing and Teaching the Fretted Instrument,

as a Profession
By George C. Krick

IF AN ACCURATE CENSUS were taken to estimate the number of guitars, mandolins and banjos in
American homes, it is safe to say that they would run into several millions. With many years of
experience in teaching these instruments, we have also come to the conclusion that the majority of the
instruments were purchased by people wanting to play them for their own amusement and also for
their musical value, as an added social accomplishment. It naturally follows that most of the new
owners of an instrument would want to learn to play them, and the selection of a teacher is usually the
next step. A teacher of the violin or piano generally is enabled to concentrate on the one instrument on
which he has decided, during the early part of his career, whereas a teacher of guitar is expected to
teach in addition, the mandolin, several types of banjos, as well as the plectrum and Hawaiian guitar.
To become successful in this field, one must possess versatility of the highest order, and find
enjoyment in many years of serious study in order to be properly prepared to embark on a teacher's
career. In examining a fairly representative list of fretted instrument teachers of the past and present,
we are impressed by the fact that almost everyone of them excelled on one particular instrument that
had become his or her favorite; and on it was bestowed most of the attention, which resulted in
attracting notice of prospective pupils to this same instrument. In other words, in the fretted
instrument field the teacher who appears frequently as a mandolin soloist will arouse enthusiasm for
the mandolin, the guitarist will make people guitar conscious, and the banjoist will create friends for
the banjo; and the resulting pupils will select the instrument which they heard to the best advantage.

In a recent chat with a prominent teacher, the writer learned that seventy-five percent of this teacher's
pupils were learning to play the Hawaiian guitar; and, as this young man is an excellent exponent of
the Hawaiian guitar and plays in public frequently, it evidently helps to prove this point.

The Teacher Should Play

It is to be regretted that the general public is still unaware of the artistic possibilities of the fretted
instruments, as there are only rare opportunities to hear great artists; and so it is up to the teacher in
his respective locality to become the "ambassador!" of fretted instrument music. While it may be too
much to expect a teacher to excell as a soloist on guitar, mandolin and banjo - although we are glad to
state that there are some who can do it - it should be emphasized that in justice to pupils a teacher
should have a thorough knowledge of every technical phase of the instruments he professes to teach
and be able to play well enough to demonstrate them to the public in an artistic manner. All too often
young men and women enter the teaching profession while having only a limited knowledge of the
technical requirements, counting on the pupils' lack of acquaintance with fretted instrument standards
to let them get by with it. Then again we have those mainly interested in the sale of instruments,
offering as an inducement to buy them, a course of so-called free lessons, which in most cases is
nothing but misrepresentation and in addition has a tendency to convey to the uninitiated a wrong idea
of the musical value of the fretted instruments.

The conscientious teacher, having only the best interests of his pupils at heart, will steer clear of such
61
practices and in the long run will be greatly rewarded by the good will of many successful pupils and
the community in which he happens to be active.

The young man or woman expecting to start on a successful career as teacher not only must possess
complete technical mastery of the different fretted instruments, but also should know something of the
piano, have a good grounding in harmony and orchestration, and have the ability to present in an
intelligent, interesting manner, the things the pupil expects to learn from him. It is also important, that
one should know the literature for the fretted instruments, from A to Z, and that he should keep posted
on all new music and new teaching material and methods, in order to keep abreast of the times. Thus
equipped, and adhering constantly to the high ideals he has set for himself at the start, a teacher will
find that the fretted instrument field offers great opportunities for artistic and financial rewards.

Concert and Radio

It is a well known fact that in all lines of endeavor there is more room at the top than at the bottom,
and this is especially true in the musical profession. One would not have to go far to find a student of
the violin, violoncello or guitar, who did not at one time or another have visions of becoming a
Kreisler, Heifetz, Casals or Segovia, men whose accomplishments in their respective spheres today
represent the highest standard attainable. Their technic is overpowering, developed to the highest
degree by ceaseless hard work during many years. But perfect technic alone does not make an artist.
His intense musical personality, his natural fitness for the instrument of his choice, an unfailing
memory, and, last but not least, that undefinable something that appeals to the intelligence of his
audience and at the same time reaches their hearts, keeping them spellbound - all of these attributes
combine to create the outstanding artist.

A student learning to play one of the fretted instruments has this advantage, that outstanding virtuosos
are still quite scarce, and that there is plenty of room for more if only talent and hard work are
combined.

On the classic guitar we have Segovia, Oyanguren, Foden, and a few others, who have helped to raise
the standard of guitar playing to heights undreamed of only a few years ago; and their artistic success
should be kept in mind by every guitar student as something for which he should strive. But to reach
the top rung of the ladder one must go slowly, step by step, not neglecting any detail right from the
early stages. Taking for granted that a young pupil has abundant musical talent, love for his instrument
and willingness to work hard, he will be expected to put in from two to four hours practice daily for a
period of five or six years. A capable teacher to guide him is of utmost importance and a general
musical education is essential, as it is not enough to become just an expert guitar player, but one must
develop into a well educated musician. The same may be said to apply to ambitious students of the
plectrum or Hawaiian guitar, mandolin or banjo. The outstanding player on any one of these
instruments, having acquired a perfect technic and possessing in addition a flair for showmanship and
a pleasing personality, should not fail to find a place for himself on the concert stage or in radio. The
electrical Hawaiian and plectrum guitars and the banjo have created opportunities in the orchestral
field, but here again the demand is primarily for those of exceptional ability and possessing highly
developed musicianship, which can be acquired only by many years study and practice.

62
 ETUDE
June 1940
volume LVIII
number 6
page 422-423

Julio Martinez Oyanguren

By George C. Krick

QUITE OFTEN this department has received letters from young guitar students wanting to know if
the classic guitar holds out promise for a successful career in radio or on the concert stage. We believe
that nothing could serve as a better answer than to submit a biography of one who is proving by his
radio and concert appearances that the guitar in the hands of an artist is the equal of any other
instrument, and that it offers a lucrative future to those possessing an abundance of musical talent and
a willingness to study and work hard for a number of years.

The name of the artist, whom we have selected as an example, is none other than Julio Martinez
Oyanguren, a native of Uruguay, now residing in New York, who, during the past year, through his
weekly broadcasts over the Red Network of the National BroadcastIng Company, has put the classic
guitar "on the map", so to speak. Through his programs, millions of listeners throughout the United
States and Canada have become aware of the fact that the guitar is an instrument worthy of serious
study and capable of interpreting all types of music from the classical compositions of Bach and
Mozart to those of the modern composers.

Born in Durazno, Uruguay, thirty-five years ago, Julio Martinez Oyanguren commenced the study of
guitar under the guidance of Professor Alfredo Hargain, organist at the Durazno Cathedral, who, like
many of the professional musicians of South America, is also a fine guitarist. With the same teacher
he studied harmony, counterpoint and composition. His progress on the guitar was so rapid that at
eleven years of age he was able to give, in Montevideo, the capital of Uruguay, a complete recital of
guitar music. Later he entered the State University and after graduation passed on to the Naval
Academy, where he spent six years to become a lieutenant in the Uruguayan Navy. Two years of sea
duty brought him to Europe and other countries, where, during his leisure time, he had opportunities
to contact many of the well known guitarists. In spite of his many and various official duties,
Oyanguren managed to devote many hours to his favorite instrument, the guitar; and, upon his return
to his native country gave a recital in Montevideo, which proved a great artistic success. Then and
there he decided to make music and the guitar his life work. After having gained permission from his
government to resign from the navy, he toured the principal cities of South America for several years
where his appearance in recitals was greeted with unbounded enthusiasm; and from then on he has
been known as the greatest exponent of guitar playing in the southern hemisphere.

New York Debut

Looking for more worlds to conquer he came to New York in 1935 and, on October first of that year,
gave a recital in Town Hall, which established him at once as an artist of the first order. Since that
time Oyanguren's name has become quite familiar with all lovers of the guitar. As already mentioned,
he is now under contract with the National Broadcasting Company to play a fifteen minute program
on Sundays at 12:15 P.M. over WEAF and Red Network including Canadian stations. He has
appeared as guest artist on the programs of Paul Whiteman, Rudy Vallee, Kate Smith the Magic Key
hour and others. He has given a number of guitar recitals in colleges and universities and has become
a favorite with young students. After his last concert at Columbia University a reception was held in
63
his honor, and he was presented with a guitar made especially for him by the famous Luthier, Phillip
Interdonatti, of "Instituto de la Espanas." About a year ago he was invited to give a recital at the White
House in Washington, before a distinguished gathering, and he prizes quite highly an autographed
portrait of the President and Mrs. Roosevelt, presented to him on that occasion. He appeared several
times as guitar soloist with the General Electric Orchestra in Schenectady, with the N.B.C. Salon
Orchestra, and the "Orchestrette Classique," a symphonic organization directed by Frederique
Petrides. He also played the guitar part in the "Quartet for Flute, Guitar, Viola and Violoncello," by
Schubert, when it had its first New York performance. He has recorded a number of classical
compositions and has just concluded a contract with the CoIumbia Phonograph Company to make
recordings of about fifty master works for the guitar. He was the first to play a recital for television,
through R.C.A. During the past year he has included more than two hundred and fifty different
compositions in his programs, displaying not only great versatility but also showing the unlimited
repertoire of the classic guitar.

Composer and Arranger

As a composer Mr. Oyanguren has enriched the guitar literature through many original compositions
of decidedly Spanish flavor and a goodly number of classical arrangements, together with the
transcriptions of folk songs originating in South American countries.

The technic of Oyanguren shows his complete mastery of the instrument, his tone quality and phrasing
are superb, and, whether he plays Scarlatti, Haydn, Bach, Mozart, or the modern Spanish music by
Albeniz, Tarrega, Turina and Granados, he is always the artist and his interpretations are a delight to
the listener. After his first recital, the New York critics were unanimous in their praise of his
remarkable performance, and their reviews of the concert revealed such phrases as these: "Plays in the
tradition of elegance and suavity"; "Senor Oyanguren gave constant evidence of an amazing
virtuosity"; "He did magical things with the guitar."

We present this sketch of one of the contemporary masters of the guitar, not only because some of our
readers asked us to tell them something about this artist, but also that it may serve as an inspiration to
those of our younger students who are thinking of adopting the guitar as the instrument of their choice
for a professional career.

64
 ETUDE
July 1940
volume LVIII
number 7
page 495, 497, 499

World Artists on the Classic Guitar

By George C. Krick

IN RECENT COMMUNICATIONS several of our readers expressed their desire for information
regarding present day guitarists of Spain, South America and other foreign countries. The phenomenal
growth of interest in the guitar and its music during the past decade has stimulated the efforts of many
young students; and undoubtedly there are quite a number of players who possess exceptional musical
talent and extraordinary technical efficiency, but who have yet to win their spurs In competition with
those whose names have become familiar to concert and radio audiences. The names we shall
mention, are those of artists, who not only are well known in their own localities, but also have earned
international reputations through their recitals in the world's musical centers.

Without fear of contradiction we shall place at the head of the list, ANDRES SEGOVIA, born and
educated in Spain, now residing in Montevideo. This artist has done perhaps more to endear the guitar
to the general public than any one else;
and his concert tours have taken him all over the world. During the past season he has given a number
of recitals in Porto Rico, Mexico, Cuba and South America.

JULIO MARTINEZ OYANGUREN, a native of Uruguay who is now making his headquarters in
New York, is busily engaged with concert and radio performances. He is also a composer of great
merit.

VINCETE GOMEZ, at present in New York, has toured Europe, Northern Africa and the Americas.
While his repertoire includes many classics, he is considered one of the greatest exponents of the
Flamenco style of guitar playing.

CARLOS MONTOYA, of Spanish nationality, is known for his extraordinary virtuosity in the
Flamenco style and has been appearing in public with Argentinita, the celebrated Spanish dancer.

EMILE PUJOL, born in Spain, is a pupil of Tarrega and makes his home in Paris. He has given
recitals in many European cities and his compositions and arrangements stamp him as an
accomplished musician.

REGINO SAINS DE LA MAZA, Spanish, has traveled extensively in Europe

and visited this country in 1938, giving several recitals.

SEVERINO GARCIA FORTEA, Madrid, a great artist and well known through his transcriptions for
guitar of the works of Albeniz, and by some original compositions.

LUISE WALKER, of Vienna, has been hailed as the greatest amongst the guitarists of central Europe.
This artist began her musical career when fifteen years of age and since then has played in all the
important musical centers of Europe. Also, she gave several recitals in New York City seven years
ago.

65
HEINRICH ALBERT, Munich, is the most celebrated guitarist of Germany and a prolific composer
of original music for his instrument. Since he retired from the concert stage, his fame as a master
teacher of advanced guitar technic has spread beyond the confines of his own country.

LUIGI MOZZANI, Bologna, the most celebrated Italian guitar virtuoso and composer, has been, to a
great extent, responsible for the revival of interest in the guitar throughout Europe.

BENVENUTO TERZI, of Milan, Italy, guitarist and composer, has given many recitals in European
cities.

Turning now to South America, we find that for many years the city of Buenos Aires has been a
favorite rendezvous for guitarists. It boasts of several large music schools devoted exclusively to the
teaching of the classic guitar, and recitalists featuring this instrument are quite popular with its
inhabitants.

Well known amongst these South American guitarists are: Maria Luise Anido, Domingo Prat,
Pasquale Roch, Gimenez Manjon, Carlos Garcia Tolsa, Hilarion Leloup and M. Rodriguez Arenas.

In Japan and Russia the guitar has a host of admirers; but to the best of our knowledge these countries
have yet to produce a virtuoso of the first rank.

The artists, whose names we have presented, not only are fine guitarists, but also are well versed in
musical theory and are continually adding worth while compositions and arrangements to the existing
guitar literature, something for the young American guitar students to think about.

Music Or Noise

Listening to a recent broadcast by one of America's "famous" banjoists, the writer was quite disturbed
by the terrible noise which was extracted from his instrument. True, in my mind's eye I could see the
nimble fingers of his left hand fairly fly over the finger board; but speed and noise do not produce
music. After hearing a performance of that sort, it is no wonder that many persons with a sensitive ear
are turned against the banjo. Some players of the plectrum guitar have, on occasion, displayed the
same lack of appreciation of tone quality. Such things may be overlooked in a novice who, through
sheer youthful exuberance, tries to impress his hearers by his speed and tone volume; but in an
experienced player they are inexcusable. Players of the instruments strung with wire strings and
played with a plectrum should realize that a good tone can be produced only up to a certain point;
when the strings are "forced" beyond that, especially in a large auditorium, there is nothing left for the
listener but noise. So it is up to the player to find out just where the good tone quality of his
instrument ends and noise begins. For this reason it is advisable to avoid large assembly halls, unless
an electrical amplifying unit is available. Do not force your instrument. Do not play too close to the
bridge; for there the strings are stiff and the resultant tone is harsh. Do not overdo the tremolo of four
string chords on the tenor banjo or plectrum guitar, as the result is anything but musically satisfying. It
is far better to use the so-called "Duo Style", sustaining the top or melody note with the tremolo and
playing the accompanying chords staccato.

We now come to another important matter, much neglected by some players; this is the plectrum and
its use. For solo work on the banjo or plectrum guitar, select a plectrum of medium size, rather stiff
yet pliable; a soft plectrum will cause a click when attacking the strings and will prove quite annoying
to the listener. When ready to strike a string do not begin the stroke with the plectrum two or three
inches above the string but keep it close to the strings always. The tremolo should be executed more
by rubbing the strings back and forth, rather than by a distinct down and up stroke.

While making these suggestions, we are taking it for granted that a good instrument is being used.

66
One cannot get a good tone from a poorly constructed banjo or guitar, equipped with a cheap brand of
strings. The vellum of the banjo should be kept tightened; if this is neglected the tone will lack
brilliance. If, in pressing down a string on the guitar, there is a buzzing noise then, the frets may need
adjusting, which should be done by an expert. The production of a beautiful, musical tone should be at
all times the aim of every instrumentalist.

67
 ETUDE
August 1940
volume LVIII
number 8
page 567, 571

Niccolò Paganini, Guitarist

By George C. Krick

NICCOLO PAGANINI was born in Genoa, Italy, October 27, 1782 and died in Nice May 27, 1840.
Who has not heard of Paganini? Tongues and pens have vied with each other in celebrating his
wonderful powers and recording his extraordinary genius. The excitement produced throughout
Europe by his marvelous manipulation of the violin remains unparalleled in musical history; but
although there exists a whole realm of literature on this artist as a wizard of the violin his mastery of
the guitar and his great fondness for it have received but meagre and scanty recognition. There is no
doubt that his intimate association with the guitar and mandolin exerted a powerful influence over his
violin playing, helping to form that individuality and peculiarity of style which placed him far in
advance of all other violin virtuosi.

His father, Antonio, a store keeper and amateur musician, was quite a skillful performer on the
mandolin and gave all his leisure time to the study and practice of it. The boy Niccolò showed his
musical talent at a tender age and his father gave him instruction on the mandolin and later handed
him over to more skillful teachers. Being compelled to practice many hours daily, he soon outstripped
his father's musical knowledge, and when five years of age he was placed under Servetto for
instruction on violin and six months later he continued his studies with Costa, the foremost violinist in
Genoa. Under his tuition young Niccolò made such rapid progress that at eight years of age he was
performing three times a week in the churches and also at private musicales. About the year 1795
young Paganini was placed under Alessandro Rolla, a famous violin virtuoso residing in Parma. Rolla
was also an accomplished guitarist and frequently accompanied his pupil on the guitar, and it is quite
probable that at this period Paganini became interested in this instrument. At fifteen years of age he
began his concert tours through Italy and for several years he was flattered to intoxication by his rapid
successes and the unbounded enthusiasm which greeted his many public appearances as violin
virtuoso.

The year 1801, however, saw a remarkable change in his mode of life. Notwithstanding his
remarkably successful career as violinist, he put aside the violin, which had been the means of
bringing him such fame, and for more than three years devoted himself entirely to the study of the
guitar. During this period he was living at the chateau of a lady of rank, and the guitar was her favorite
instrument. Paganini gave himself up to the practice of the guitar as eagerly and with the same amount
of concentration as he had previously done on the violin, and his mastery of the instrument was so
thorough and rapid that his performances became as celebrated as those of the guitar virtuoso
Regondi. Schilling says of him: "Niccolò Paganini is such a great master of the guitar that it is hard to
decide whether he is greater on the violin or guitar." Douburg in his notice of Paganini says,
respecting this period of his life: "To those early days belong also the fact of Paganini's passion for the
guitar, nor did he resume in earnest that peculiar symbol of his greatness, the violin, till after the lapse
of three years." Riemann in his account of the artist says: "He played the guitar as an amateur, but
with the skill of a virtuoso." Ferdinand Carulli, the guitar virtuoso, says in his famous method: "The
fact may not be generally known that Paganini was a fine performer on the guitar and that he
composed most of his airs on this instrument, arranging and amplifying them afterwards for the violin
according to his fancy."
68
Public Performances

Paganini was intimate and performed in public with the leading guitar virtuosi of that time, and the
guitar exercised a great influence and fascination over his musical nature. During his whole career he
employed it as his accompanying instrument with his pupils and musical friends; and the majority of
his compositions published during his lifetime include a part for the guitar. This was the instrument he
fondled and caressed during those long periods of illness, when his strength was not sufficient for him
to resort to the more exacting position required by the violin. To an intimate friend inquiring of
Paganini his reason for devoting so much attention to the guitar, he replied: "I love it for its
harmonies, it is my constant companion on all my travels."

In the year 1805 Paganini with his violin again started out on a concert tour and the following years
were a series of brilliant triumphs, which it is not necessary to enumerate.

While in Paris, Paganini frequently visited J. B. Vuillaume the violin maker, and on one occasion took
a fancy to a guitar made by Grobert of Mirecourt. Vuillaume graciously placed this guitar at his
disposal during his visit. When ready to leave Paris, Paganini returned the instrument after writing his
autograph in ink on its unvarnished top near the left side of the bridge. Later this instrument was
presented to Hector Berlioz, who also was a guitar enthusiast and who placed his autograph on the top
opposite to that of the other immortal name, and today this historical instrument is preserved in the
Museum of the National Conservatory of Music, Paris.

Last Years

Paganini was a very intimate friend of the guitar virtuoso Luigi Legnani and they often toured together
giving joint concerts. In the summer of 1834 Legnani spent several months at the Villa Gajona,
Paganini's country residence, where they occupied their time rehearsing new compositions, and in
October, 1836, they appeared together at concerts in Parma and other cities in northern Italy. Several
trips to Paris and London followed, but in the fall of 1839 ill health compelled Paganini to return to
his native land, and his trip to Nice to avoid the winter of northern Italy proved his last journey.

It is a significant fact that all of the compositions of Paganini, with but one exception, contained parts
for the guitar, this only exception being the "Twenty-four Caprices for Violin, Op. 1." The best known
of the others are: "Six Sonatas for Violin and Guitar, Op. 2"; "Six Sonatas for Violin and Guitar, Op.
3"; "Three Grand Quartets for Violin, Viola, Violoncello and Guitar, Op. 4"; "Three Grand Quartets
for Violin, Viola, Violoncello and Guitar, Op. 5"; "Nine Quartets for Violin, Viola, Violoncello and
Guitar," without opus number; and "Variations di Bravura on Airs from 'Mose', for Violin and
Guitar."

69
 ETUDE
September 1940
volume LVIII
number 9
page 637, 648

Johann Caspar Mertz

By George C. Krick

JOHANN KASPAR MERTZ, the renowned guitar virtuoso and composer was born in Pressburg,
Hungary, August 17,1806 and died in Vienna, October 14, 1856. He was the son of very poor parents
and during childhood received some elementary instruction on the guitar and the flute; and, in order to
be of financial assistance to the family budget, he had already begun to give lessons on these
instruments by the time he was twelve years of age.

Teaching and perfecting his technic on the guitar, which had become his favorite instrument, now
occupied all of his waking hours, and in this uneventful manner he passed his young life. When thirty-
four years of age he was fired with the ambition to enlarge his sphere of operations and removed to
Vienna, where he established himself as a teacher of guitar, and not long after his arrival in the
beautiful city on the banks of the Danube he appeared as guitar soloist at a concert given in the Court
Theatre under the patronage of Empress Carolina Augusta.

His success was instantaneous, his performances being applauded to the echo, and for his brilliant
achievements Mertz was appointed Court guitarist to the Empress. During the next two years we find
him making extended concert tours through Moravia, Poland and Russia, one of his recitals taking
place in the Russian fortress Modlin, where he played before the court under the patronage of the
Grand Duke Urusoff. Other concerts followed in Stettin, Dresden, Berlin, Breslau,Chemnitz, Leipzig
and Prague.

At one of these concerts he met for the first time the young lady destined to become his wife, Miss
Josephine Plantin, a professional pianist who happened to appear on same same program with Mertz.
This accidental meeting upon the concert stage led to a friendship that resulted in their undertaking a
joint concert tour; which proved a great artistic and financial success; and they were married in
Prague, December 14, 1842. Some months later the newlyweds returned to Vienna where fortune
smiled upon them and they were busily engaged in imparting instruction on their instruments to
members of the royal family and the elite of society. Celebrated pupils of Mertz were Johann Dubez
who obtained European fame as a guitar virtuoso and the Duchess Ledochofska who possessed rare
musical ability and was regarded as a virtuoso on the mandolin.

In addition to being the foremost guitarist of this period, Mertz was also a talented performer on the
flute, violoncello and mandolin, and composed music for these instruments.

A Temporary Retirement

A serious illness now interrupted his successful career in Vienna and for almost two years he was
unable to appear in public. When he returned to the concert platform, in the spring of 1848, the public
appreciation of the artist was made manifest by the enthusiasm and excitement displayed by an
audience that filled the hall to its utmost capacity, while many clamoring for admission had to be
turned away. The last period of his career saw Mertz repeating his successes of former years, but the
strenous life he was leading began to take its toll and on October 14, 1858, he died in Vienna a month
70
after returning from a short concert tour. No portrait of this artist was ever made, and one of his last
compositions, written a short time before his death, was his Op. 65, perhaps the greatest of the original
works Mertz wrote for the guitar.

In the early part of 1856 a Russian nobleman, M. Makaroff, residing in Brussels offered two prizes for
the best compositions written for guitar, this offer being made to stimulate writers and players of the
instrument. Thirty-one competitors submitted sixty-four compositions to the judges, who were
musicians of European repute: Leonard the violinist, Servais and Demunck, violoncellists, and several
others connected with the Brussels Conservatoire of Music. The jury under the presidency of M.
Makaroff awarded the first prize of $200.00 to J. K. Mertz of Vienna, for his Op. 65 - Fantasie
Hongroise, Fantasie Original and Le Gondolier. Mertz did not hear this good news, for he passed
away a short time previous to the publication of the result. The second prize was awarded to Napoleon
Coste, the French guitarist, for his Grande Serenade.

As a performer and writer for guitar, Mertz is ranked amongst the most illustrious; his original
compositions, transcriptions and operatic arrangements are gems of beauty. He was a musician of
exceptional attainments, and a poetic and sublime writer for his instrument. He was a great inventor,
not only as regards the technical treatment of the guitar but also as regards his compositions for the
instrument, and whatever Mertz wrote showed his exquisite refinement. A vulgar melody or a
commonplace harmony seems to have been impossible to his very nature.

In his concerts Mertz used a ten stringed guitar, that is, with four free swinging bass strings added to
the regular six stringed instrument. Frequently his wife appeared with him on concert programs,
playing piano accompaniments to his guitar.

Numerous Compositions

Mertz was a prolific composer, although the majority of his works consist of transcriptions and
arrangements of classical compositions for guitar solo, guitar duo, or guitar and piano.

His early compositions, Op. 1 to 7, are of a light character - Hungarian dances, nocturnes, polonaises.
Under the title of "Opera Revue, Op. 8", Mertz wrote thirty-three classic transcriptions for guitar solo
of favorite operas, these arrangements being vastly superior to anything of the kind published
previously or at a later date. In these numbers, each one of them consisting of ten or more pages,
Mertz has employed all the resources of the instrument; and their performance requires technic of the
highest order. They should be in the library of every serious minded guitarist.

"Barden Klaenge, Op. 13" is a group of thirteen tone pictures, purest gems of melody, of medium
difficulty, but well worth while. Altogether there were more than one hundred published opus
numbers, and many more remained in manuscript. These manuscripts stayed in the possession of
Mertz's widow, who survived her husband many years; but some time before her death on August 5th,
1903, the International Guitar Society raised by subscription a sufficient sum to purchase them, and
they are preserved in the society's library in Munich.

For unaccountable reasons the present day guitar virtuosos have neglected the music of Mertz; which
is a pity, as there are many of his compositions and arrangements that would delight an appreciative
audience. Here are the titles of a few, in addition to those already mentioned, that would grace any
concert program: from Op. 8, "Ernani", "La Favorita", "Rigoletto", "The Barber of Seville", and "The
Merry Wives of Windsor"; from Op. 13, Capriccio, "Fingal's Cave", and Tarantelle.

71
 ETUDE
October 1940
volume LVIII
number 10
page 709, 711

Some Tips on Strings

By George C. Krick

NO MATTER HOW GOOD an instrument may be, unless a first class brand of strings is used, it will
be impossible to produce that brilliant tone of which the instrument might be capable. A frequent
replacement of strings is also advisable, depending on the number of hours daily the instrument is in
use.

The worst offenders amongst strings are the first, second and third on the classic guitar, judging from
numerous letters received from correspondents, who have had considerable trouble in finding the
perfect string. A gut string for guitar must first of all be true in all positions; otherwise it is worthless;
it should be hard and durable in order to withstand the strain due to the method of striking the string
with the fingers of the right hand.

To test whether a string is true or not, it should be tuned up to its required pitch and the harmonic at
the twelfth fret sounded; then the stopped note at the same fret is played; if the string is true the pitch
of the two sounds will be exactly alike.

To play the harmonic the third or fourth finger of the left hand is placed lightly on the string at the
required fret, the string is struck with the right hand finger and the left hand finger is quickly raised
from the string. A little practice will soon enable one to get a clear harmonic tone. If the string is not
true it might be well to try this remedy, which the writer learned some years ago from an old time
banjoist. After proceeding with the test as outlined, the player should listen carefully to both tones and
he will find that, if the string is false the stopped note will sound either higher or lower than the
harmonic. If the sound of the stopped note is lower than the harmonic, it indicates that the string is a
trifle too thick somewhere between the twelfth fret and the bridge. To correct this defect the player
should lay the guitar on the lap in a position similar to that of a Hawaiian guitar, with the neck of the
instrument pointing to the left. A piece of very fine emory paper is wrapped around the string and
rubbed back and forth from the twelfth fret to the bridge. In order that the thickness of the string may
be kept uniform, it is held at its other end, somewhere near the fifth fret, and slowly turned to one side
and then to the other, while the right hand continues the operation with the emory paper. This is kept
up for thirty seconds, after which the string may be tested again; and then this procedure may be
continued until the string sounds true.

If, when first testing the string, the stopped note at the twelfth fret sounds higher than the harmonic,
the above method is reversed by placing the guitar so the neck points to the right and applying the
emory paper treatment to the portion of the string from the nut to the twelfth fret, twirling it with the
right hand a little distance away from the bridge.

If these suggestions are followed carefully many strings that otherwise would wind up in the waste
basket will give useful service.

For Best Results

72
Generally speaking gut strings of medium thickness give the best results on the average guitar. If,
however, the instrument has a very thin top or sounding board, lighter strings are advisable. Perspiring
hands will shorten the life of strings and care should be taken to wipe the strings with a woolen cloth
before putting the instrument back into its case.

To those players having difficulty in finding gut strings made especially for the guitar, this department
will be glad to furnish information as to where they may be obtained if the inquiry is accompanied by
a self-addressed stamped envelope.

Wire strings are usually true, but if a false one happens to make its appearance, there is no other
remedy than to replace it with one that is true. These strings, of course, can stand a great deal more
wear and tear than those made of gut, but this is no reason why they should not be replaced frequently,
as in time they will lose their elasticity and brilliance; this applies especially to those with an outer
covering of fine wire. It is also of utmost importance to keep them free from moisture and rust.

An instrument with a removable bridge, such as used on the tenor banjo, occasionally sounds out of
tune and this defect becomes more pronounced as one plays in the higher positions. In most cases this
is caused by the bridge not being in its right place. To correct this fault, measure the distance between
the nut and the twelfth fret and then see that the bridge is placed at exactly this distance from the
twelfth fret.

Players of the mandolin and mandola are often puzzled by not being able to get their instruments in
proper tune after replacing a broken string. These instruments are strung with four pairs of strings and
each pair is tuned in unison and, of course, always played in unison. If one string happens to break,
the other one of the same pitch also should be taken off and both replaced with a new pair in order to
get a perfect unison. It is almost impossible to tune a new string in perfect unison with one that has
been in use for any length of time.

A poorly and cheaply made string detracts from the tone of the instrument in quality and quantity; it
will break sooner than a better one; and taking it all in all it is a poor investment. The string
manufacturers, during the past few years, have made wonderful progress in the improvement of their
product, and there is no reason why players of the fretted instruments should try to get along with
anything but the best.

Answers to Correspondence

A.C.F. -Chicago

There are a number of fine guitar records on the market, that you may order from your dealer. Those
made by Andres Segovia are to be found in the Victor catalog. Julio Martinez Oyanguren has recorded
some of his best numbers for the Columbia Record Company, and recently the Decca Company has
released an Album of five recordings by the same artist. The Decca Company has released also two
very interesting Albums of recordings by Vicente Gomez. Oyanguren is on the air over Station WEAF
at 12:15 P. M. on Sundays while Gomez can be heard at 3:00 P. M. also on Sundays over Station
WJZ.

73
 ETUDE
November 1940
volume LVIII
number 11
page 785, 787

Mauro Giuliani
By George C. Krick

DURING THE LATTER PART of the 18th Century Italy gave to the world many famous guitarists,
amongst whom the name of Mauro Giuliani stands out preeminently. Born in Bologna in 1780
Giuliani's early life was devoted to he study of the violin and guitar, but after a few years the latter
became his favorite instrument and received his undivided attention. Endowed with more than
ordinary ability and aptitude for music study he soon formed a style of playing totally different from
that in vogue in Italy up to that time. Excepting his rudimentary lessons Giuliani was entirely self-
taught, yet he soon surpassed all previous masters of the guitar; in fact, he might be called the founder
of a distinct and refined school of guitar playing. His style of composition also far outshone that of the
most renowned of former writers and his works even to-day remain a living monument to his genius.
Before he was twenty years of age he had given many concerts in his native land and his unerring,
brilliant technic and powerful, sonorous tone won for him the reputation as the outstanding guitar
virtuoso of Italy.

Now followed a continental tour that took him to Paris and other important musical centers and his
name spread throughout the length and breadth of Europe. Towards the close of the year 1807 he
reached Vienna, where he soon established himself as virtuoso, composer and teacher and there he
associated with the leading musicians of the city who held him in highest esteem; he became the
intimate friend of Haydn, Hummel, Diabelli, Moscheles and Mayseder and was a welcome visitor in
the homes of the aristocracy. Amongst his pupils we find the two Polish virtuosi, J. N. Bobrowicz and
F. Horetzky, the Archduchess of Austria, the Princess Hohenzollern, the Duke of Sermonetta and
Count George of Waldstein. At this time Giuliani composed some duets for guitar and piano, which he
frequently performed in public with Hummel or Moscheles at the piano. He also introduced in his
concerts the terz guitar, a smaller instrument with shorter strings tuned a minor third higher than the
regular guitar, producing a more brilliant tone. Some writers have given Giuliani credit for inventing
this instrument, but it is a fact that it had been in use for some years previously; Giuliani, however,
used it more extensively and wrote many pieces for terz guitar with accompaniment of string quartet,
orchestra or piano.

Concerts and Soirees

In 1815 he was engaged with the violinist, Mayseder, the pianist, Hummel, and a violoncellist from
the royal opera, in giving what they named the "Ducaten Conzerte"; also a series of six musical
soirees in the Royal Botanical Gardens of Schoenbrunn in the presence of the royal family and the
nobility. For these concerts Hummel wrote his Op. 62, Op. 63, and Op. 66, "Grand Serenades", for
piano, guitar, violin and violoncello; also "The Sentinel, Op. 74", for voice with accompaniment of
piano, guitar, violin and violoncello. After the departure of Hummel from Vienna, Moscheles joined
Giuliani and Mayseder and these artists appeared together in all important cities of Germany.

In 1821 Giuliani left Vienna to return to his native land and for several years was busy giving recitals
in Rome, Naples and other Italian music centers. Subsequently he traveled through Holland, Germany
and Russia, and finally reached St. Petersburg where his reception was so flattering that he stayed
74
there for a number of years.

In 1833 he visited London, where his playing aroused much enthusiasm. Here it was that he met for
the first time his most distinguished and only rival, Ferdinand Sor who was well known to the London
public. The playing of these two artists was of a different style and soon each had numerous adherents
amongst the English musical public, whose interest in the guitar was never greater than during this
period.

In June 1836 he was again performing in London and later we find him returning to Vienna, the scene
of his early triumphs where he lived until his death in 1840.

An English critic said of him "Giuliani's expression and tone in guitar playing are astonishing. He
vocalized his adagios to a degree impossible to be imagined by those who never heard him, his
melody in slow movements was no longer like the short, staccato of the piano, requiring a profusion
of harmony to cover up the deficient sustension of the notes, but it was invested with a character,
sustained and penetrating. In a word, he made the instrument sing."

Many Original Works

Giuliani was a prolific composer for his instrument and during his lifetime the Opus numbers of his
published compositions reached 150 while more than one hundred remained in manuscript. It is a
curious fact that his most difficult works were written during his early career, and were evidently
intended for use in his own concerts. The others were undoubtedly written for his pupils and amateur
players.

The "Grand Concertos for Guitar", Op. 36, Op. 70, and Op. 103, with accompaniment of full orchestra
or string quartet, are unrivalled in guitar literature and their performance requires an artist of the first
order.

There are numerous quartets, quintets and sextets for guitar and strings, duets for guitar and violin or
flute. In these duets we find the rarest and choicest melodies and harmonies; and they display to every
possible advantage the characteristics, capabilities and beauties of both instruments. The best known
of the duets for guitar and violin (or flute) are Op. numbers 25, 52, 76, 77, 81, 85, 126 and 127. For
two guitars, there are Op. numbers 35, 66, 116, 130 and 137; while for guitar and piano the Op.
numbers 68, 104 and 113 are most effective. For guitar solo, Rondoletto, Op. 4; Grand Sonata, Op.
15; Sonata Eroica, Op. 150; and Grande Overture, Op. 61, all are written in the classic style and they
would give grace to the program of any artist.

Lack of space prohibits listing of many more of his compositions that show the master guitarist and
inspired composer.

Of great interest to the present day guitar student are Giuliani's technical studies and concert Etudes.
These include "120 Right Hand Studies, Op. 1", interval studies in thirds, sixths, octaves, tenths,
special studies in ornaments, and so on; "24 Arpeggio Studies, Op. 100"; "Papillon, Op. 30", thirty-
two graded pieces for the student; "8 Graded Pieces, Op. 148"; "Etudes of Medium Difficulty, Op.
111"; "6 Preludes, Op. 83", exemplifying the art of modulation; and "25 Concert Etudes, Op. 48", for
advanced players.

75
 ETUDE
December 1940
volume LVIII
number 12
page 854-855

Scale Practice for Guitarists

By George C. Krick

A CLEAN CUT PERFORMANCE of a musical composition by an artist is always hailed with delight
by an appreciative audience and should be the goal of every serious minded student of the guitar. The
first requisite of a public performer is a flawless technic; and this can result only from many hours of
careful conscientious preparation, beginning with the practice of scales in all major and minor keys.
This scale practice is necessary to train the ear to hear every sound produced on the instrument, and to
develop gradually a facility of execution by training the fingers of both hands properly to perform
their task.

For the guitar student this is of special importance, as it is more difficult to develop an even scale; due
to the difference in the thickness of strings and the material of which they are made. The lowest, or
sixth string, is made of silk wound with wire, as are also the fifth and fourth The sixth, being heavier
than the others, requires more pressure of the left hand fingers and more power from the fingers of the
right hand; passing on to the fifth string just a little less pressure is required, and this pressure of both
hands should be lessened somewhat in passing over the higher strings When playing a descending
scale beginning on the first string, the action of the fingers is necessarily reversed, the second string
requiring a little more pressure than the first. This increase in pressure should be employed in the
same ratio as the lower strings are relatively heavier and offer more resistance.

One must keep in mind, however, that this difference in pressure is very slight, and a great deal of
experimenting and practice are required until the action of the fingers becomes automatic; also, we
must remember that a fairly firm pressure of the left hand fingers on all strings is necessary to obtain a
clear ringing tone. The first, second and third strings, being made of gut, the tone color of the sounds
produced on these strings is somewhat different from those on the three silk wound strings; and it is
up to the student to try to cut down this difference to a minimum, especially when passing from the D,
or fourth string, to the G, or third string all of which again requires careful practice.

Now let us take up the playing of the scale in G major which requires the use of all six strings of the
guitar, keeping in mind that our first object is to develop a beautiful round tone and the next to obtain
facility of execution and speed; also let us remember what has been said regarding the pressure of left
hand fingers. Play slowly, counting two for each note; begin by striking the G on the third fret of the
low E string with the first finger of the right hand, then A open with the second finger, and keep on
alternating the first and second fingers until you arrive at G on the first string. Now play the same
scale descending in a similar manner, always listening carefully to every sound produced and continue
with this ascending and descending scale until the ear is able to detect a gradual improvement in tone
quality.

76
Now we will proceed to play the same scale in groups of eighth notes, repeating each note with
alternating first and second fingers and then again with second and first.

The next step is to play as indicated in Example 3, maintaining the same tempo as in Example 2.
When the fingering of this scale has been mastered, the student is ready to practice all the principal
major and minor scales in two octaves, using these examples as a pattern.

To gain more facility and speed, it is suggested to begin again with the scale of G, but to play it in
groups of sixteenth notes as in Example 4 and follow with Example 5.

77
From now on the use of a metronome will be found very helpful in developing facility of execution
and speed.

Players of the plectrum guitar will find the above suggestions helpful by using down strokes of the
plectrum in scales such as Example 1 and substituting the alternating downup stroke for the first and
second fingers of right hand in the remaining examples. The proper plectrum strokes for the scale of G
in eighth or sixteenth notes are to be found in Example 6.

78
So far we have spoken of scales in two octaves but a guitarist should have command of the entire
finger board of his instrument, and for that purpose all scales should be extended to three octaves.
With all this accomplished the real work for the student now begins by taking up the study of scales in
thirds, sixths, octaves and tenths, and this in the words of the Spanish guitar virtuoso and composer
Ferdinand Sor, "is the secret of all good guitar playing."

Now just a few more hints on how to practice. have a definite object in view and concentrate on every
movement of your fingers in order to obtain the results you seek, be it a better tone or more speed.
Listen carefully to every sound produced and try it again and again until you are satisfied. Do not
hurry; in the beginning especially, best results will come from slow, deliberate movements continued
until they become automatic. Set yourself a high standard and keep this before you always. Others
have done it, why not you?

Questions regarding Fretted Instruments should be addressed to George C. Krick care of the Etude,
1712 Chestnut Street, Philadelphia, Pennsylvania.

ETUDE
January 1941
volume LIX
number 1
page 62-63

Carlo Munier, Mandolinist and Composer

By George C. Krick

NAPLES, THAT BEAUTIFUL CITY in southern Italy has often been called "The Home of the
Mandolin"; and it was here that her illustrious son, Carlo Munier, was born on July 15, 1859. While
Italy can boast of a great number of outstanding artists of the mandolin, we feel that, without fear of
contradiction, the name of Carlo Munier should top the list of all these distinguished virtuosos and
composers. He was an inspired artist in every department of music, towering above the greatest, and
his genius is justly recognized wherever the instrument is known.

If heredity is to be considered, it is no surprise that Munier devoted his whole life to the uplifting and
advancement of the mandolin and its music. His ancestors and relatives were performers, teachers and
mandolin makers. Munier's great uncle Pasquale Vinaccia (1806 - 1882) was famous throughout
Europe as perfecter of the Neapolitan mandolin we know to-day, and Pasquale's two sons, Gennaro
and Achille Vinaccia, continued his work after his death. Born in this environment, possessed of rare
musical ability with an inborn and all consuming love for the mandolin, we can readily understand
how Carlo Munier became in time universally recognized as the greatest musical authority on the
instrument.

Young Munier began serious study of the mandolin under Carmine de Laurentiis, celebrated teacher
of mandolin and guitar in Naples, and his progress was phenomenal. When fifteen years of age he
began the study of piano under Galiero and Cosi and harmony and counterpoint with d'Arienzo.

A Genius Recognized

He was nineteen years of age when he left the conservatoire of S'Pietro d'Maiella, having won both
the first prize for composition and the second prize for harmony. At this time he appeared in many

79
concerts in Naples and published his first compositions, arrangements of "La Traviata" and "I
Puritani" for quartet of two mandolins, mandola and piano, the second of these being dedicated to Her
Majesty, the Queen of Italy.

In 1881 Munier moved to Florence, where he lived the greater part of his life, being actively engaged
in concert work and in composing for mandolin and other instruments. Here also his genius was soon
recognized, and he was a welcome guest in the most select musical circles of Florence. In 1890
Munier organized the first plectrum quartet, with Luigi Bianchi and Guido Bizzari, first and second
mandolin; Riccardo Matini, mandola and himself, modern lute and director. This quartet, of which
each member was a thorough musician and artist on his respective instrument, gave many successful
concerts throughout Italy. In 1892 they obtained first prize in the international music contests in
Denoa, when Munier was awarded the gold medal as mandolin virtuoso and composer.

On June 30, 1902, at a concert given by the "Royal Circolo Mandolinista" of which Munier was also a
member, his quartet rendered several of his own compositions which were accorded an ovation. On
October 6, 1909, the quartet appeared "by royal command" in the historic castle of Sommariva, Perno.
Munier's solos were his Prelude in D major and his first Mazurka di Concerto. Upon the conclusion
of the performance, His Majesty, Victor Emmanuel III rose to greet him and warmly congratulated
him upon his marvelous performance, expressing his surprise at the beautiful effects of which the
mandolin was capable.

Munier, as mandolin virtuoso, did not perform to any extent outside of his own country. He
contributed many literary articles to the musical journals and frequently acted as adjudicator in
musical contests both in Italy and other European countries. In the early days of 1911. Munier visited
Antwerp and, on his return journey, spent a few days with his friend Fantauzzi, the mandolinist,
residing in Marseilles. He was enthusiastic about plans for an imposing concert in Florence, which
were never realized; for he died in his adopted city after a short illness on February 10, 1911 at the age
of fifty two. His admirers from all parts of the world subscribed, through the medium of a Milanese
music journal, to a bronze shield suitably inscribed which was erected to his memory.

Munier once wrote concerning his early studies on the mandolin. "At the beginning I confess I did not
think the mandolin capable of such advancement, and I excluded from my repertoire a number of
pieces that I believed impossible of execution; but I thought, studied and worked, then wrote my
'Method,' 'Studies,' solos, and other works, and I became so proficient that I could then execute with
ease what I had previously thought impossible."

During his lifetime Carlo Munier published more than three hundred and fifty works, and others
remained in manuscript. For the benefit of modern mandolin students, we bring to attention his most
important compositions. First, there is his "Mandolin Method" in two volumes, containing over two
hundred pages of study material with Italian, French and English text. This method is supplemented
by "La Scioglidita", four books of progressive exercises covering all phases of mandolin technic; and
"Opus 216", twenty studies for advanced students.

Next we find "Op. 115", lessons in the form of duets; "Op. 228", duets for two mandolins in first
position; "Op. 220", duets in first to third position and "Op. 228", duets in all positions; also "Opus
230", a book of ten classic arrangements for three mandolins. For the serious mandolin student these
works are indispensable.

Among his finest creations are the three string quartets: "Opus 767 in G-major"; "Op. 128, in D-
major" and "Op. 203, in C-major', scored for two mandolins, mandola and lute or mandocello, with
optional parts for guitar or piano. There is also quite a number of beautiful arrangements of operatic
fantasies and other classic pieces scored for the so-called "Romantic Quartet", two mandolins,
mandola and guitar.

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His mandolin solos with piano accompaniment are veritable gems and show the mandolin at its best.
Here we find the "First Concerto in G major", Capriccio Spagnolo, the "First and Second Mazurka
Concertos", Valzer Concerto, Aria Variata, Rossiniana Fantasia, "Bizzaria-Capriccio Concerto",
Scene de Ballet de Beriot and the mandolin duo, Canto d'Amore, for unaccompanied mandolins. The
performance of any of these numbers by an artist cannot fail to open the eyes of the uninitiated to the
true worth and beauty of this much abused and misunderstood instrument, the mandolin.

81
 ETUDE
February 1941
volume LIX
number 2
page 135-136

The Orchestra Guitarist

By George C. Krick

SOME SEVEN OR EIGHT YEARS AGO dance orchestra leaders "discovered" the guitar and were
happy to add to their existing ensembles, this new musical voice; the sonorous, enchanting tone of its
strings blended beautifully with that of the other string and wind instruments and provided a
background impossible to obtain from any other source. In recent months this situation has changed
somewhat, and here and there we find some orchestra leader of national fame skeptical about the
value of the guitar in dance ensembles. Now what is the reason for this turn about? Let us not put the
blame on the instrument itself. The American manufacturers of this instrument have made wonderful
strides in developing an orchestra guitar which has no superior anywhere as far as workmanship, tonal
volume, or tone quality is concerned; and electric amplification has given it enough power to hold its
own against trumpet and saxophone.

During a recent conversation with the writer, a well known band leader discussed the merits of the
guitar and did not hesitate to put the blame right on the players themselves. "I am fond of the guitar,"
he said, "but to find a guitarist, who is musician enough to measure up to the other members of my
band, is like hunting for a needle in a haystack." Here is your answer, guitarists. What do you intend
to do about it? Are you going to let the guitar, an instrument capable of great artistic possibilities, go
the way of the tenor banjo into gradual oblivion, or are you serious enough to study it as earnestly and
thoroughly as the professional pianist or violinist studies the instrument of his choice?

Among some recent letters addressed to this department we found one in which our correspondent
asks: "To be able to play the guitar with a good orchestra is it necessary for me to read music, or is it
sufficient to play the chords from symbols? I have studied the guitar about a year and can play any
chord possible, but have used symbols only." This reminded us of a remark made by a foreign music
educator, who spent some time in this country teaching and was asked what impressed him most about
the American student of music. "Too many of them like to take short cuts," he answered.

Now we have learned from many years' experience in playing and teaching the fretted instruments that
there are no short cuts in the study of instrumental music, not if one wants to amount to something.
True there are some students who can omit certain exercises, which may be necessary to others -
special exercises that are intended to strengthen a finger that is weak on some hands or for some other
reason - but these fingers are usually taken care of by a competent and conscientious teacher, who is
in a position to select just the right studies for each individual pupil.

Once you have decided upon the orchestra or plectrum guitar, place yourself in the hands of a
reputable teacher, have him guide you in the selection of a good instrument and then follow his
instruction to the letter. If no teacher is available in your vicinity, get all the instruction books possible
and study them carefully and slowly, skipping nothing. To those studying without a teacher we
suggest spending the one or two weeks of their summer vacation in some city where they may gain the
benefit of expert instruction and advice, taking a daily lesson during this vacation period, which would
prove time and money well spent.

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The beginner should by all means start his studies with learning to read music, just as a child should
learn his A, B, C's in order to read and write; there is nothing secret or difficult about it. Persistent
daily practice will soon bring about results.

After the rudiments of music are thoroughly mastered, scale practice is in order; beginning with one
octave and later extending to two and three octaves. The production of a good tone should be carefully
studied. An energetic movement with the plectrum across the string downwards, directed towards the
next higher string, will produce a fuller and rounder tone than picking the string with the hand moving
upwards away from the string. It is well to use down strokes on all notes for some time; and when
scales can be played in this way evenly and smoothly, then the alternating down-up stroke may be
used. The right hand always should be held in a relaxed position; and a flexible wrist helps materially
to simplify execution.

A good tone also depends on the action of the left hand fingers. These must be trained to drop onto the
string with a quick movement, holding the string firmly for the duration of the note. Once the single
string technic is fairly well established, the study of chord formation is the next step. Begin with the
three principal chords in all the major and minor keys, study them so you will know every note that is
used to make up each chord, then proceed to their inversions and all other chords that may be found in
all positions on the guitar fingerboard. In the playing of chords the left hand again plays an important
role, especially when the Barrè is required to hold down firmly two or more strings with the first
finger. To train the first finger for this purpose it is advisable to begin with the simple four-string
chord on first, second, third and fourth strings and later include the notes on the fifth and sixth strings.
Having acquired a thorough knowledge of chord construction it is now necessary to practice quick
changes from one chord to another which requires lots of patience, persistence and hard work.

Practical Requirements

The suggestions made so far should provide a solid foundation upon which good guitar technic may
be built, and the serious student will now want to go ahead and study the compositions written for
guitar solo. Begin with the easy ones and gradually develop the ability to master those of greater
difficulty. A guitarist, to become an asset to a dance band or radio orchestra, must be able to play
occasional solo parts, be able to transpose from one key to another and be a good sight reader in
addition to his other accomplishments. In order to play from piano copies it is necessary to be able to
read notes in the bass clef and to transpose the chords written for piano into the treble clef and in
many instances play them an octave higher. Last, but not least, a course in harmony is strongly
advised for every student. All of these things mentioned combine to make up the technical equipment
of an orchestra guitarist expecting to succeed and hoping to hold his own as a competent musician
with the other members of an orchestra.

83
 ETUDE
March 1941
volume LIX
number 3
page 209-210

Dionisio Aguado, Guitarist and Composer

By George C. Krick

THIS DEPARTMENT, from time to time, has presented short biographies of men who, through their
genius and undivided devotion to their chosen instrument, the guitar, have brought it to the attention
of the musical public, and, who, by their ability as composers, have greatly enriched the original
literature for the instrument. We have discussed the careers of several guitarists of the classic era -
Ferdinand Sor, Mauro Giuliani and those who came later, such as J. K. Mertz and Francisco Tarrega;
also the contemporary artists, William Foden, J. Martinez Oyanguren, Luigi Mozzani and Andres
Segovia.

When we read of their early struggles and disappointments, followed later by successes and triumphs,
we cannot help but admire them for their persistence and industry in behalf of the guitar; nor can we
fail to derive inspiration to carry on the work which they so ably inaugurated. We must remember that
these early pioneers at the beginning of the nineteenth century had to depend mostly on their own
resources and, aside from receiving some rudimentary instruction from obscure teachers, were entirely
self-taught. It was up to them to create new technic, to invent new artistic effects and to write original
compositions for the guitar; all of which may be enjoyed by the present day guitar student.

Among these early pioneers Dionisio Aguado, the Spanish guitar virtuoso and composer, occupies an
enviable position. Born in Madrid, April 8th, 1784, son of a notary, he showed a strong predeliction
for music quite early in life. His elementary studies in music and the guitar were received from a
monk at a college in Madrid and later he studied with Manuel Garcia, the renowned singer, who was
also an accomplished guitarist. In 1803 we find him living in the village of Fuenlabrada, where he
devoted himself to the perfection of his technic. There, too, he developed his system of fingering and
harmonic effects which were later incorporated in his "Method", published in Madrid in 1825. A
second edition of his valuable book was published in Paris in 1827 and a third in Madrid in 1843.
Paris, at this time the musical center of western Europe, now proved a magnet that attracted Aguado,
and he arrived there in the early part of 1825. He remained in Paris until 1838, giving concerts,
teaching and composing. He made many friends in the city among the most celebrated artists of his
period and here also he became acquainted with his countryman, the guitar virtuoso, Ferdinand Sor. In
time these two artists became intimate friends; and Sor composed a duet for two guitars for Aguado
and himself, entitled Les deux Amis.

Two Different Styles

Although of the same nationality and of the same period, Aguado and Sor differed materially in their
style of playing the guitar. In Aguado's youth most guitarists were strangers to music composed for
other instruments and confined themselves mainly to playing music written especially for guitar. Their
object was to play rapid passages in order to dazzle and astonish the public. A theme with numerous
variations to be played at breakneck speed was the order of the day. Aguado, however, had an
instinctive leaning towards a better type of music and, as soon as he was left to his own resources, his
exquisite taste and musicianship began to show in his performances and original compositions. It is a
curious fact that he alone of all the great guitarists played with long finger nails, which resulted in a
84
rather nasal sounding tone, which, however, was clear and of beautiful quality. In addition he
possessed extraordinary velocity, as shown in many of his etudes and other compositions, and his
concerts invariably attracted large audiences. Sor on the other hand was known for his full, round and
powerful tone, produced with the tips of the fingers, and while both artists must be ranked among the
greatest, there is no doubt about Sor's method of playing being the better of the two.

Aguado is credited with the invention of the so-called "Tripodion", a three-legged stand, on which he
rested his guitar while playing. This enabled him to play in either a sitting or a standing position; and
he also claimed that, since in this manner the instrument was kept away from the body of the
performer, the volume of tone was greatly increased, while at the same time there was more freedom
for both hands in executing difficult passages.

The writer well remembers a concert given several years ago in Town Hall, New York, by the Italian
guitarist, Pasquale Taraffo, who utilized a similar device. Standing behind a pedestal on which he
rested his guitar he played quite a lengthy program of fairly difficult compositions, and it was evident
that this hollow pedestal was responsible for an increased volume of tone. Ferdinand Sor evidently
had a good opinion of the "Tripodion" as he composed Fantasie Elegiagne, Op. 59, to be played on
the guitar held in position by this device. Of this Fantasie, Sor says, "Without the excellent invention
of my friend Dionisio Aguado, I would never have dared to impose on the guitar so great a task as that
of making it produce the effects required by the nature of this new composition. It is difficult to
imagine that the guitar could produce at the same time the different qualities of tone, of the treble, of
the bass, and harmonical complement required in a piece of this character in the execution of which
great clearness, taste and the power of singing on the instrument are required."

Original Works

Aguado was a well cultured musician, as his many published compositions indicate. We have
previously mentioned his "Method" which proved very popular and is even now used extensively by
guitar teachers in Europe and South American countries. Then there are several volumes of excellent
etudes; "Three Rondo Brilliantes", in the form of sonatas, Op. 2; minuets, waltzes, and so on, included
in Op. 1 to Op. 14; and many more.

Toward the end of 1838 Aguado felt a strong desire to return to his native land, and he left Paris for
Madrid, where he lived till his death in 1849.

Ferdinand Sor and Dionisio Aguado may be considered the founders of the Spanish School of guitar
playing which some years later reached its culmination with the advent of the illustrious Francisco
Tarrega.

85
 ETUDE
April 1941
volume LIX
number 4
page 279, 283

Teacher or Salesman?
By George C. Krick

THE UNPRECEDENTED POPULARITY of the fretted instruments is responsible for developments

in methods of teaching that are anything but legitimate and which raise many questions in the minds
of competent and conscientious teachers. We know that in bringing up this issue we will step on
someone's toes, perhaps many toes, but we consider it our duty to expose some of these systems
inaugurated mainly to sell mediocre instruments at exorbitant prices to an unsuspecting public, in the
guise of a "free instrument with a course of instruction," which latter is often in the hands of people
who are hired not so much because they are experts in teaching but because they are good salesmen.

Prospective pupils are assured that, on the signing of a sixty-week contract which calls for a weekly
payment of one dollar, they will receive a high grade instrument and a private lesson weekly during
this stipulated term. They fail to realize that the instrument is the cheapest thing possible and the
instruction they will receive is barely equivalent to two or three months' tuition from a competent
teacher. In other words, one pays sixty dollars for instrument and lessons worth about twenty-five
dollars or less. We have met pupils who had "studied" under this plan, who could play about a dozen
easy tunes in a haphazard manner, but whose knowledge of musical notation was nil.

In most cases pressure is brought upon the pupil, a few months after enrollment, to persuade him to
buy a high priced instrument, which of course entails an increase in the weekly payments and is the
main object of the plan, while the instruction is of secondary consideration. If the pupil is a child, the
parents are told that he has outstanding talent and all that is required for him to become a Kreisler or a
Segovia is a two-hundred dollar instrument. Needless to say, in many instances this hypnotic sales talk
proves quite successful from the seller's point of view.

Another Variation

Another system carried on by a number of chain music schools is to have a crew of solicitors descend
upon certain localities in large cities, and especially in small towns and rural communities, in order to
enroll the young people in classes to learn to play Hawaiian guitar. This instrument is preferred by
these schools because its cost is small when turned out in large quantities and the public knows very
little about its intrinsic value and much less about the requirements of a teacher. The enrollment term
also consists of sixty weeks, with a weekly payment of one dollar, and pupils are gathered in classes
of ten for a one hour weekly lesson. Assuming that this kind of a lesson is worth about twenty-five or
thirty-five cents per pupil, and allowing six dollars for the cost of the guitar, one should have no
difficulty in figuring out the profit made by these schools, which are now scattered throughout every
state of the union.

Of course, the public must share a part of the responsibility for permitting itself to be fooled by
figuring that it is wonderful to get something for nothing. Human nature has changed very little since
the time of Barnum of circus fame. It sounds so simple and easy to pay a dollar a week for lessons and
to get an instrument free; not many stop to consider the total cost and compare with it value received
in instrument and instruction combined. One of the worst features of these systems is the fact that they
86
undermine the cause of the fretted instruments in the minds of the musical public; as it is reasoned,
anything that is free cannot be worth much. Hundreds of conscientious teachers and players, members
of the American Guild of Banjoists, Mandolinists and Guitarists, have done their utmost for many
years to raise the standard of the fretted instruments, their music, teaching methods and concert
performances, and have succeeded immeasurably.

These new schemes, which might well be called rackets, provide unfair competition to the capable
teacher, who has labored for years to equip himself thoroughly in order to give his pupils the benefit
of his expert knowledge and who, therefore, is entitled to compensation commensurate with his ability
and experience.

The Teacher Should Cooperate

It is not our purpose to criticize music stores that have established Instruction Departments headed by
competent teachers, whereby one may purchase an instrument on the budget plan and receive proper
tuition, but a pupil has a right to know the exact cost of his instrument and to be sure that he is getting
one hundred cents in value for every dollar paid for lessons. The same rules should apply to teachers
who are compelled by various conditions to carry a stock of instruments for the convenience of their
pupils.

Our main contention is that teachers should never lose sight of the fact that the teaching of any
instrument is a responsible profession, for which they should have natural ability and many years of
intensive training; and the selection or selling of instruments should be considered only as additional
service to their patrons.

Parents of children for whom the purchase of an instrument is intended should by all means first
consult a reliable teacher, who is in a position to give his advice in the selection of the proper
instrument and one of the right size. Just as a half or three quarter sized violin is selected as the proper
one for a child six to ten years old, so should a guitar of similar size be selected for children of these
ages.

As a successful teacher is best known by the pupils who have received instruction from him, a
prospective applicant for lessons would do well to meet some of them and hear them play. We
sincerely hope that the time will come when all the states in the union will pass laws to compel
licensing of all music teachers, requiring them to pass rigid examination as to their fitness to teach,
thereby protecting the public against unscrupulous charlatans. In the meantime it behooves all
conscientious men and women engaged in the teaching of fretted instruments to bring these matters to
the attention of the people in their respective localities; and in this campaign the American Guild of
Banjoists, Mandolinists and Guitarists may well take a leading part.

87
 ETUDE
May 1941
volume LIX
number 5
page 351-352

Luigi Legnani, Guitar Virtuoso and Composer

By George C. Krick

DURING THE LATTER PART of the year 1819 there arrived in Vienna an unknown artist
announcing a guitar recital. Up to this time no one had heard of Luigi Legnani, guitar virtuoso from
Italy. Curiosity was responsible for a fair sized audience; there were many who some years before had
come under the spell of the matchless Mauro Giuliani and with skepticism awaited the performance of
this newcomer. To the Viennese a guitar recital was no novelty, and they were ready to be "shown."
Legnani's first performance was a smashing success, and the critics were unanimous in their praise of
his marvelous technic and beautiful tone. In 1820 and 1821 we find him back in Italy, giving concerts
in Ravenna and other Italian cities; he returned to Vienna in 1822, where he gave three concerts
repeating his former triumphs.

Fetis, in his "Musical Biographies", mentions Milan as the birthplace of Luigi Legnani; but this has
been proven incorrect as, according to birth records later found in Ferrara, this is the city where he
was born on November 7th, 1790.

When the boy was nine years of age his family moved to Ravenna, where his musical studies began.
His natural musical endowments enabled him to master all of the string instruments in short order, but
eventually the guitar became his favorite and on it he bestowed his great talent and industry. Nature
had also blessed him with an exceptional tenor voice, and at seventeen he appeared in the theater in
Ravenna, singing arias by Cimarosa, Donizetti and Rossini, playing his own accompaniments on the
guitar.

In the same theater, and later in Milan, he made his debut as guitar virtuoso with great success which
led him to go on to Vienna, the magnet that attracted all the guitarists of that period. After the first of
his recitals one of the critics wrote thus: "It seems almost impossible to believe that one could produce
the orchestral effects on the guitar as demonstrated by Luigi Legnani in his concert. In his hands the
guitar sings, the melody always clearly outlined, and the accompanying parts are perfect in every
detail. His technical feats are astounding and surpass anything ever heard here in Vienna, especially
the playing of one of the variations in his Fantasia with the left hand alone."

Legnani's restless nature did not permit him to remain very long in any one place, and in the next ten
years we find him giving concerts in Germany, Switzerland, Russia and in France. While in Paris he
joined the Guitaristic Circle organized by Ferdinand Sor, which counted among its members such
illustrious artists as Carcassi, Aguado, Zani de Ferranti and others.

About 1836 the celebrated violinist, Paganini, invited Legnani to his Villa Gajona near Parma and for
several months these two artists worked together, preparing for a joint concert tour, which took them
to a number of European cities and ended in 1837 with two concerts in Italy, one in Turin and another
in Parma. Needless to say, the compositions presented by these two artists were most difficult and had
never been heard before. Among these was a sonata especially written by Paganini for violin and
guitar, which was later published in Leipzig. Legnani had always shown great interest in the making
of guitars and the improvement of existing models. During his days in Vienna, he offered many
88
suggestions concerning their construction to several leading Viennese guitar makers; and the
instruments made according to instructions by Legnani, became quite famous. Very little is known of
the later years in the life of the artist. In 1862 he retired to Ravenna, where he lived until his death in
1877.

Like most of the great guitarists of that period, Legnani was practically self-taught. In his early years
he received a thorough grounding in harmony, counterpoint and composition, and used the method of
Carulli as foundation for his guitar technic. His sound musicianship, however, soon led him to
discover new harmonic effects on the instrument, and his compositions proved that here was a master
far in advance of many of his contemporaries. In his concerts Legnani presented only his own
compositions and arrangements, a custom that seemed to be a favorite with the guitar virtuosos during
these early years. More than two hundred and fifty published works from his pen prove him a most
prolific composer, and it is to be regretted that many of these are now out of print and can be found
only in the musical libraries of Vienna and other cities. Of those still being published are: "Op. 16,
Grande Variazioni"; Op. 19, Fantasia; "Op. 32, Potpourri and Caprlce"; Op. 34, Grand Capriccio;
Op. 61, Grand Fantasie; "Op. 201, Introduction and Variations on a theme from 'Norma'"; "Op. 202,
Andante and Allegro from 'William Tell'"; Op. 204, Rondoletto Scherzoso; "Op. 224, Introduction,
Theme and Variations"; "Thirty-six Short Valses" without opus number. Scherzo, Opus 10, consists of
a Theme with four variations and coda, with a notation from the composer that "the four variations are
to be played with the left hand alone," which would tax the technic of any accomplished guitarist.
"Opus 20", a volume of thirty-six capriccios, is perhaps the best known of his compositions, and
should be in the library of every guitarist. This opus includes a series of concert etudes in all keys, and
even if Legnani had left to posterity nothing but these thirty-six etudes, his name would be cherished
by every lover of the classic guitar.

89
 ETUDE
June 1941
volume LIX
number 6
page 421-422

The Mandolin and Banjo

By George C. Krick

IN A RECENT COMMUNICATION one of our readers asks the following question: "Can I make a
living by playing the mandolin professionally or do you advise making a study of the banjo also?"

To give an intelligent answer to this inquiry let us first decide what is meant by making a living. We
have known many young men who are satisfied and able to get along on an income of thirty or forty
dollars a week and again others who would not be satisfied with anything less than five thousand
dollars a year. It all depends on the person, his needs and desires. To begin the study of any instrument
with the sole idea of making money out of it, and because one feels it is an easy way to make a living,
is wrong and in most instances leads to disappointment and failure later on. After one has devoted
several years to the study of an instrument that in all respects has the greatest appeal to one's musical
nature, and then has thorough}y enjoyed playing it without thought of any financial reward, not until
then should he think of the possibility of using it professionally.

Now let us see what opportunities may present themselves to a mandolinist. First, through concert and
radio appearances; second, through orchestra playing and, third, through teaching.

It goes without saying that the greatest ambition of almost every instrumentalist is to become a concert
and radio artist, but to reach this goal it is necessary to travel a hard and long road; and history has
shown that only a select few reach the top. If you have a superabundance of talent, an outstanding
personality; if you possess a certain amount of showmanship and have a technic that far surpasses that
of most other players you undoubtedly will be able to get paying engagements as a mandolinist. But
you must also be able to "sell yourself" to the public, as it would prove quite difficult to persuade any
of the prominent concert managers to agree to arrange a regular series of public recitals for a mandolin
virtuoso. The radio would probably offer better and quicker opportunities for a capable mandolinist, as
the program managers of radio stations are continually on the lookout for artists able to offer
something unusual and of exceptional merit. We also believe that a small plectrum orchestra of from
eight to twelve players directed by an outstanding mandolinist offering novel and artistic musical
entertainment would find a fertile field in radio and on the stage, a field that in our opinion has not
been sufficiently exploited.

The dance orchestra has never proved a proper setting for the mandolin and we doubt very much that
even an exceptional player would find opportunities to get ahead in that direction.

The Mandolin Teacher

As a teacher a mandolinist is able to establish himself in a profession that gives a lot of satisfaction
and ample financial reward to the one who makes a success of it. To do so one must have the ability to
"teach" others, get along with people, know how to handle children and adults and above all believe in
himself and his profession. It is necessary to make a comprehensive study also of the banjo and
different types of guitar in order to become a recognized teacher of all the fretted instruments. While
occupied with the various teaching problems one should continually strive to maintain and improve
90
one's own technic and present the mandolin in recital at every opportunity in order to popularize it
with the musical public.

The Banjo

Often called "the real American instrument," the banjo has had its greatest and most numerous
admirers among the English speaking nations - United States, Great Britain, South Africa and
Australia. Shortly after the World War in the early twenties the tenor banjo was introduced into the
dance orchestra and during these years was perhaps the most popular instrument of all. A professional
banjoist of those days could almost dictate his own terms, as the demand for capable players was
greater than the supply. Today the plectrum guitar has taken the place of the banjo in the dance
orchestras, and only occasionally do we hear the snappy exhilarating tone of the banjo in connection
with these professional orchestras. Consequently the chances for anyone to earn a living as an
orchestra banjoist are quite limited. On the other hand the banjo appeals particularly to amateur
players as exemplified by the many banjo bands flourishing in all parts of the country; and it, no
doubt, will always be a part of our musical life. So again, as in the case of the mandolin, the surest
road to success for an accomplished banjoist is the teaching profession, and the same rules and
requirements apply to a banjoist as already outlined for a mandolinist. In both instances a thorough
knowledge of all the fretted instruments is the foundation upon which a successful career may be
established.

In the Solo Field

There have been some banjoists, especially those exponents of the five string banjo who have had
most successful careers as soloists. Alfred Farland has traveled far and wide delighting audiences with
his classic renditions on the banjo. Farland was not only a veritable virtuoso, but also a keen business
man, who acted most successfully as his own press agent and concert manager for many years.
Frederic Bacon another five-string banjo expert is known to every lover of the instrument and has
appeared on all the vaudeville circuits of former days and has made also many concert tours. In our
opinion the remarkable success of these artists was in a large measure due to the fact that they used
the standard five string banjo which is the most effective of all the instruments of this family for solo
use.

C. G. S., TOLEDO

Andres Segovia is now residing in Montevideo, Uruguay. J. Martinez Oyanguren has boarded a
steamer for South America where he will spend three months giving recitals in the leading cities of
Brazil, Uruguay, Argentina, and other cities, returning to New York in July. Vicente Gomez will
appear in a new version of "Blood and Sand" starring Tyrone Power, a motion picture now in
production in one of the Hollywood Studios. He is to play four of his own compositions.

91
 ETUDE
July 1941
volume LIX
number 7
page 497-498

Guitar Duos
By George C. Krick

GUITARISTS HAVE SADLY NEGLECTED one phase of guitar performance which not only gives
much pleasure but also helps to furnish considerable variety to concert programs; and that is the
playing of duos for two guitars. Modern composers of guitar music may also be held responsible for
this neglect since, in comparison with the numerous guitar solos published in recent years, the output
of music for two guitars is almost nil.

When we speak of guitar duos we do not refer to simple melodies played on one guitar while the so-
called second plays a chord accompaniment using the three common chords with an occasional bass
run. We are suggesting a composition wherein all the resources of both instruments are used to present
a complete musical picture.

We admit that there is a certain amount of glamour attached to the title, "Guitar Soloist", and some
may not be willing to share public applause with others. But we must concede that much more can be
done on two guitars than on one, and from a purely musical standpoint a high class duo played by two
competent artists should prove more satisfying to the listener than a guitar solo. This, of course, does
not refer to the superlative performances of a Segovia or Oyanguren.

To become successful as duo guitarists both players should have adequate technic, be good readers, be
willing to devote many hours to joint practice and never forget that "teamwork" is most essential.
When we examine the music available for two guitars, we cannot overlook the fact that the only
numbers worth while are those written by composers who were practical guitarists and who were
thoroughly aware of the possibilities of the instrument as well as its limitations. A composer of music
for piano or violin cannot successfully write for guitar unless he has made an exhaustive study of the
instrument, learning all positions in order to obtain the proper tonal effects and to become aware of its
technical intricacies.

Modern Composers of Duos

Guitarists who contemplate joining others to play duos will find both the classic and modern
compositions that we have selected most interesting for mutual enjoyment and concert performance.
William Foden has done some excellent work in his Ballerina Valse and in two volumes of "Duets."
The first book consists of ten original duets of medium difficulty, and in the second we find seven
original pieces written in the style of Bach, and also a short overture for three guitars. Heinrich Albert
composed a series of "Duets" that are well worth while. The first and second are rather easy, the third
and fourth of medium difficulty, while the fifth, sixth, seventh and eighth require advanced technic.
The Romanza for two guitars by Daniel Fortea also is quite interesting. Emilio Pujol, the celebrated
Spanish guitarist, has to his credit three arrangements for two guitars, namely: Intermezzo from the
opera, "Goyescas", by Granados and Tango Espanol and Cordoba, both by Albeniz. These three
beautiful numbers are quite difficult, and their performance requires technic of the highest order.

Classic Composers
92
Among the composers of the classic period we must mention Leonhard DeCall, whose "Opus 20",
"Opus 24", and "Opus 39" are gems in the literature for two guitars. Ferdinand Carulli evidently was
quite fond of writing for two guitars, and of these compositions his "Opus 96 - Three Serenades";
"Opus 128 - Six Nocturnes"; "Opus 48 - Duo"; "Opus 34 - Six Duos" and "Opus 227 - Nocturne" are
the most interesting. Ferdinand Sor, in his "Opus 34", "Opus 38", "Opus 41", "Opus 53" and "Opus
63", has displayed the same supreme mastery of composition for guitar that we find in his other
works.

Mauro Giuliani, a most prolific composer of guitar music, also left a number of compositions for two
guitars, among which the "Duo, Op. 35" and "Variazioni Concertante" are undoubtedly the best.
Others from his pen require the use of the "Terz Guitar", an instrument that was also favored by J. K.
Mertz when writing his "Guitar Duos." The guitar virtuoso and composer, Adam Darr (1811-1866),
was for some years associated with another accomplished guitarist, Frederick Brand. Both were
cultivated musicians, and together they gave guitar recitals in the principal cities of Europe. For this
purpose Darr composed "14 Duos" that compare favorably with any that had been written before or
since that time. These duos were in manuscript at the time of his death, but were later published by the
German Guitar Society.

In all of the duos mentioned, both guitar parts are of equal importance and of almost equal difficulty;
and we hope that, after reading these lines, some guitarists will feel encouraged to join others in
enjoying some of this beautiful music.

"The American Guild"

In the early part of the year 1902, in the city of Boston, a small group of Fretted Instrument Teachers
formed a national organization, since then known as the "American Guild of Banjoists, Mandolinists
and Guitarists." Its object is "to promote, advance and maintain the artistic and musical interests of the
fretted instruments, in their literature, music and trade. To encourage a high standard of excellence in
all literature pertaining to these instruments, in their history and pedagogy. To strive to increase the
average of ability and competency in teachers and students and to give annual concerts to demonstrate
the merits of the banjo, mandolin and guitar." Since then the "American Guild" has held annual
conventions in most of the large cities throughout the country; and, in the concerts and recitals given
in connection therewith, some of the greatest artists on the fretted instruments have demonstrated their
artistic worth.

Today the Guild has three classes of members Professional, Trade and Associate - and is steadily
growing in numbers. Its activities have contributed largely to the present popularity of the fretted
instruments. This year's convention will be the fortieth; and it is to be held in Niagara Falls, New
York, on July 7th, 8th, 9th and 10th. Aside from the business session, the scheduled events include an
artists' recital and a grand festival concert where outstanding soloists, mandolin orchestras, banjo
bands and Hawaiian guitar groups will appear. Several afternoons will be devoted to contests for
soloists, duets, quartets and orchestras; and cups will be awarded to the winners. A street parade of
marching bands and floats is announced for the first day; and, last but not least, the trade exhibit
showing the latest improvements in instrument construction, sponsored by the leading manufacturers
of banjos, mandolins and guitars, promises to be more comprehensive than ever. Advance reservations
indicate a record breaking attendance.

93
 ETUDE
August 1941
volume LIX
number 8
page 573-574

Getting Ready for the Fall Season

By George C. Krick

AT THIS TIME OF THE YEAR, when a new musical season is not far distant, many young artists are
hopefully looking into the future with the expectation of earning a large share of public acclaim.
While we thoroughly believe that a musician should take time off during the summer months to
indulge in outdoor exercise and thus keep physically fit, we also recommend that a few hours daily be
devoted to improving technic and adding new compositions to one's concert repertoire. We have
known players of guitar, mandolin and banjo who year in and year out adhere virtually to the same
program numbers, giving as an excuse that "these are the pieces the public like best." To us it seems
that, having played these numbers so often, the artist is enabled to "put them over" with ease - a fact
which the audience is quick to realize.

To get out of this rut one should experiment with new compositions just off the press. An experienced
player will study the reaction of his audiences to his concert numbers and, by adding new numbers
and occasionally eliminating an old one, build up an interesting and comprehensive repertoire that will
please his listeners and add to his reputation and success.

While the musical public is well aware of the high standard set for the violin by such artists as
Kreisler, Heifetz, Elman and others, a great many people are still in the dark as to judging a performer
on the guitar or mandolin, and a carelessly selected program coupled with a slipshod performance will
only harm the cause of the fretted instruments.

So why not use a part of your vacation to polish up your technic; to review your old pieces, paying
particular attention to tone quality, phrasing and expression until they are well nigh perfect; to
memorize some new compositions, remembering that your memory needs daily practice as well as
your fingers? We have often wondered whether the average radio listener realizes the hours of
thoughtful work on the part of the artist which preceded his fifteen minute performance over the air. It
reminds us of a definition given of the word, vacation: "Forty-nine weeks of anticipation, two weeks
of preparation and one week of realization."

The thought we wish to impress upon you is that the summer months are ideally suited to the study of
music, which requires concentration of all our faculties, for then we are free from the interruptions and
demands made upon us during the busy concert and teaching season. It is gratifying to know that one
is thoroughly prepared to play a radio or concert program when called upon to do so; in fact, nothing
gives one more self-confidence and assurance than such knowledge.

Teachers specializing in the fretted instruments will also find that the summer months can be put to
good use. Some teachers offer special rates to beginners, thereby keeping their studios open at least a
few days each week. This is an opportune time to send for music publishers' catalogs of fretted
instrument music, in order to keep up with modern teaching material. The alert teacher knows that
teaching material and methods for his instruments are constantly being improved, and he will give his
pupils the benefit of his foresight in such important matters. The mere fact that a person enrolls as a
pupil shows that he is anxious to learn to play, and his teacher must guide him properly in his studies
94
by using the correct methods and pieces for recreation in order to keep him interested.

Now let us briefly examine the studies and teaching music available to the teachers of the fretted
instruments. For the mandolin there are methods, etudes and technical exercises properly graded;
interesting pieces for beginner, intermediate and advanced students, comprising sufficient material to
provide a course of study from five to six years. Most of this music has been produced by classic and
modern writers who well knew the needs of serious students of the mandolin. The same may be said
of the classic guitar. Methods, etudes, technical exercises covering every phase of guitar playing, by
all the classic and modern writers for guitar, are available in abundance; and a great variety of original
compositions and classic transcriptions are at the disposal of the advanced student and concert artist.
There is, however, a need for more recreational music for the first and second year student, original
compositions and arrangements of modern pieces of medium difficulty. We firmly believe that the
classic guitar would attract a still greater number of students if the publishers of the higher type of
popular music would employ capable arrangers, to make this music available to the younger
generation of amateur guitarists who are just as much interested in modern music as they are in the
classic.

Another aid to the teacher of the classic guitar would be the opportunity to obtain instruments at a
moderate cost. From our own experience we have learned that beginners are usually unable or
unwilling to invest more than twenty or twenty-five dollars in an instrument and American
manufacturers would do well to try to fill this want. While the writer has always been a strong
advocate of using high grade instruments, which naturally are high priced, there are great
opportunities in the lower price field that should not be neglected by enterprising manufacturers of
classic guitars.

The teacher of the tenor banjo should have no trouble finding the teaching material necessary to keep
a student busy for four or five years; and the catalogs of publishers of banjo music include quite a
number of banjo methods, books of technical exercises and a great variety of recreational and concert
numbers.

The teaching material for plectrum guitar is still somewhat limited, although there are numerous so-
called "methods" on the market, some fairly good, others not so good. The main trouble is that most of
them are not scientifically graded and it requires a lot of ingenuity on the part of the teacher to select
the proper ones to insure steady progress of his pupils. There is also room for more recreational and
concert music in the intermediate grades.

A tremendous amount of music has been published for Hawaiian guitar, and teachers can easily fill
their wants from the different catalogs. The "methods" for Hawaiian guitar, however, do not contain
sufficient technical matter, and teachers would welcome additional books containing intermediate and
advanced technical exercises for this instrument.

This department will be glad to be of help to any teacher or student in the matter of selecting the right
study material for any of the fretted instruments.

95
 ETUDE
September 1941
volume LIX
number 9
page 641-643

The Carcassi Guitar Method

By George C. Krick

SINCE THE EARLY PART of the nineteenth century, when the guitar became known to everyone as
a musical instrument worthy of serious study, numerous "methods" have been compiled by most of
the great virtuosos and composers for this instrument, presenting to the future students their ideas of
what studies were necessary to become a proficient performer. Of all these, none have approached the
consistent popularity of the "method" by Matteo Carcassi, an Italian Guitar virtuoso, who was born in
Florence in 1792 and died in Paris, January 16th, 1853. Philip J. Bone in his book, "The Guitar and
Mandolin," speaks of it as follows: "This Volume, 'Complete Method for Guitar, op. 59,' is a scholarly
and useful work, in fact one of the best, if not the best compilation of its kind. It has been favored with
the widest and most universal circulation of any Guitar Method ever published and has enjoyed the
distinction of being translated, revised, rewritten, condensed, augmented and mutilated by succeeding
Guitarists of every nationality."

The original edition, with English and French text, bears this interesting introduction by the author:
"The flattering reception given to my works by professors and distinguished amateurs up to this
period, and a long experience in teaching the guitar having furnished me much useful information, I
am induced to bring this method before the public. It will facilitate the study and give a thorough
knowledge of the instrument in a concise and simple manner. I have taken great care to make each
lesson so progressive that the pupil, however ignorant of the instrument, will be interested from the
beginning to the end of his studies, avoiding those dry difficulties, which too often tend to discourage
beginners. Besides the fingering of the left hand which I have treated extensively, the exact
management of the right hand has always appeared to me one of the most essential means of acquiring
sure and brilliant execution. From the success attending the application of this method amongst my
own pupils, I can give assurance that any intelligent person who will study it with attention from
beginning to end will acquire a perfect knowledge of the guitar."

The method consists of three parts, the first, beginning with an introductory chapter on the rudiments
of music, explains proper position of holding the instrument, gives explicit instruction in the matter of
fingering for left and right hand, presents scales, chords, preludes and simple pieces all arranged
progressively. The second part gives examples of special effects - slurred notes, legato, staccato, trills,
vibrato, grace notes, harmonics - followed by practical studies in the 4th, 5th, 7th, 9th position and
scales in thirds, sixths, octaves and tenths. The third part is a collection of short pieces in different
grades of difficulty further to improve the execution and musical taste of the student. This method was
later supplemented by a volume of "Twenty-five Melodic and Progressive Etudes, Op. 60," a work
containing a great variety of technical exercises designed for the development of right hand fingering.

Not a great deal is known concerning the early career of Carcassi beyond the fact that he studied the
guitar in his youth and, by his concentrated efforts and natural musical endowments, acquired most
extraordinary skill upon his chosen instrument. After establishing an enviable reputation as a
performer in his native land, he toured Germany, where he was received with unbounded enthusiasm.
In 1820 he arrived in Paris and, two years later, made his first appearance in London. These cities had
been visited previously by Ferdinand Sor; and the English and French musical public, recognizing the
96
genius of Carcassi, received him with open arms.

Ferdinando Carulli, sometimes called the father of the Italian school of guitar playing, had been a
resident of Paris for some years and by his concert performances and guitar compositions had drawn
to himself the favor and patronage of the wealthy Parisians. Up to this time he had written and
published more than three hundred compositions, among them a method which was a universal
favorite. But, with the arrival of Carcassi, the fickle Parisians were ready to transfer their allegiance to
the new star on the guitar firmament. Carcassi was in the prime of life, and he introduced a new style
of music, more modern, melodious, brilliant, abounding in artistic and pleasing effects and also of but
medium difficulty. Publishers importuned him for his compositions, and salons of Parisian artists and
of the nobility were thrown open to him. After a few years in Paris, Carcassi again journeyed through
England and the various countries of continental Europe, later returning to his adopted city where he
died in 1853.

Carcassi must be counted among the greatest masters of the instrument. In his compositions, of which
about eighty were published, he shows much originality and individuality. He perfected the method of
fingering, introduced many novel effects and carried the resources of the instrument to greater lengths
than any guitarist before him.

On several occasions we have been asked if a study of the Carcassi method would successfully serve a
foundation for modern guitar technic. To this we can truthfully reply in the affirmative. Carcassi
advocated, as did some other guitarists, the resting of the little finger of the right hand on the sounding
board, near the bridge. Most modern guitarists keep the right hand entirely free, which we also
approve. During Carcassi's time, the right hand fingering of scales was done with alternating thumb
and first finger on the three lower strings, followed by the alternation of first and second finger on the
three gut strings. The modern Spanish guitarists omit the thumb in scale playing, using alternating first
and second finger on all strings. As we have suggested before in this column, a guitarist should make
a comprehensive study of all the different methods, etudes and exercises by all the great composers of
guitar music, in order to become a master of the instrument. As an example, you may begin by using
the Carcassi method during the first year, together with his "Six Caprices, Op. 26" and his "Twenty-
five Etudes, Op. 60." During the second year, the Second Book of the "Foden Grande Method" is in
order, and along with it the "Etudes, Op. 31, 35, 6 and 29" by Ferdinand Sor. The following years will
call for etudes by Giuliani, Mertz, Coste, Legnani, Albert, Arenas, Aguado. Along with these etudes,
one should make a comprehensive study of the concert repertoires of the same masters, finally leading
up to the compositions and transcriptions by Tarrega, Segovia, Torroba, Turina, Ponce and other
modern writers. Only by following a similar plan will a serious guitar student reach a high standard of
proficiency.

97
 ETUDE
October 1941
volume LIX
number 10
page 717-718

Practice Hints for Guitarists

By George C. Krick

"PRACTICE MAKES PERFECT," is an old saying, but when we speak of it in connection with the
study of the guitar or for that matter any other musical instrument we should add, "if done with
intelligence and if based on tried and correct methods." It is universally conceded that many hours
daily are wasted through mechanical repetition of exercises that could be mastered in a fraction of the
time spent, if the student would use his head as much as he does his hands. By this we do not mean
that repetition of certain exercises is not necessary, but before beginning to play look over the exercise
carefully and try to find out just what you intend to accomplish by mastering it. For example you may
have realized that the third finger of the right hand is weak and needs strengthening. So for this
purpose select the third and fourth etudes of the "Carcassi, Op. 60." Both etudes are in arpeggio form,
and most of the high notes in each measure are to be played with the third finger of the right hand.
Play them over slowly at first until the correct right hand fingering is established and the left hand
moves smoothly from one chord to another, at the same time placing some emphasis on the notes
played with third finger. You should always be sure to concentrate on what you are striving for, and it
will not be long before you begin to feel gratified with the results of these efforts.

Now we admit that every pupil is anxious to play pieces at the earliest possible moment, but to do the
job well a certain amount of technical drill is indispensable, and even advanced students should allot
about one third of their practice period to technical exercises and etudes.

The left hand fingers must always be trained to drop onto the frets in the proper manner; a thorough
knowledge of the entire finger board must be acquired gradually; and nothing is better for this purpose
than the playing of scales. Passages of scales in thirds, sixths, octaves and tenths are apt to occur in
almost every guitar composition, and to be prepared for them the student should pay particular
attention to this phase of technic.

The playing of chords requires a great deal of thought and study, and both hands must be watched
carefully in order to produce a round full tone. The greatest difficulty in the beginning is to bring out
clearly every note of the chord. The strings on the guitar being close together, it often happens that a
finger of the left hand resting on a certain string, will accidentally touch the one next to it and thereby
muffle the tone of that string. To correct this fault a student should be forever on the alert, listen
attentively for every note of the chord and see to it that the offending finger is placed in its proper
position. One of the best exercises for the playing of the chords is to practice them first in the form of
arpeggi - that is to play consecutively the group of notes of which the chord consists. For example, in
the Second Book of "Foden's Chord Method," let us turn to the page containing the chords in the key
of C maJor. Now, instead of playing them as written, in whole notes, practice them in the form of
arpeggi, the notes of each chord consecutively with thumb, first, second and third fingers, playing
each group four times. This should be done for several days, or longer if necessary, until every note in
the chord can be heard distinctly. The next step is to play each chord in the usual manner four times,
using four chords to each measure, and then to play them as written, keeping the left hand fingers
pressed firmly on the fingerboard, while counting four to each chord. This method used on chords in
all the other keys contained in this volume, for a few months, will bring about a decided improvement
98
both in tone quality and tone volume.

So far, we have spoken mainly of technical matters. As the student advances technically it is necessary
for him to develop musically, and tor this purpose we have the "Etudes, Op. 31 and 35," of Ferdinand
Sor. These Etudes contain some technical points, but are intended primarily to develop the musicality
of the student and to prepare him for the interpretation of larger compositions later. For third and
fourth year students the "Etudes Op. 6 and 29," by Ferdinand Sor, the "Concert Etudes," by Mauro
Giuliani and also those by Napoleon Coste are highly recommended.

In a recent communication from one of our readers the question was asked, `'What is necessary for me
to do to become an orchestra guitarist? I've been practicing the guitar for two years, but so far have
been unable to connect with an orchestra."

We advise anyone having this problem, first of all, to read again carefully what we had to say on this
subject in the February number of THE ETUDE. If you are well prepared technically, by all means try
to get a spot on the air, even if it is only on a small station. This will give you experience and self-
confidence.

99
 ETUDE
November 1941
volume LIX
number 11
page 791, 793

The Future of the Fretted Instruments

By George C. Krick

"THE BANJO IS DEAD." "The Mandolin is on its way out."

Who has not heard such expressions? And they are the height of pessimism, to say the least.

A short while ago we received a letter from a teacher who has been located for many years in a city of
125,000 inhabitants; he complained of poor business and asked if we thought it would be advisable for
him to try to find a location in a smaller town, where his talents might be more appreciated. Well,
cows always think that the grass is greener on the other side of the fence. Now let us, for a moment,
look at the other side of the picture. Before us we have two programs of pupils' recitals given by a
teacher in a northwestern city, during the month of June. There are other teachers in this city and
competition is keen. Yet we find that on the program of his junior department recital there were listed
over thirty players of fretted instruments in solo numbers and a fretted instrument orchestra with a
membership of one hundred and fifty. On the program given by the senior department of this same
school, we note a banjo band of sixty-five players, a forty-five piece mandolin orchestra and an
electric Hawaiian ensemble of twenty-five players. Evidently this teacher is confident that the
mandolin, banjo and guitar are very much alive; and results show that he has succeeded in convincing
the residents of his city of the same fact. Yes, some of you may have guessed it, I am referring to
Chester W. Gould of Minneapolis, Minnesota, a fine teacher, possessing a pleasing personality and
combining teaching ability and business acumen with a highly developed sense of showmanship. We
do not believe that Mr. Gould's success is the result of some secret method, of which he has a
monopoly, but undoubtedly he has the courage of his convictions, believes in himself and in the cause
of the fretted instruments, to which he has devoted all his energies and devotions.

And Elsewhere, Also

Minneapolis, however, is not the only city where the fretted instruments are flourishing; in nearby St.
Paul, Albert Bellson is carrying on successfully as attested by the many accomplished players who
have received instruction from this talented exponent of the mandolin, banjo and guitar. Out in Elgin,
Illinois, Mr. A. E. Patton has for some years featured the Hawaiian guitar; and his Hawaiian guitar
orchestra of one hundred players has caused surprise and astonishment by their fine performances. Mr.
Joseph Pizzitola of Holyoke, Massachusetts, directs one of the best mandolin orchestras we have been
privileged to hear, and he deserves great credit for keeping the mandolin before the public. His
orchestra is well known throughout New England, and at the annual convention of the National
Association of Music Merchants in New York City its appearance was received with thunderous
applause.

Other bands and orchestras whose membership is fifty or more include the Karch Plectro Symphony
of Cincinnati, Ohio; Tatham's Y. M. C. A. Banjo Band, Detroit, Michigan; Gehman-Hunsberger
Orchestra, Lansdale, Pennsylvania; McMichael's Plectro-Phonic Band, Newark, Ohio; Dyer's String
Band, St. Joseph, Missouri; Weiser's Plectro-Phonic Orchestra, Johnstown, Pennsylvania; Pflueger's
Hawaiian Orchestra, Cincinnati, Ohio; Waddington's Venetian Orchestra, Hamilton, Ontario, Canada;
100
Guzzardo's String Orchestra, Rockford, Illinois; Pifer's Banjo Band, Bellefonte, Pennsylvania; and the
Halsted Hawaiian Orchestra, Buffalo, New York.

Lack of space forbids us to add many more ensembles to this list, but we feel that it has been proven
that the fretted instruments are very much alive in cities where teachers are actively engaged in
keeping them before the public.

If further proof is required let us look at the various events taking place during the four day
convention of the American Guild at Niagara Falls, New York, July 7th to 10th of this year. On the
first day there were scheduled contests for soloists, duets, quartets, orchestras and bands, concluding
with an artist's recital in the evening. The second day saw a continuation of the contests in which
players of all the fretted instruments were entered. On the third day, still more contests took place in
the morning; and in the afternoon the grand Guild parade wound through the streets of Niagara Falls,
with over six hundred players of the fretted instruments taking part in this colorful spectacle.
Excitement and enthusiasm ran high, as one band after another made its appearance. In the evening of
the same day, the Guild Festival Concert took place before an audience which more than filled the
large high school auditorium; the program consisted of classic and modern compositions excellently
played by the outstanding orchestras, together with many solo numbers by some of the greatest artists
on the plectrum instruments. The morning of the fourth and last day was devoted to a Guild business
meeting, and in the afternoon occurred one of the most important events of the convention, the
broadcast of the combined bands and soloists over the Mutual Network. The same evening saw the
awarding of trophies to the winners in the many contests.

These Guild conventions, of which this was the fortieth, bring together, once each year, many
hundreds of teachers, artists, bands and orchestras, and there is no doubt that the influence of such a
gathering is felt throughout the land as visitors return to their home cities, filled with enthusiasm and
inspiration that will be of great benefit to themselves and their pupils.

This reference to the Guild convention would be incomplete without a review of the artists
participating in the various programs. Judging from the programs before me, the different fretted
instruments were never better represented than in the hands of these top ranking players.

Here we see Carlo De Filippis, well known mandolinist; Rey de la Torre, a newcomer from Cuba and
pupil of Miguel Llobet, classic guitar; William D. Bowen exponent of the five string banjo; Peter
Vournas, mandolinist; Anthony Militello, tenor banjoist; Eddie Alkire, Hawaiian guitarist; Harry
Volpe, American swing guitarist; and Nick Lucas, the American troubadour.

When we add to these names those of Giuseppe Pettine, mandolinist; William Place, mandolinist;
Anthony Antone, tenor banjoist; Frank C. Bradbury, banjoist, Jorge Oeller, guitarist; Vicente Gomez,
guitarist; Albert Bellson, mandolinist; and William Foden, guitarist, we have here a galaxy of stars in
the fretted instrument world of which we might well be proud.

What is sorely needed is a concert bureau under American Guild auspices, so that recitals could be
arranged for any of these artists in order to let the general public become acquainted with the artistic
possibilities of the fretted instruments when in the hands of a true artist. And what a wonderful
opportunity an artist would have, if, through the cooperation of a number of teachers, concert tours
could be arranged to give three or more recitals per week, if only during a period of three or four
months each year. This would not only stimulate the ambition of every concert artist, but also arouse
greater interest among the younger players, and thereby benefit the teachers to quite an extent. The
American Guild is the logical authority to undertake such a venture, and we hope to see it take action
in the near future to put this suggestion on a practical basis.

101
 TUDE
January 1942
volume LX
number 1
page 63, 66

Special Exercises for the Guitar

By George C. Krick

WHEN SPEAKING of right hand technic on previous occasions, we have repeatedly stressed the
necessity of using the third finger as much as possible, in order to give it strength and flexibility equal
to that of the first and second finger. We all know that when playing a series of four or five note
chords the top note of each chord should be heard distinctly, since in most cases it is the melody note
and must not be overshadowed by the other notes of the chord. But the arrangement of strings on the
guitar causes this note invariably to be played by the third finger of the right hand, which, with most
players, is the weakest. To overcome this handicap, it is absolutely necessary to find some means of
strengthening this finger.

One of our correspondents recently remarked that he had difficulty in finding exercises for this
purpose. In fact, guitarists of the classic period employed the third finger only when absolutely
necessary. It is in the music of J. K. Mertz that we find it used more extensively, and still more in the
compositions of the modern writers for guitar. But, after all, it is a simple matter to use certain studies
and change the fingering to suit our purpose. To illustrate, let us take a progression of a few chords in
the Key of C, as in Example 1.

Now let us play them in arpeggio form, with the usual right hand fingering: thumb, first, second, first,
as in Example 2.

Then change to thumb, second, third, second; and again to thumb, third, second, third, as in Example
3.

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Another variation is shown here in Example 4.

Remember that, in guitar music, signifies thumb; indicates first finger; indicates second finger,
indicates third finger. Many more combinations may be worked out by using progressions of chords in
other keys, depending on the ingenuity and imagination of the student. The main purpose is to keep
the third finger as busy as possible; the notes of the arpeggios should be arranged with this object in
mind. A book showing chords in all positions, such as Book 2 of Foden's "Chords for Guitar," would
prove quite helpful in this matter.

Another way to strengthen the third finger is to use it in the practice of scales. The usual right hand
fingering for major and minor scales is done with alternating first and second fingers. Now let us use
the alternating third and second fingers instead; and, if this is done persistently, the third finger will
soon equal the first and second in strength and flexibility.

In too many instances the player becomes discouraged if results do not come quickly, but we must
remember that establishing fundamental technic on any instrument is a slow and painstaking job and
requires much mental concentration as well as slow, deliberate practice. All too often, players will
begin to work up speed before they have gained perfect finger control, and they wonder why they
cannot give a clean-cut rendition of an allegro movement, although they may give a good account of
themselves when playing something in a slower tempo. When this happens, the fault can be corrected
only by going over the troublesome parts again and again very slowly; the required speed should not
be attempted until perfect control of the fingers is obtained

Even when a student has good finger control and is preparing a number to be played at a fast tempo,
he should realize that everyone has his limitations when it comes to speed. Natural ability may enable
one person to play a composition at a terrific speed, where another would fail dismally in attempting
to imitate him. The best course is to discover your speed limit and keep within it, then you will still be
able to impress your listeners with a satisfactory performance.

Players frequently have the idea that, in order to impress an audience, they must show how fast they
can rush through a certain piece of music; they completely forget that a beautiful tone, shades of
expression, and proper phrasing are the most important things in the rendition of any musical
composition. These last suggestions may well be followed by players of the banjo and mandolin.

In a recent letter, one of our readers wanted to know "whether there are women who play the guitar
professionally and how they compare with the well known guitarists among the men?" We are glad to
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state that the men have no monopoly on guitar playing, and we can point to several members of the
fair sex who have earned an enviable reputation as interpreters of guitar music. Louise Walker of
Vienna is considered the outstanding virtuoso guitarist in Central Europe. She began her study of the
guitar when five years of age. After receiving a thorough musical training, she gave her first guitar
recital at the age of fourteen. Since then, this artist has appeared in all the important music centers of
Europe. She also gave two recitals in New York City, a few years ago. Miss Walker possesses a
flawless technic and produces a large, beautiful tone on her chosen instrument. Her recital programs
contain the best in guitar literature, including works of the classic and modern composers.

Other Women Guitarists

Ida Presti, a resident of Paris, is hailed as another fine guitarist who has given many recitals. A well
known French critic says: "Ida Presti is an astonishing and most prodigious guitar virtuoso. Gifted
with an irresistible inclination for this wonderful instrument, she produces a brilliant sonority of tone,
has an extremely varied range of expression and incomparable musicianship, and it is an enchanting
experience to listen to this artist."

Alice De Belleroche resides in England, where she is looked upon as a virtuoso guitarist. She has
given concerts in Belgium, Germany, England, and France, and frequently broadcasts from London.
Miss De Belleroche was a pupil of Andres Segovia and Matilde Cuervas. Matilde Cuervas, wife of the
Spanish guitar virtuoso, Emile Pujol, is an artist of great attainment. She is looked upon as the greatest
exponent of the "Flamenco" style of guitar playing.

The South American City, Buenos Aires, is the home of many excellent guitarists. But, according to
opinion expressed by Miguel Llobet and Andres Segovia, Maria Luisa Anido deserves the greatest
honors. This artist has appeared in numerous recitals, and from her pen have come many fine
arrangements of classic numbers for guitar.

Last but not least, we must mention the name of Vahdah Olcott Bickford of Los Angeles, California.
This fine guitarist has given concerts in many cities in the United States, individually and in
conjunction with her husband, Myron Bickford. Technically well equipped, Mrs. Bickford has
published quite a number of excellent transcriptions of classical compositions.

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 ETUDE
February 1942
volume LX
number 2
page 135, 139

What the Great Masters Thought of the

Mandolin and Guitar
By George C. Krick

IT IS NOT THE PURPOSE of this discussion to present a detailed account of the lives of some of the
immortal giants in the history of music, but to mention only their association with the mandolin and
the guitar. Players of these instruments should feel proud of the fact that many of the master
composers showed sufficient interest in the mandolin and guitar to devote time to their study and to
compose original music for them.

Ludwig Van Beethoven needs no introduction to the musical public. When between twenty and thirty
years of age, Beethoven met Wenzel Krumpholz, one of the first violinists of the Court Opera in
Vienna, who had become well known also as a mandolin virtuoso. The two men came in daily contact
with each other, and their acquaintance ripened into a lasting and sincere friendship. According to
Ries, Krumpholz gave Beethoven some lessons on the violin, and there is no reason to doubt that this
association also accounted for the interest the master took in the mandolin. At this time Beethoven
composed a Sonatine for mandolin and piano and again an Adagio for the same instruments. The
original autographed copy of the Sonatine can be found in the British Museum in London, and that of
the Adagio is in the royal library in Berlin. These compositions show clearly that Beethoven was well
aware of the characteristics and artistic possibilities of the mandolin and that he had a thorough
knowledge of the fingerboard of the instrument and the mechanism of the plectrum.

In 1796, the master visited Prague and there was introduced to Count Clam Gallas whose wife was an
amateur musician, being quite a skillful performer on the mandolin. This lady was a pupil of Kucharz,
the Director of Italian Opera in Prague and also a fine mandolinist. During this period, Beethoven
wrote a number of pieces for mandolin and piano and dedicated them to the Countess. Most of these
remained in manuscript. Beethoven himself was the possessor of a mandolin, and a photograph of this
instrument suspended by a ribbon on the wall near his last grand piano was published some years ago
in Bonn, his native city.

Wolfgang Amadeus Mozart, the immortal genius, evidently became familiar with the mandolin while
traveling through Italy, when about fourteen years of age. It was in 1780, when living in Salzburg, that
he composed the song, Come Dearest Mandolin, Come, and somewhat later the song, Contentment,
both of these with mandolin accompaniment. October 29,1787, saw the first performance of his opera,
"Don Giovanni," and in this opera Mozart wrote for the mandolin the accompaniment to the famous
serenade Deh Vieni. At this performance the Italian mandolinist Kucharz played the mandolin part
under the great master's direction. Berlioz, in his treatise on instrumentation, deplores the fact "that the
mandolin is not used more frequently in the orchestra, and Mozart quite well knew what he was about
when choosing the mandolin for accompanying the amorous lay of his hero."

Hector Berlioz, one of the most remarkable musicians the world has known, was a keen admirer of the
guitar, and it was the only instrument that accompanied him in all his travels. During his early days in
Paris, Berlioz was teaching the guitar and composed some music for the instrument; he used it also in
105
the score of his opera "Benvenuto Cellini." After hearing the guitar virtuoso, Zani de Ferranti, Berlioz
expressed himself in the Journal des Debats thus: "We have just heard Zani de Ferranti. Truly it is
impossible to imagine the effects which he produces on this noble instrument; under his fingers the
guitar dreams and cries. One could pass nights listening to this artist, he rocks you and magnetizes
you." The guitar used by Berlioz was made by Grobert of Mirecourt and first came into the possession
of Vuillaume, the violin maker, who lent it to Niccolo Paganini when this illustrious violinist visited
Paris. Later Vuillaume generously presented the instrument to Berlioz, and now it may be seen in the
museum of the National Conservatory of Music in Paris.

The immortal Franz Schubert was an excellent guitarist and during his early career, before he
possessed a piano, the guitar was his constant companion. When singing his own songs within the
circle of his musical friends, Schubert invariably used the guitar to accompany himself, and when we
examine his vocal compositions we can easily detect the influence of the guitar upon his
accompaniments. The "Quartet for Flute, Guitar, Viola and 'Cello," is perhaps Schubert's best
contribution to guitar literature; of this beautiful composition we have previously given a detailed
account in this column.

Carl Maria Von Weber, one of the greatest operatic composers and often called the founder of
German National Opera, was an ardent admirer of the guitar and an accomplished performer on this
instrument. His most beautiful songs were written with guitar accompaniment; and these melodies,
sung by him with inimitable expression and accompanied on this instrument with the highest degree
of skill, were said to be the most complete of anything ever accomplished in this manner. In 1811
Weber composed the one act comic opera, "Abu Hassan," in which the second aria sung by Hassan is
accompanied by two guitars; and later, in his comic opera "Donna Diana," he introduces a duo for two
guitars. Weber was the author of more than ninety songs with guitar accompaniment and in addition
many compositions for guitar in combination with other instruments. In "The Life of Carl M. Von
Weber," by his son, Baron Max Von Weber, we find this reference to the songs with guitar: "A rich
treasury of songs of this description has been left to the world by Carl M. Von Weber, songs that
require just this style of accompaniment, and which not only reject the tone of the piano as antipathic,
but when combined with it, entirely lose their character and fineness of feeling."

George Frederic Handel, composer of numerous operas, and oratorios and much instrumental music,
visited Italy in 1706 and while there became acquainted with the mandolin. In 1747 he composed his
oratorio, "Alexander Balus" and to the aria, Hark! Hark! Hark! He Strikes the Golden Lyre, the
mighty Handel wrote the accompaniment for mandolin, harp violins, violas, violoncello, and other
instruments.

Giuseppe Verdi introduced the voices of plectrum instruments into the second act of his opera
"Otello" when six mandolinists and four guitarists appear on the stage and play the prelude and then
accompany the vocal item Dove Guardi, the words of which are admirably suited to the
instrumentation. Verdi manifested an active interest in the advancement of the mandolin and guitar
and was honorary member of the Circolo Mandolinisti, Milano. The most highly valued treasures of
this society are autographed letters from the Maestro, congratulating the members upon their good
work. There are others among the Italian composers of opera who made effective use of mandolins
and guitars in their instrumentations.

Nicola Spinelli, in his opera, "A Basso Porto," introduces a charming intermezzo for mandolin and
orchestra. Wolf-Ferrari, in his "Jewels of the Madonna," composed a serenade to be played by a group
of mandolinists; and the voice of the guitar is heard frequently as the opera proceeds.

Niccolo Paganini, the illustrious violin virtuoso and master of the guitar, was the subject of an article
appearing in this column a few months ago, so we will not again go into details regarding his
connection with the guitar.

106
Mention must be made also of the names of two pianists who created quite a stir during the early part
of the nineteenth century: Johann Nepomuk Hummel and Ignaz Moscheles. Both of these men were
virtuoso pianists and gave many concerts in the European music centers, at the same time having
many compositions for piano to their credit. When Hummel arrived in Vienna the guitarist, Mauro
Giuliani, was at the zenith of his popularity and not long after, we find these two artists giving many
joint concerts. Hummel now became so interested in the guitar that he began to compose for this
instrument, and during this period he wrote more than ninety compositions for solo guitar, guitar duos,
duos for piano and guitar and other combinations. When Hummel left Vienna in 1818, Moscheles
joined Giuliani and together with Mayseder, the violinist, and Merk, violoncellist, this group of artists
appeared at all the royal functions and musical soirees. Most of the compositions for guitar by
Moscheles were duos for guitar and piano and numbered over fifty.

107
 ETUDE
March 1942
volume LX
number 3
page 207, 211

Ferdinando Carulli, 1770-1841

By George C. Krick

THE EARLY PART of the nineteenth century has often been referred to as the "golden era" of the
guitar. Among the talented musicians who helped make guitar history at that time, none contributed
more to the development and advancement of the technical resources of this instrument than
Ferdinando Carulli, rightly called the father of modern guitar technic.

Born in Naples, February 10, 1770, Carulli as a youth received his first musical instruction from a
priest, devoting several years to the study of the violoncello. Becoming acquainted with the guitar, he
began to experiment with it, and its delicate beauty of tone and harmonic possibilities appealed to him
so strongly that he decided then and there to devote all his time and energies to this instrument. At this
period, the guitar was quite popular in Italy, but mostly used to accompany the songs and serenades
heard in the city streets. Capable teachers were non-existent and very little printed music was
available, so Carulli was dependent on his own resources and was compelled to invent a course of
studies and exercises for his own personal advancement. Carulli was a musical genius, his powers of
concentration enormous, and his persistence resulted in his being looked upon as the greatest exponent
of guitar playing while still in his early twenties.

A Career Begins

In 1796, he left his native city, and we find him established in Leghorn where he soon became known
as a master teacher and virtuoso. A few years later he began his triumphant concert tours throughout
Europe. In 1808, he appeared in Paris, where he gave many guitar concerts, achieving his usual
brilliant successes. Here he remained as teacher and composer until his death at the age of seventy-
one. It is said that "Carulli's command over his instrument was so extraordinary that he was never for
an instant checked in the execution of the most difficult passages. He gave no indication of the
slightest labor in executing with wonderful rapidity and perfect intonation passages in double stops
and chords extending over the entire compass of the instrument. His rapid scales in single notes
throughout three octaves supplemented by another octave by the use of harmonics, were a delight to
the ear. No sound other than musical, ever issued from the guitar under the skillful touch of Carulli.

Always seeking new ways to improve his instrument, Carulli spent considerable time with the
celebrated guitar maker Lacote, who constructed several models according to his ideas, one of which
was provided with four additional bass strings and called the "Decacorde." Another guitar much used
by Carulli, was made about 1752, by the lutenist Claude Boivin, and this beautifully made instrument
is preserved in the Museum of the National Conservatory of Music in Paris.

Also a Voice Teacher

Aside from his activities as teacher of guitar and composition, Carulli enjoyed great popularity as
vocal teacher and was a professor in the National Conservatory, where his vocal method and studies
were adopted.

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Among Carulli's pupils, who later proved themselves artists of rare ability, were the two guitarists,
Filippo Gragnani and Victor Magnien, both of whom became quite famous. Another prominent pupil
was his son, Gustave, who later distinguished himself as a composer and teacher of voice and
composition. According to Romulo Ferrari of Modena, the celebrated organist, Alexander Guilmant,
was a pupil of Gustave Carulli, although several other historians claim that this honor should go to the
elder Carulli. Guilmant, by the way, often evinced his interest in the guitar and mandolin and was
elected President of the International Mandolin Contests, held at Boulogne in 1909, and his
presidential address was an inspiration to all players of these instruments

It is a well known fact that a great virtuoso as a rule is not necessarily a great teacher, but we can
safely say that Carulli must have been an exception to this rule. His "Method" in two volumes, and his
books of exercises and etudes, show that he fully understood the needs of his pupils. They are
carefully compiled, admirably graded, and display profound care and appreciation of the difficulties
usually encountered by the beginner. The "Method," upon his publication in 1810, became so popular
that it rapidly passed five editions and not long after another edition, much enlarged, made its
appearance.

Carulli's compositions number about four hundred and include pieces of great variety. Among his
guitar solos, we find many descriptive pieces and sonatas which have a very exceptional degree of
merit showing the ability and ingenuity of the author in displaying the various resources of the
instrument. He was a most prolific writer of duets for two guitars, characterized by richness of
harmony, elegance of form, variety in the effects of instrumentation and individuality of style. His
concertos for guitar with accompaniment of string quartet or other orchestral instruments, in which the
guitar is the most important factor in their rendition, could only emanate from an artist fertile in
musical resource and musical science.

His "Improvisations Musicales, Opus 265," consists of fifty-four brilliant preludes in various keys;
several trios for guitar, flute and violin, Op. 103, 119,123,149, and 255; and the trios for three guitars
Op. 92, 131, 251, and 255, all of which give evidence of his great talent.

Studying the career of Carulli should provide inspiration to every guitarist of the present day. Lacking
the guidance of a capable teacher, having no authentic study material to help him along the way, he
was entirely self-taught, and in spite of all the difficulties usually encountered by pioneers in any line
of endeavor, he managed to reach an enviable position among the great guitarists of his time.

109
 ETUDE
April 1942
volume LX
number 4
page 279-280

Napoleon Coste, Guitarist and Composer

By George C. Krick

WHEN WE LOOK BACK into the history of the guitar, we are unable to escape the fact that, with
one exception, France has not produced any greatly gifted guitarists. It is true, however, that the
French musical public has always been ready to hold out a welcoming hand to any outstanding figure
in the guitar world, and for many years Paris was the magnet that attracted the great guitarists of
Spain, Italy and other countries.

Miguel Llobet, pupil of Tarrega, lived in Paris for many years and became a favorite among the
celebrities of that time. He gathered around him such men as Alfred Cottin, Luigi Mozzani, August
Zurfluh, David del Castillo and others of lesser renown, followed later by Emile Pujol, also a Tarrega
pupil, and his wife, Matilde Cuerras, who through their concert and teaching activities popularized the
guitar. When Andres Segovia arrived there about fifteen years ago he received a tremendous
welcome; and he enjoyed the greatest triumph of his career, when he gave a recital before an audience
that filled the auditorium of the Paris opera house, the first time that the voice of the guitar ever had
been heard within the walls of this venerable institution.

It was during the sixteenth century that the guitar first became known in France, when the names of
two guitarists, Adrien le Roy and Jean Antoine Baif, were frequently mentioned in connection with
private musicales. Somewhat later we meet the name of Francesco Corbetti, an Italian guitar virtuoso,
who gave concerts in his native land and Spain, and who, after his arrival in Paris, became a favorite
at the French court. A few years later Corbetti came to London and performed before Charles II of
England and subsequently received an appointment in the Queen's household.

In 1686, there were published in Paris some new compositions by Robert de Visee, who had been
appointed guitarist to the Court of Louis XIV. This artist enjoyed great popularity for a number of
years, both as performer and composer.

Guitarists of a later period were François Campien and Labarre Trille, also Antoine Lemoine, who is
best known as the founder of the publishing house of the same name, and J. Meisonnier, who also
turned to the publishing of music. The name of the guitarist, Pierre Antoine Gatayes, is closely linked
with that of the revolutionary Marat. Music helped to form a bond of friendship between these two
men; and it was a few moments after listening to an impromptu guitar recital by his friend Gatayes,
that Marat was mortally wounded by the Frenchwoman Charlotte Corday.

It was not, however, until the dawn of the nineteenth century that the people of France began to realize
that the guitar was an instrument worthy of serious study. Paris now experienced an influx of the great
guitarists and composers, whose names will live forever in guitar history. These were the days when
from Italy came Giuliani, Carulli, Carcassi and Castellaci; from Spain, Aguado and Sor. The recitals
of these artists created unbounded enthusiasm for the guitar and the publishers were kept busy
supplying the ever increasing demand for the music from the pens of these masters.

In this atmosphere grew up the one who was destined to become the only French guitar virtuoso and
110
composer worthy to be ranked with the greatest of this or any other time.

Napoleon Coste was born on June 28, 1806, in a village of the department of Doubs. His father was an
officer in the imperial army and expected to train his son for a military career. However when the
youth was eleven years old, he contracted a serious illness and after his recovery it was realized that a
military career was out of the question. At the age of six the boy had already begun to play guitar, and
since the mother was an excellent performer on this instrument, she now encouraged him to study it
seriously. In the meantime the family had moved to Valenciennes and in this city Coste, when he was
eighteen years old, began to teach the guitar and gave his first public recital. He also appeared as
soloist at the concerts of the Philharmonic Society. When, in 1828, the guitar virtuoso, Luigi Sagrini,
came to Valenciennes to give several concerts, he was so impressed with the playing of young Coste,
that he invited him to take part in his concerts and together these two artists performed the beautiful
"Variations Concertantes, Op. 130," a duo for two guitars, by Giuliani.

Two years later we find Coste in Paris, where in a short time he became famous as soloist and teacher.
Here he also came into personal contact with the great masters Sor, Aguado, Carulli and Carcassi, and
realizing some of his shortcomings he now devoted most of his time to supplement his knowledge of
harmony and composition. In 1840, he began to publish some of his works, which however did not
bring him great pecuniary success, since at this time the piano began to grow in public favor; this
caused the popularity of the guitar to decline.

The music of Coste shows a decided influence of Ferdinand Sor. His compositions, however, reveal a
mastery of invention and a thorough knowledge of counterpoint. In the international music contest
organized by the Russian nobleman, M. Makaroff in 1856, Coste submitted four compositions and
was awarded the second prize among thirty-one entries, the first prize being awarded to the Austrian
guitar virtuoso, J. K. Mertz. Coste published about sixty compositions, all characterized by an original
charm and vigor. The best known of his works are "Grande Serenade, Op. 30"; "Concert Rondo, Op.
12"; "14 Pieces, Op. 51"; "12 Valses, Op. 41"; "Le Livre d'Or, Op. 52"; "Andante & Minuet, Op. 39";
Valse Favorite, Op. 46"; and "25 Concert Etudes, Op. 38."

Coste died in his native land, February 17, 1883. He was a true artist and the foremost guitar virtuoso
and composer of France.

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 ETUDE
May 1942
volume LX
number 5
page 351-352

Guitar Recordings and Flamenco

By George C. Krick

WE HAVE OFTEN WONDERED if all guitar students are sufficiently wide awake to take advantage
of the many recordings of guitar music now available. A number of recent inquiries regarding this
subject leads us to believe that guitarists are more and more beginning to realize that in their efforts to
master their chosen instrument the study of recordings by recognized artists should play a most
important part, as this helps them materially to perfect their technic and develop the ability to present
the better type of guitar music in a musicianly manner. To get the full benefit, a record should be
played slowly at first in order to listen to the quality of tone produced. Note carefully the phrasing and
expression, clearness of tone in rapid scale passages and sonority in full chord progressions. It this is
done patiently and persistently, a student will soon notice great improvement in his own performance.
It is an indisputable fact that the guitar reproduces beautifully and the growth in the number of guitar
recordings in the past few years is quite remarkable. Among the Victor Red Seal records we find these
made by Andres Segovia; "Fandanguillo and Preludio" by Torroba; Tremolo Study and Etude in A
major by Tarrega; "Theme Varie" Mozart-Sor; Canzonetta by Mendelssohn-Tarrega; Vivo and
Energico by Castelnuovo-Tedesco; Mazurka and Valse by Ponce, Fandanguillo by Turina; Gavotte,
Prelude, Fugue and Courante by Bach. All of these were recorded by that incomparable artist,
Segovia. Julio Martinez Oyanguren has recently signed a contract with the Victor Company and so far
has recorded the Grande Overture Op. 61 by Giuliani and his own "Flamenco Suite."

In the Columbia catalog we note more than two dozen recordings by Oyanguren, and these include
compositions of great variety. Among them, the "Grand Sonata" by Ferdinand Sor deserves special
mention, as this is one of the greatest compositions for guitar, and the recording shows Oyanguren at
his best. Other interesting items by the same artist are Capricho Arabe and several preludes by
Tarrega; Elegie by Massenet; Serenade by Schubert; Gavotte by Rameau; "Sonata in A major" by
Cimarosa; Waltz in A major Op. 15 by Brahms; Allegro and Rondo by Aguado; and a number of
shorter pieces by Spanish composers.

The Decca catalog offers Oyanguren recordings in Album A-118 Standard Guitar Selections and
Albums A 174 - A 186, both containing Latin American Folk music.

Virtuoso Recordings

Of special interest are seven double face records to be found in the Decca classical section. Miguel
Llobet is here represented with a Bach, Sarabande; Canciones Mexicanos by Ponce, Estudio and
Andantino by Sor, Etude brilliante by Coste and "Three Guitar Duets" played by Miguel Llobet and
Maria Luisa Anido. There are also listed several recordings by the Viennese guitar virtuoso, Luise
Walker; Schubert's Serenade and a Minuet by Weber, also Minuet and Allegretto from Boccherini's
"Quintet No. 3" by Luise Walker with String Quartet. Another record in this list is by the guitarist,
Miguel Borul, Danza Gitana and "Variaciones por Granadinas," also one containing Mazurka and El
Vito by Regino Sainz de la Maza.

The "Spanish Guitar Center," of New York City, offers ten double face records by Guillermo Gomez
112
and six by Francisco Salinas, most of which consist of compositions by Spanish and South American
writers. One of the most interesting personalities in the guitar world is Vicente Gomez. As composer
and performer of the music in the motion picture "Blood and Sand" he has become famous throughout
the English speaking countries and since he is still in his late twenties a most successful career seems
assured to this unique artist. His remarkable technic and sound musicianship enable him to present in
recital the best of the classical guitar literature and in addition he has become known as the
outstanding performer of "flamenco." During the present season Gomez has joined the celebrated
dance team, Veloz and Yolanda, and the group has been booked for a concert tour with appearances in
the leading cities of the United States and Canada. Aside from the classical and flamenco selections
Gomez also performs dance compositions of his own creation for the dance numbers. The recordings
which he has made for the Decca Company display his wonderful skill, and they should be in the
record library of every guitar enthusiast. The three albums A-17, A-60, and A-117 are devoted to his
own compositions and music from other Spanish composers. Album A-265 contains selections from
"Blood and Sand," played by the Gomez Quintet with vocal choruses.

Carlos Montoya is another flamenco artist and his recordings are to be found in Album A-197.

"Flamenco"

"You cannot play guitar à la flamenco unless you have it and feel it inside," said Vicente Gomez to the
writer during a recent conversation. It dates back as far as the sixteenth century and ever since has
been the means of expressing the folk music with its complicated and exciting rhythms of Andalusia
and other southern provinces of Spain. To hear one of the modern flamenco players and see him in
action, he seems to have a dozen fingers on his right hand. The strumming of full chords with the
thumb downward and upward with first or second finger, the use of all the fingers with a back-hand
stroke, drumming on the strings near the bridge, varied by the most rapid scale passages, gives one the
impression of a full orchestra.

No Written System

Very little music of this type is written down, and players have developed their technic only by
listening to others. So the tradition has been carried on from one generation to another. In Sevilla,
which might be called the home of flamenco, one hears the sevillianas, tarantas, tientos, alegrias,
burlerias, peteneras, fandanguillos and also the tangos and guajiras played à la flamenco. These are the
dances and songs played by the gypsies and humble folks as well as by the greater artists. During the
last century Patino and Poco el de Lucena were recognized as the outstanding flamenco exponents.
Among the modern artists, Vicente Gomez, Carlos Montoya, Mathilde Cuerras and Nino Sabicas
deserve special mention.

Even now it is impossible to find a published "Method" or other technical exercises showing the right
hand system used by flamenco players; one artist claims that because of its many intricate strokes and
various complicated rhythms, flamenco cannot be reduced to musical notation, and can only be
learned by listening and being shown in person. However, several of the published solos by Vicente
Gomez contain some flamenco passages with explanatory text, and the recordings already mentioned
give one a clue to this fascinating style of playing. Perhaps the day will come when one of the talented
players will find a way to make it possible for students to acquire at least a fundamental knowledge of
this interesting phase of guitar technic.

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 ETUDE
June 1942
volume LX
number 6
page 425, 427

Personal Glimpses
By George C. Krick

GUITAR RECITALS have been rather scarce during the past two years, so it was with a great deal of
anticipation that we journeyed to New York, on February 14, to listen to a recital by the young Cuban
guitarist, Rey de la Torre. A fair-sized audience had gathered in Town Hall to greet the artist on his
first appearance in New York, and the enthusiastic applause at the end of each group of solos left no
doubt about the recital being a success. It is our firm conviction that Rey de la Torre is an outstanding
personality among the younger generation of guitarists, and while his playing still shows a lack of
dynamic contrasts and variety of tone, his technical equipment is more than adequate, and the
rendition of the exacting program revealed a highly talented and serious minded musician.

The program opened with items by Louis Milan and Miguel de Fuenllana, sixteenth century Spanish
lutenists followed by six short pieces by the seventeenth century French lutenist, Robert de Visee;
next came a Pavane and a Folia by Gaspar Sanz; Courante, Bourree and Fugue by Bach; also a
Minuet and a set of Variations by Sor. The rest of the list was devoted to modern works by de Falla,
Torroba, Granados and Albeniz, Choros, No. 1 by Villa-Lobos and two excerpts from the
''Evocaciones Criollas" by Alfonso Broqua.

Rey de la Torre was born in Gibara, Cuba, December 9, 1917, and at nine years of age began the study
of guitar with Severino Lopez, Cuban guitarist. In 1932, he traveled to Barcelona, Spain, to take
advanced work on the guitar with Miguel Llobet, the great Spanish guitar virtuoso; and in the winter
of 1934, he gave a recital at the Academia Granados.

After his return to Cuba, he was engaged to play a recital at the Sociedad Pro Arte Musical, the first
guitarist ever to appear in the auditorium of this society. Since then de la Torre has filled many
concert engagements in his native country, Porto Rico, and finally appeared in New York. A great
future may safely be predicted for this promising young artist.

Julio Martinez Oyanguren, the Uruguayen guitar virtuoso, whose concert and radio performances have
endeared him to all American guitarists, departed for his native country about a year ago hoping to be
with us again this season. But this seems unlikely on account of the unsettled conditions; and since
Oyanguren is a reserve officer in the Uruguayen navy, it is probable that his concert work will be
interrupted for the duration.

From reliable sources we learn that Andres Segovia is still making his home in Montevideo and has
been giving concerts in the important music centers of South America. Segovia once related to the
writer an incident that happened in Buenos Aires and is worth repeating. About the time he was ready
to step on the stage to begin his recital, an organ grinder stationed just below the windows of the
auditorium began a doleful rendition of the Miserere from "Il Trovatore." Segovia's manager hurried
outside and informed the gentleman that a great artist was about to give a concert and should not be
disturbed. Pocketing a peso, the organ grinder moved on with the remark, "I am always willing to
oblige a colleague."

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If the dance team, Veloz and Yolanda, is booked for an appearance in your city, do not miss it, as you
will have an opportunity to hear the Spanish guitar virtuoso, Vicente Gomez, playing several of his
compositions in his own individual style. This artist plays with a freedom and abandon that never fails
to captivate his audience.

The banjo was brought to the attention of a large audience at a recent concert of the Cincinnati
Symphony Orchestra under the direction of Eugene Goossens. On this occasion the program included
the "Symphonic Variations and Finale on Melodies by Stephen Foster," by Arcady Dubensky,
member of the New York Philharmonic-Symphony Orchestra; and in this work the composer has
made effective use of the banjo. These banjo parts were well done by Hank Karch, prominent banjoist
and teacher of Cincinnati. One of the critics wrote: "Arcady Dubensky has taken some of Stephen
Foster's melodies and given them a brilliant and fascinating orchestra garb. After a cadenza played by
Emil Heermann, the banjo suddenly broke forth with Oh Susannah, bringing a smile of delight to
many faces and dispelling the feeling of gloom which haunts everyone in these sad times."

If you are a lover of the fretted instruments; if you wish to absorb unbounded enthusiasm and
inspiration; if you want to hear the guitar, mandolin and banjo at their best; if you want to meet
personally the leading artists or get acquainted with the manufacturers and look over an exhibit of the
finest fretted instruments made in this country; you should make preparations to visit the 1942 Guild
Convention to be held at Springfield, Massachusetts, June 28, 29, 30 and July 1. There you will hear
the guitar virtuoso Vicente Gomez, Eddie Alkire, Hawaiian guitar artist; Anthony Antone, banjoist;
Carlo de Filippis and Thomas Kotsakis, mandolinists; and many other outstanding soloists, of which
this is only a partial list. There will be the festival concert, where a large fretted instrument orchestra
and other ensembles from all parts of the country will appear. Among the other prominent features of
the convention announced so far, are the fretted instrument contests, including competitions of fretted
instrument orchestras, soloists, duets and quartets, the soloists being divided into three classes,
elementary, intermediate and advanced. All those interested should contact the Guild secretary, Joseph
F. Pizzitola, 81 Suffolk Street, Holyoke, Massachusetts.

Here is a question received from one of the boys who recently joined the army and had the good sense
to take his guitar with him. "Can a guitarist get by in a fairly good orchestra, just playing thirty-six
chords, that is the twelve major, twelve minor and twelve dominant 7th chords, and could one
harmonize properly with these chords for accompaniments and rhythms only?" In answer, we will say,
that of course you have enough chord material to play accompaniments to most numbers, unless they
contain more intricate harmony, as many of the modern pieces do. Why not get a good chord book and
gradually learn the diminished and augmented chords also those of the 9th, 11th and 13th. By
persistently adding four or five new chords to your musical vocabulary every week, you would soon
be able to play everything, without having to substitute one chord for another.

115
 ETUDE
July 1942
volume LX
number 7
page 493, 495

Will the Banjo Stage a Comeback?

By George C. Krick

THE RECENT PERFORMANCE of Arcady Dubensky's Variations and Finale on melodies by

Stephen Foster has again stirred up a lively controversy about the place of the banjo in American
music. According to the program notes for this Cincinnati Symphony Orchestra concert the Finale is
scored for muted horns, a flute solo, a cadenza for solo violin followed by Beautiful Dreamer and a
bridge passage for banjo, leading to the theme, Oh Susanna. The full orchestra swings into the theme,
which is gaily developed. Another song follows for violins and woodwinds and a sustained passage
brings back Oh Susanna, with the banjo. Hank Karch was the banjoist on this occasion and he won
considerable praise from Cincinnati critics for his fine work.

There are other symphonic compositions by American composers containing effective passages for
banjo, such as John Alden Carpenter's "Sky Scraper Suite" and many numbers by Ferde Grofé and
others; but frequently orchestra conductors have difficulty in finding competent banjoists to play these
parts.

Twenty years ago no dance band was complete without a banjo; and we know that there is a lift,
particularly in the faster swing tunes, that no instrument but a banjo can give. Paul Whiteman once
said: "The banjo is an instrument of the highest importance in dance orchestras. Its tone is clear,
snappy and it carries even farther than that of the piano. It is capable of rhythmic and harmonic
effects, which no other instrument can imitate."

Now why is it that this instrument which has been a very definite part of Americana, historically and
musically, since pre-Civil War days, has lost some of its popularity? We sincerely believe that the
main reason is the lack of good players. In the early twenties a chap with a tux and a banjo, with a
knowledge of the three principal chords in all keys could easily find a job with a dance band. Most of
these players could not read music and they devoted little time to practice. Some tuned their
instruments differently and arrangers were often in a quandary as to the exact scoring for banjo, and
for this reason failed to take it seriously. In other words a great number of the banjo players were not
musicians, and the instrument itself was blamed for this lack of musicianship.

Another reason given is that the penetrating tone of the banjo overshadows that of the other
instruments especially so when presented over the microphone, but this could easily be corrected with
the perfected radio and recording equipment of the present day. Since the guitar has supplanted the
banjo in most of the dance bands we frequently hear discussions as to their respective merits. In our
opinion this controversy can easily be settled by using both instruments. Just as many saxophone
players are expected to double on the clarinet. So should the guitarist be prepared to use the banjo in
certain numbers that call for the more decisive, exhilarating tone of this instrument. The tone color of
these instruments is entirely different, and if a composer or arranger would take note of this fact, he
would be in a position to write for both instruments and thereby obtain new orchestral effects.

The banjo could and should be brought into its proper niche through the efforts of orchestra leaders
and with the cooperation of banjoists and guitarists.
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It is interesting to note that Lieutenant-Commander Eddie Peabody, nationally known banjoist on the
weekly "Barn Dance" program has begun an ardent campaign to bring back the instrument to
widespread popularity. He has engaged the sympathies of a great many fellow banjoists as well as
leading newspapermen. Ashton Stevens, music critic of the Chicago Herald-American, entered the
discussion by coining the phrase: "Pick yourself a banjo and play American." It has been suggested
that this phrase be adopted as the slogan for the current year book of the American Guild of Banjoists,
Mandolinists and Guitarists. Paul Kennedy of the Cincinnati Post jumps into the fray with a column
containing arguments pro and con.

Various Opinions

Now let us see what some of the orchestra leaders have to say. Russ Morgan admits the banjo is
matchless for rhythm, and "If Eddie Peabody can get all the leaders of orchestras to reinstate the
banjo, Russ Morgan can be counted on to be in the front line." Roy Shield, one of the musical
directors of N.B.C., says that the danger in the banjo lies in its overriding other orchestral instruments
but also believes a way can be found to surmount this difficulty and bring back the banjo to its
legitimate position among the bands. Earle Roberts, who according to Stevens, "plectrums a banjo as
delicately as Whistler dry pointed an etching," says "that with a few more broadsheets from N.B.C's
Dan Thompson and a bit more good missionary work by Milt Wolf, the banjo man, everybody will be
joining up for the national instrument and crowing, 'I told you so all the time'."

One thing we should not forget - the banjo has been for many years and undoubtedly will be for years
to come the instrument of the people. Even if the orchestra leaders refuse to find a place for it within
their organizations, there still are thousands of amateur players young and old, who prefer its merry
voice and who, as solo performers or as members of banjo bands, do give pleasure to those who enjoy
listening to music of a light character. Especially during these dark days a capable banjoist playing his
rollicking tunes will be welcomed by all of us, since this provides an excellent mental escape from all
the tragic occurrences that confront us daily. As far as we are concerned the banjo as a musical
instrument needs no apology. If students will apply themselves as others do on violin or piano, take
their instrument seriously, work hard to acquire a perfect technic and then play in public as often as
possible, they will not fail to find a responsive audience.

In the meantime, let us hope that the present controversy continues, keeping in mind the remark
credited to the late P. T. Barnum, "It matters not what people say about me, as long as they talk about
me."

117
 ETUDE
August 1942
volume LX
number 8
page 567, 569

Marco Aurelio Zani de Ferranti

By George C. Krick

ONE OF THE MOST REMARKABLE personalities in guitar history was Marco Aurelio Zani de
Ferranti, guitar virtuoso, composer and man of letters. He was born in Bologna, Italy, July 6, 1800,
and died in Pisa, November 28, 1878. Descended from an ancient Venetian family, he came to Lucca
in Tuscany, at the age of seven with his preceptor, Abbot Ronti, to receive his education, which was
most thorough. Ferranti was gifted with very precocious intelligence and prodigious memory; his
poetic talent manifested itself from early childhood, for when twelve years of age he had composed
Latin poetry which was read throughout Italy. Attending a concert given by the violinist, Paganini, he
was so profoundly impressed with the performance of this artist that music became his passion, and he
at once began the study of the violin under Gerli, the celebrated teacher. His progress was
phenomenal, and at the age of sixteen his extraordinary talent promised a violinist of the first order;
but he subsequently abandoned this instrument for the guitar. His outstanding genius on the latter
instrument made him famous in the musical world.

In 1820, he visited Paris where he spent most of his time experimenting with new methods of playing
the guitar. Towards the end of the same year we find him in St. Petersburg, Russia, where he was
engaged as librarian to Senator Meitleff and later as private secretary to Prince Varishkin, cousin of
the Emperor. The frequent periods of leisure, which these positions afforded, gave him ample
opportunity to carry on his experiments with the innovations and improvements he had in mind in
connection with guitar technic. In 1824, he appeared in Hamburg as guitar soloist, with much success.
During the next three years he gave recitals in Brussels, Paris, and London. In 1827, after his second
concert in Brussels, he was appointed professor of the guitar and Italian language at the Royal
Conservatory of that city. These years of continuous study brought him his reward, by discovering a
method of producing a sustained, singing tone on his instrument, obtaining all the extension of which
it was susceptible. The results of his experiments were made public in two recitals given in Brussels in
1832, and subsequently honored by the appointment of guitarist to the King of the Belgians. It is said
that the difficulties which Ferranti mastered with ease upon his instrument were unplayable by other
guitarists and no one since has been able to discover his secret of prolonging and uniting his notes. His
slurred chord passages, and melody with independent accompaniment were most marvelous and
entrancing. After another concert tour through Holland, he visited London, and together with the
violinist Sivori, came to America, where both artists were received with the greatest enthusiasm.

Returning to Brussels, in 1846, he again took up his duties as professor at the Royal Conservatory and
was occupied as such till the end of 1854, when his restless spirit manifested itself again and he
arranged an artistic tour through France, to his native land. After his farewell concerts in Brussels and
The Hague, a critic writes in the Brussels Echo: "We have heard this artist many times and upon every
occasion his playing was so brilliant and so varied, that he revealed to us some new wonder quite
unexpected. What Paganini is on the violin, Thalberg on the piano, Servais on the violoncello, Ferranti
is on the guitar. He is a discoverer. He has surpassed all his celebrated rivals in vanquishing the
difficulties which this instrument in the hands of others offers. He has found new effects harmonious
traits of extraordinary wealth and power. Add to all the secrets of his technic a clearness, a broadness
and admirable equality of tone; add the rapidity, the vigour, the neatness of fingering and above all the
118
inspiration, the rapture, the almost supernatural in the person, which evidences the true artist, and you
will have but a faint idea of the talent of Ferranti. The pieces which he composes are charming, and if
Ferranti was not a virtuoso of the first rank he would shine amongst composers."

In January, 1855, Ferranti arrived in Paris, where he was welcomed in the salon of the most eminent
poets and musicians. After his first recital, Fetis wrote, "If the guitar has a Paganini it owes this glory
to Ferranti." Paganini, who was also a guitarist of rare ability, after attending one of Ferranti's recitals
wrote, "I heard you, sir, with such emotion that I have scarcely enough reason left to tell you that you
are the most miraculous guitarist that I have ever met in my life." After a recital at the residence of the
famous French poet, Alexander Dumas, M. Pleyel had this to say: "Ferranti charmed for three whole
hours the most select and aesthetical audience. The guitar alone has been the attraction of this soiree,
but the genius of Ferranti is so supple, so extended and so varied that one did not have a suspicion of
monotony. Do not scorn the guitar any more, gentlemen. In the hands of Ferranti, the guitar becomes
an orchestra, a military band."

From Paris, Ferranti traveled through France, to Italy, giving recitals in all important cities, includIng
the fashionable resorts, Nice and Cannes, and finally settled in Pisa, where he gave frequent recitals.
His last years were mostly occupied with literary work. As a composer, Ferranti deserves a place
amongst the foremost writers of music for guitar. The rendition of his original works requires technic
of the highest order as all of these were composed for use in his recitals. While some of these
remained in manuscript the principal ones were published. The list includes: Op. 1, Fantasia Varie;
Op, 2, Rondo de Fees; "Op. 8, Six Nocturnes;" Op. 4, Ma derniere Fantasie; Op. 5, Fantasia Varie
Sur Le Carnival de Venice; Op. 6, Loin de toi Caprice; Op. 7, Fantasia Sur La Romance de Otello;
Op. 8, Divertimento on Three favorite English Romances; Op. 9, Nocturne Sur La derniere Pensee de
Weber; Op. 10 Fantasia Varie, O Cara Memoria.

The artistic career of this master, his early struggles, his determination to place the guitar and its
music on a higher plane should serve as an example and provide inspiration to every guitarist of the
present.

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 ETUDE
September 1942
volume LX
number 9
page 641, 648

The Guitar - Classic, Plectrum, Hawaiian?

By George C. Krick

AT THE BEGINNING of another teaching season a question will be asked by many prospective
guitar students - one that has come to us frequently by letter: What type of guitar do you advise me to
take up? Thirty or more years ago this problem was quite simple, since before that time we knew of
only one type - the "standard," or as we call it now, the "classic guitar," strung with gut and silk
strings and played with the fingers. Then there came upon the American scene some players from
Hawaii, singing their native songs and playing a guitar with six metal strings, using a steel bar placed
across the strings with the left hand, and striking the strings with right hand fingers, the thumb and
first and second fingers being enforced with steel thimbles. This is the instrument we know as the
Hawaiian guitar; its sentimental charm and appealing tone qualities, when rendering the native
Hawaiian music or ballads of other lands have endeared it to a large portion of the American public.

Then later we witnessed the birth of another type of guitar, one also with six steel strings, but played
with plectrum or pick, and with fingerboard technic similar to that of the classic type. This so-called
"plectrum guitar" was the answer to the prayer of dance band and orchestra leaders for a new voice in
their ensembles; they wanted an instrument with a sonorous, mellow and subdued tone quality, in
dispensing their "sweet music," and they found that this guitar ideally suited their purpose. In order to
compete with the penetrating tone of the saxophone, clarinet and trumpets, it was deemed advisable to
increase the size of this guitar. The top and back were carved like the violin and violoncello and the F
holes contributed further to its appearance as a professional instrument. In recent years electric
amplification has been the means of providing this guitar with a tone volume equal to that of any of
the other orchestral instruments.

Now in order to advise anyone intelligently on what type of guitar he should choose, it is necessary to
take into consideration a number of things, bearing in mind that another question usually comes up at
the same time, "Which is the easiest to learn"? Here we have children and also grown ups, who know
almost nothing about guitars, but who were attracted to it by hearing someone play on the radio. They
do not know whether it is a Spanish or Hawaiian guitar, but simply that they liked the tone of it. In
this case, the teacher should demonstrate the different types, by playing a simple melody on each one
in turn and then get the listener's reaction. Let us suppose that the prospective pupil is strongly
impressed with the Hawaiian guitar and wants to know what he can do with it.

The Hawaiian Guitar

This guitar has some things in its favor, especially in the case of children. It is inexpensive. Its tone is
appealing. Using the steel bar and picks seems more like playing than practicing; even during the first
lesson most pupils learn to get a fairly good tone from the instrument, and after a few lessons they
begin to play tunes. If, furthermore, the teacher uses a properly graded course, pupils will progress
rapidly, and they will keep interested especially after they begin to take part in ensemble playing with
others of their own age. Care must be taken in selecting the right kind of music, which should be no
trouble to the teacher, as there is a large volume of standard and popular music available for Hawaiian
guitar. The same holds true for grown ups who prefer this type of guitar. Even if their practice time is
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limited, they will progress rapidly, if they are properly guided by a competent teacher, and in time will
be able to play their instrument well enough to pass many enjoyable hours in their own home. While
this article is intended primarily for amateur players, we cannot refrain from stating that those with
exceptional talent will find many opportunities for financial and artistic advancement in the radio and
orchestra field.

The Plectrum Guitar

This instrument is often called "Spanish guitar." Although most Spaniards play the instrument with
the fingers, it is played also with a pick, and for that reason, we recommend it for children. They are
able to get a fairly good tone from it in a short time and to play easy pieces after a few lessons -
achievements which keep them interested. It is well adapted to playing popular music and especially
for playing accompaniments to songs and taking part in ensemble work. The heavy steel strings do not
break easily and they keep in fairly good tune, which helps to keep young pupils from getting
discouraged. During these busy times children as well as grown-ups usually find their time for
practice limited, but if this time is intelligently used, progress will surely result. As already remarked
the main purpose of the Plectrum guitar is to enhance the rhythmic section of the dance orchestra. A
competent professional guitarist is continually in demand. But again we say that the guitar is the
instrument "par excellence" for the amateur player and always will be so.

The Classic Guitar

The word "classic" is applied to this instrument, not because of the music of the old masters which
may be performed upon it, as it is also capable of producing any of the modern compositions, but
because of its romantic history dating back several hundred years. To play and appreciate this guitar
requires a person of discriminating tastes, with an acute ear and love for the beautiful in music. It is
not our purpose to give here a history of the guitar or speak of the many great artists and composers
who have devoted their lives to the development of this instrument and its music. This has been done
in previous issues of this column. Our aim is to give a word of advice to those thinking of taking up
the study of this guitar. If you wish to select a musical companion for life that will never fail you long
as you remain true to her; if you love a beautiful quality of tone, if you are willing to devote from one
to two hours daily to delve into its intricate technic, until you are able to play the music of Tarrega,
Giuliani, Mertz, Bach, Schumann, Albeniz, Granados and others, then by all means decide on the
classic guitar. Whether you as an amateur confine yourself to the easy compositions of these masters
or those of medium difficulty, whether your ambition and perseverance help you to become a concert
artist, in either case you will have no occasion to regret it. The satisfaction of having mastered this
instrument will amply repay you for the time and effort you have spent on it.

We could recite many instances where not only young students but players of outstanding ability on
the Plectrum guitar later turned to the classic guitar and found it an additional outlet for artistic
endeavor.

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 ETUDE
October 1942
volume LX
number 10
page 713-715

Guitar Music
By George C. Krick

JUDGING FROM THE MANY INQUIRIES that have come to this department in the past few
months, there seems to be a decided increase in activity in connection with the classic guitar. A
majority of our correspondents claim to have difficulty in procuring properly graded study material,
also music for performance in the home or in public concerts. As in various other lines of business, the
importers of guitar music are beginning to feel the pinch of the war; and when considering the fact
that most of the music by Ferdinand Sor, Mauro Giuliani, J. Kaspar Merta [Mertz], Francisco Tarrega,
Andres Segovia, Miguel Llobet and others was originally published in Europe, we can readily see why
it is almost impossible to obtain any of these classic compositions. Publishers in Buenos Aires, the
center of guitar activities in South America, have for some years put out a great deal of music by
classic and modern Spanish composers and arrangers and now even this source seems to have dried
up, let us hope only temporarily. All of this means that we now have to depend on our own resources;
but we believe that after all the picture does not appear quite so dark as one might suppose.

Let us see what the American composers and publishers have done in behalf of the guitar. The "Guitar
Method" in two volumes, by William Foden, is a most comprehensive work by a master guitarist.
When seriously studied, these two books will keep one busy for almost two years. The same author
has to his credit two volumes of original pieces, the first of easy and medium grade, the second more
difficult, in the classic style, and ideally suited to prepare one for the later study of Bach. In volume
two is also included a trio for three guitars, Petite Overture, which is quite interesting and well worth
a public performance. For concert purposes there are the Minuet in F, Barcarolle, Grand Fantasie of
American Songs, and ten other fine numbers arranged in the style of "Introduction, Theme and
Variations" based on American folk songs.

The two books of "Chord Studies" by Foden are most complete and, while originally intended for
classic guitar, are also excellent for plectrum players. There is also a volume of effective guitar
arrangements of semiclassical pieces and well known ballads, by H. J. Clarke. The "Carcassi Guitar
Method" is still a favorite with many teachers and can be had from any of the prominent publishers.
The best of these editions is undoubtedly the original one by the publishers of THE ETUDE. Another
"must" for guitar students is the book of "Twenty-five Etudes Op. 60, by Carcassi. There are also
classic transcriptions by Vahdah Olcott Bickford and a guitar solo album of "Transcriptions of 21
Famous Masterpieces" by the same arranger; a collection of twelve "Guitar Studies," by F Sor; a book
of twelve compositions and arrangements, by L. T. Romero; and several other guitar albums
containing pieces of medium difficulty by well known writers.

We add to the list a book of two hundred twenty-five pages containing original "Compositions and
Arrangements," by the eminent guitar virtuoso, Manuel Y. Ferrer; a volume of "Thirty Compositions
and Arrangements," by G. C. Santisteban; another of "Twenty-four Guitar Solos," by C. de Janon,
Walter Vreeland, Charles J. Dorn, and others; also a folio of instrumental guitar music by various
writers.

There have recently been placed on the market three books of guitar music that should interest first
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year students: "Collection of American Songs," "Collection of Popular Ballads" and "Collection of
Operatic Melodies." These are nicely arranged and can be used as solos or duets for two guitars.

A most interesting work is the modern "Method for Guitar, based on the School of Tarrega," compiled
by Pascual Roch. This method in three volumes is intended primarily for advanced students, who have
sufficient time at their disposal to make a serious study of this modern Spanish system of playing the
guitar. The first volume is almost entirely devoted to exercises of scales and arpeggios for
development of right hand finger technic, ending with a series of easy arrangements by Roch. The
second volume continues the study of arpeggios and chords in the higher positions, shows examples in
the use of legato, staccato, harmonics, glissando, tremolo, grace notes, trill, pizzicato and other artistic
effects used by the Spanish guitarists. Ten classical transcriptions by Tarrega conclude this volume.
The third volume is especially valuable since it consists mainly of fine transcriptions by Tarrega, that
are not obtainable in other editions, such as Granada, Albeniz; Nights in Spain, Massenet; Study on a
Theme, Henselt; Valse, Chopin; Pilgrim's Chorus, Wagner;: Romance from "Mefistofele," by Boito;
Waltz from "Damnation of Faust," Berlioz; "Variations on a Theme by Paganini; " Minuet, Beethoven;
and the celebrated Fantaisie on Spanish national airs. This last mentioned number was recorded by
Oyanguren. Another fruitful source for guitar music is the "American Guitar Society" of Los Angeles.
All of the transcriptions and editions published by this society are by the well known guitarist, Vahdah
Olcott Bickford, and appear mostly in the form of collections. There is an album of Beethoven
numbers, a Schubert Album, several albums of Spanish and Mexican music, and others containing
compositions by some of the classic guitar writers. We also find a concerto for guitar and piano by
Myron Bickford, which should be in the repertoire of all ambitious guitarists. Several years ago the
Spanish Music Center in New York began to publish the compositions and arrangements by Julio
Martinez Oyanguren and to the best of our knowledge there are about ten of these numbers now
available. From the repertoire of Vicente Gomez five excellent original compositions have been
published with a promise of more in the near future. All of this guitar music enumerated may be
procured from the publishers of THE ETUDE.

It seems to us that this is an opportune time for publishers to get in touch with American composers
and arrangers of guitar music. It is possible that a great deal of talent is hidden away somewhere,
waiting to be discovered. On a recent visit to the home of William Foden in St. Louis, we were
surprised to note that in spite of his advanced years he is still composing and arranging with no
expectation of pecuniary reward. Among more than one hundred compositions and arrangements still
in manuscript there is a "Grand Sonata" in the classic style that is well worth the attention of some
publisher. Let us hope that our publishers will take advantage of present conditions, and then perhaps
the American composers and arrangers will come into their own.

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 ETUDE
November 1942
volume LX
number 11
page 785, 787

Legato Playing for Guitarists

By George C. Krick

A CURVED LINE over or under a group of notes means that these notes should be played in a
smooth and connected manner with no break between the tones; or, in a word, legato. In the second
volume of his "Guitar Method," Pascual Roch lays down the rule that to play legato one should use
the slur only. Now, while the slurring of notes is quite effective in legato passages, especially so in
fast movements, we must not overlook the fact that in slow movements, all notes may be picked
separately with the fingers of the right hand and still be played legato. This depends on the proper use
of the left hand fingers, and it should be practiced diligently before attempting the slur. To bind the
tones together it is necessary to drop the left hand finger on the proper fret and strike, retaining a firm
pressure on the string, which prolongs the tone. While the string is still vibrating we drop another
finger on the next note, keeping this finger firmly on the string until we are ready to repeat the same
action with another finger. For preliminary practice we suggest this procedure: Use alternating first
and second finger of right hand to pluck the strings - strike the open D string; then drop the first finger
of the left hand on D-sharp, 1st fret; strike and retain pressure on the string; play E on the second fret
without raising the first finger; play F on third fret and then F-sharp on fourth fret, meanwhile
retaining all the fingers on the string.

Descending, lift fingers one after another until we are back to the open string. Continue on the same
string by moving the first finger to the fifth fret, and proceed in similar manner on the fifth, sixth,
seventh and eighth frets, and again with the first finger on the ninth fret using the second, third and
fourth fingers on tenth, eleventh and twelfth frets respectively. Repeat this exercise on alI the other
strings, and be sure to remember the importance of keeping the fingers firmly on the string until it is
necessary to lift them for the descending scale. When this is well understood and thoroughly mastered
it is advisable to practice the major and minor scales legato, using the same method. Beginning with
the C scale, let us play C on the A string, then play open D while the third finger still holds C; E and F
are played with the second and third fingers on the proper frets, and these are firmly held until the
open G string is played; and then it is continued in like manner to the end. In slurred passages the first
note only is plucked with the right hand finger, while the other notes are executed with the left hand
by dropping the fingers on the proper fret and keeping these fingers firmly on the string until the last
note of the group is played. This rule applies to a group of two, three or four notes ascending. For four
notes descending it is necessary to place the four fingers of the left hand on the proper frets, pluck the
first note of the group and then slur the others by pulling them off the string thereby sounding each
note. As stated before this is most effective in fast movements and requires considerable practice.
Care should be taken that all notes be given their correct time value, that they be played evenly and
smoothly and the tones brought out distinctly.

To those who have not used the slur we make the following practice suggestions: Place the first finger
on F-sharp, second fret, first string; strike and then quickly drop the second finger on the third fret;
practice this until the second finger produces a clear tone, without assistance of the right hand. When
this has been accomplished, start again with the first finger on the second fret, first string, and quickly
drop the second finger on the third fret, and follow with the third finger on the fourth fret. Try this on
other frets on the first string and again on the remaining strings. Now proceed as before and add the
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fourth finger on the fifth fret. Remember to strike only the first note and then drop the first, second,
third and fourth fingers in rapid succession, keeping them firmly pressed down until the fourth finger
finishes the passage. This last is most important; also be sure to listen to every tone as it is produced.

Legnani was one of the first guitarists of the classic period to introduce in one of his compositions a
complete variation played with the left hand alone. Long passages of similar nature can be found in
some of the modern Spanish compositions.

Banjo Notes

Our column in the July number of THE ETUDE, devoted to the banjo, seems to have stirred up some
lively interest among players of this instrument throughout the country, judging from numerous letters
received by the writer. Many wanted to know what has happened to the five string banjo, since at
present it is rarely heard in concert or radio. This banjo was a universal favorite for many years until
about 1920 when the tenor banjo was introduced into the dance orchestra. Talented performers could
be heard frequently on the concert stage and in vaudeville theaters. Outstanding amongst the banjoists
of the early period were Gus Mead, Tom Briggs, Frank Converse. Later came Vess Ossman, Van Eps,
Paul Eno, Brooks and Denton, and Alfred Farland who is still active; as are Bill Bowen, Raymond
Challis, Fred Bacon, Frank Bradbury and others. In his prime Farland was considered the greatest
artist of them all and his recitals attracted banjo enthusiasts as Segovia now appeals to guitarists. For
many years Farland made annual concert tours through every state in the Union and invariably he
played to sold out houses. His programs consisted of original banjo numbers and classical
transcriptions and his marvelous technic and beautiful tone were a delight to his listeners. One reason
why Farland was able to hold the attention of a musical audience for two hours, was the fact that the
banjo was strung with gut and silk wound strings and was played with the fingers similar to the classic
guitar. The tone quality of such an instrument is much superior to one with wire strings, and we have
yet to hear a player of the plectrum or tenor banjo give a complete recital of unaccompanied banjo
music to the satisfaction of a critical audience. The tuning of the banjo beginning with the low string
is C - G - B - D, the short fifth string G corresponding to the fifth fret of the first string. This tuning
permits much more satisfactory chord combinations, than are possible on the tenor banjo which is
tuned in fifths, and for that reason it remains the superior solo instrument of the banjo family. If some
of the younger players would seriously examine these facts, there is no doubt that this instrument
would again attract a host of students.

The plectrum banjo, as already mentioned, is strung with four wire strings and tuned in the same
manner as the original banjo just described. Played with a plectrum, it has a powerful, penetrating tone
and for that reason has become popular with a goodly number of professional players. The best known
of these is Eddie Peabody, now Lieutenant Commander Edwin E. Peabody of the U. S. Naval
Training Station, Great Lakes, Illinois. From recent reports one learns that most of the musical
activities at this station have been under the direction of this popular banjoist.

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 ETUDE
January 1943
volume LXI
number 1
page 63, 66

Mandolin Music
By George C. Krick

AMONG the musical instruments of the present day, which especially commend themselves to public
esteem and general consideration, is the mandolin. Indeed, its possibilities are so far reaching, its
charm so alluring and its study so interesting, that one can never regret having chosen it for serious
application. For some years the mandolin was a great fad, and as long as it was so considered, never
rose above the mediocre in the plane of music producing instruments. However, since during the past
forty years some of the most cultured and influential musicians have become interested in it and
applied themselves so diligently to attain a mastery of it, the mandolin has gradually advanced in
favor until to-day it occupies its place as a legitimate artistic instrument. While Italy still outranks all
other countries in the number of outstanding mandolin virtuosi ,our own country may well point with
pride to a number of artists who made mandolin history and in addition enriched the mandolin
literature through many original compositions for their chosen instrument. We have always stressed
the fact that the mandolin is at its best in the performance of original music written by a composer
who at the same time is a master of the instrument and well knows its possibilities and also its
limitations.

At the present time the literature for mandolin is so vast, that it is not necessary for a public performer
to borrow from the music for violin or other instruments, when building a repertoire for concert
purposes. For the young student there are methods and books of etudes galore, and it is now our
purpose to point out to the beginner as well as the advanced player what we think is best from the pens
of the leading composers of mandolin music

Suggestions of Value

Among the American mandolinists Giuseppe Pettine stands foremost, and as a composer of mandolin
music he has no peer. His "Method in Four Volumes" is most comprehensive and properly graded,
starting with Book 1 for beginners followed by Book 2 containing more advanced technical matters;
Book 3 is devoted to the study of the duo style for unaccompanied mandolin, Book 4 deals with all the
difficulties of the right hand, showing a complete system of the mechanism of the plectrum. Another
volume deals with the study of right and left hand harmonics. The "Duo Primer" consists of a
collection of well known melodies arranged in the duo style and is intended for beginners.

For concert purposes there is the "Concerto Patetico" in three movements for mandolin and piano, a
beautiful work; also Fantasia Romantica, Fiori appassiti Impromptu, Barcarola in duo style and a
number of shorter compositions. For the young student there is quite a long list of attractive pieces in
easy and medium grades.

Valentine Abt, well known mandolin virtuoso, has to his credit some beautiful compositions for
concert use. The most important are, The Butterfly, The Brooklet, Fantasia, Golden Rod, Barcarolle,
Hark the Choir, Impromptu, In Venice Waters, Serenade, Morceau de Salon, and some transcriptions
such as Carnival de Venice, Hauser's Cradle Song, Dancla's Fifth Air Varie, Chaminade's The
Flatterer, and Ries' Perpetuum Mobile. For the student we have the Abt "Mandolin Method" in two
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books and three books of technical exercises.

In Duo Style

Aubrey Stauffer confined his playing mostly to the duo style for unaccompanied mandolin and his
"Book of Thirty Progressive Studies" contains some excellent material to develop this phase of
mandolin technic. For concert purposes he compiled a Book of "Forty Grand Mandolin Solos" and
another of "Forty-two Mandolin Solos," all in the duo style.

One of the most interesting folios is that compiled by B. W. De Loss and is arranged for mandolin and
guitar. Aside from an original Concert Waltz by De Loss, there are transcriptions of pieces by Franz
Drdla, M. Moszkowski, Carl Bohm, Drigo and others. Both the mandolin and guitar parts require
players of more than average ability. For advanced players we also recommend "Mandolin Players
Pastime," a collection of fifteen well known classics, attractively arranged for mandolin and piano.

Teachers looking for study material will find the Bickford "Mandolin Method" in four volumes one of
the most comprehensive works for this instrument. From beginning to the end it covers every possible
phase of mandolin technic. The "Method in Three Volumes" by H. F. Odell is also one that has been
popular with teachers for a number of years. To list here all the compositions by the leading Italian
mandolinists would be beyond the scope of this article, so we shall confine ourselves to the works of
those who have gained international reputations.

Carlo Munier has to his credit "Method in Two Volumes," five books of "Mandolin Studies," four
volumes of beautiful duets for two mandolins and a "Book of Trios" for three mandolins. His concert
solos with piano accompaniment include First Mazurka de Concerto, Bizzaria capriccio di Concerto,
Capriccio Espagnola, First Aria Variata, "Concerto in G major," Second Mazurka Fantasia, Valzer
Concerto and Love Song, a duo for unaccompanied mandolin. There are also three quartettes in the
classic style for two mandolins, mandola and mando cello and numerous other compositions for
mandolin orchestra.

Rafaele Callace has written two mandolin concerti with piano accompaniment, three preludios in duo
style and a great number of shorter concert pieces, also a "Mandolin Method in Four Volumes."

The following list contains further material for concert purposes.

V. Arienz - "First and Second Capriccio di Concerto."

G. B. La Scala - "First and Second Tarantella," "First Concerto in A minor" and Fantasia Mazurka.

S. Leonardi - Souvenir de Naples, Mazurka Variata, Angeli et Demoni, Fantasia.

E. Marucelli - La Giostra Mazurka, Moto Perpetuo, Capriccio Zingaresco, Polonese di Concerto,

Valzer fantastico, Scherzo Militare.

E. Mezzacapo - Aubade, Mignardises, Polca de Concert, Napoli, Tarantella, Andante and Polonese.

S. Ranieri - "Concerto in Re Majeur," Allegro - Maestoso, Romance - Allegro Giocoso, and a "Method
in Two Volumes."

This select list of study material and concert numbers for mandolin has stood the test of time and is
well worth the attention of serious-minded mandolinists. Aside from the music mentioned there are
numerous other compositions by various writers in this and other countries and most of these may be
found in the catalogs of American Music Publishers. As stated before we believe it best for

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mandolinists to concentrate mostly on original music written especially for the mandolin. However,
there are some violin solos among the lighter classics that can be played effectively on the mandolin.
The selection of these should be made judiciously, and their successful performance depends mainly
upon the technical proficiency and musicianship of the performer. He should always exercise good
taste.

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 ETUDE
February 1943
volume LXI
number 2
page 135, 139

The Tarrega Guitar Method

By George C. Krick

THE SPANISH SCHOOL of guitar playing may be said to have had its beginning with the advent of
Ferdinand Sor, 1780-1839, and Dionisio Aguado, 1784-1849. It is true that during the preceding
century the guitar was the most popular instrument in Spain, and here and there some guitarist and
composer rose above mediocrity; it was not until these two masters appeared upon the scene, that the
guitar was considered an instrument able to hold its own on the concert platform. The next generation
of guitarists failed to produce any composers of note, although the music of Sor and Aguado was kept
alive by such concert artists as Cano, Broca, Damas, Vinas and Arcas, who also contributed some
worth while compositions to guitar literature. But near the latter part of the nineteenth century there
appeared a master who was destined to revolutionize the art of guitar playing and place it on a still
higher plane.

Musical Explorer

This man was Francisco Tarrega, who may well be called the founder of the modern Spanish school.
Tarrega was an explorer and innovator. Using the music of Sor and Aguado as a foundation, he was
not satisfied with what he found there, but devoted his whole life to the improvement and further
development of guitar technic. In his youth Tarrega had the advantage of a thorough musical
education, received at the Madrid Conservatory. Upon his graduation he obtained first prize in
harmony and composition. The guitar became his favorite instrument, and to it he dedicated all his
energies and extraordinary intelligence. After some visits to the most important European music
centers, where he was hailed as the greatest virtuoso of his time, he returned to his native land and
began his career as teacher of guitar. Tarrega was happiest when playing for a small circle of friends
and admirers, who would often gather at his home and listen with rapture to the beautiful music he
produced on his guitar. His Preludios, Capriccio Arabe, Danza Mora, Recuerdos de la Alhambra may
be classed among the finest compositions for guitar, and there are many others of outstanding merit by
this master. However, his transcriptions of works by Bach, Beethoven, Schumann, Mendelssohn,
Chopin, Mozart and Haydn are his greatest achievement. His mastery of the guitar, his acquaintance
with the entire piano literature, and above all his discriminating musical taste enabled him to recreate
these classic masterpieces as though they had been specially composed for the guitar.

Among his many pupils, the most celebrated were Miguel Llobet, Emilio Pujol, Garzia Fortea and
Domenicus Prat. Through the efforts of these artists the Tarrega music became known throughout the
world. The recital programs of Andreas Segovia invariably include several compositions and
transcriptions from the pens of the great master. Tarrega was continually experimenting in methods of
striking the strings in order to improve and enlarge the tone of his instrument; he invented a variety of
new artistic effects as exemplified in his Grande Jota, and the modern, intriguing harmonic
progressions together with the delightful melodies pervading all his music, stamp him as one of the
greatest composers for the guitar.

The Tarrega method of striking the strings requires a more elevated wrist of the right hand with the
tips of the three fingers parallel to the strings. When striking the strings the fingers must not be raised,
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but forced quickly across the strings until they are brought up against the next lower one. This reduces
the action of the fingers to a minimum and results in a full round tone. To use this method
successfully it is also necessary to give constant care to the nails of the right hand fingers. They
should project just a trifle, about a thirty-second of an inch beyond the fleshy part of the finger tip and
be kept always at this length.

The Nail Stroke

This stroke is now used by most of the prominent guitarists, as it enables one to vary the tone of the
instrument considerably and at the same time obtain increased volume. During his later years, Tarrega
discarded this nail stroke giving as his reason that he preferred a better tone to greater volume. Now
without seeming to criticize the master for this action, we are convinced that an artist appearing in a
modern concert hall before an audience of fifteen hundred or more is compelled to use all his
resources to obtain enough volume to be distinctly heard in all parts of the auditorium; and the answer
to this is the nail stroke. We are quite sure that if Tarrega could be present at one of the Segovia
recitals to-day he would be the first to approve the performance of this outstanding virtuoso. In the use
of the right hand thumb, Tarrega also differed somewhat from the method used by all other classic
writers for guitar.

The Italian and also the American guitarists extend the thumb and glide it across the string until it
rests against the next higher one, claiming that this results in a more powerful tone. Tarrega advocates
plucking the string with the tip joint of the thumb bringing it up against the side of the first finger. In
the matter of playing scale passages there is a decided difference between the modern Spanish school
and the method used by most of the old Italian and other European guitarists. Carcassi, Carulli,
Giuliani and their contemporaries used alternating thumb and first finger on the three bass strings
followed by alternating first and second finger across the three treble strings. Tarrega and his
followers discard the thumb for this purpose almost entirely and advise using alternating first and
second finger for passages across all strings. Occasionally they advocate adding the third finger when
this finger happens to be in position to facilitate passing from one string to a higher one. This method
when practiced sufficiently will undoubtedly assure a scale that will sound even and smooth.

In examining the music of Tarrega one cannot fail to note the effective use he has made of the higher
positions. Whenever possible he avoids the use of the open first string and frequently places his chord
progressions and scale passages on the inner strings in position.

His main object throughout his life was to obtain the most beautiful tone his guitar was capable of,
and this was always the principal topic of conversation when pupils were gathered around him.
Guitarists everywhere may well emulate his example.

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 ETUDE
May 1943
volume LXI
number 5
page 353, 360

The Electric Hawaiian Guitar

By George C. Krick

IN RECENT YEARS we have witnessed a most remarkable innovation in connection with musical
instruments, namely, electric amplification, especially that applying to the Hawaiian guitar. This type
of instrument now offered by the leading American manufacturers is a triumph of instrument making
and engineering skill. Its tone from the faintest pianissimo to a fortissimo of organ-like quality is
beautiful and enchanting, and the instrument is becoming more popular from day to day. Its artistic
possibilities are almost unlimited, but its continued popularity will depend on the development of
capable teachers and serious public performers. While the player of the ordinary Hawaiian guitar
should have no difficulty in adapting himself to the electric instrument, it is necessary to make a
thorough study of its tonal possibilities and its technical requirements for right and left hand, in order
to bring out its beautiful tone and to control its power.

It is unfortunate that so far no all-comprehensive instruction book by an unquestioned authority has

made its appearance, and for this reason we shall try to give here some hints that might prove helpful
to those entering upon the study of this interesting subject.

Avoid the use of the open strings as much as possible and use them only when absolutely necessary.
Pick firmly with the tip of the finger picks, but not too hard. Get perfect control of the glissando and
use it judiciously, but guard against overdoing it.

For the electric guitar the steel and picks should be much lighter than those used on the ordinary
guitar. This assures much easier manipulation of right and left hand. We know of some players who
use the bare finger tips, but we believe that best results can be gotten with a light metal pick.

From personal experience we find that the heavy gauge treble strings - 1st - 2nd and 3rd are most
satisfactory; the three bass strings should be of a smaller gauge than those on ordinary guitars. The
tonal volume of the treble and bass strings should always be kept properly balanced, and since the
treble strings generally carry the melody these should stand out somewhat above the basses. This can
be done on the tone controls with which most instruments are equipped.

The volume control may be turned on in full and then regulated to fit the size of the room or hall in
which the player is performing. The best position for the player is near and in front of the amplifier. If
you use an A. C. amplifier be sure that the current you expect to use is correct, as D. C. through an A.
C. amplifier will do a lot of damage. While a guitarist is not expected to be an electrician, he should
become thoroughly familiar with his amplifier, so he can make minor adjustments when necessary,
not forgetting to carry with him the several tools necessary for that purpose.

Many professional players use different tunings for their guitars. The one we advocate for beginners is
that in A major, as most of the music is published in this notation. This means from lowest to highest
E - A - E - A - C-sharp - E. Another favorite tuning is that generally called High Bass tuning and is as
follows: A - C-sharp - E - A - C-sharp - E. The E 7th tuning is also used considerably by professional
players and consists of: E - B - D - G-sharp - B - E. As stated before, beginners will do well to adopt
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the first one mentioned and later on, when proficiency has been obtained, the other tunings can easily
be acquired.

The Mandolin

In a recent letter one of our correspondents bemoans the fact that in the past this column has devoted
more space to the guitar, and furthermore wonders if for some personal reasons we are neglecting the
mandolin. If this correspondent had faithfully read this column during the past few years, he should
have learned that we have given considerable space to matters pertaining to the mandolin, and if
articles on guitar matters seem to predominate it is primarily because our monthly mail received from
guitarists is ten times that received from mandolinists. This evidently shows that guitarists are much
more interested in this column and are always ready to write us about it.

It so happened that the mandolin was the first musical instrument in which the writer became
interested, and he made a study of it under the guidance of William Foden, who was one of the
pioneer mandolin teachers in this country. At one of the early conventions of the "American Guild,"
we, together with three of our advanced players, introduced to a Philadelphia audience the "Original
Plectrum Quartet in G major," by Carlo Munier, which was the first American performance of this
beautiful composition These were the days when a mandolin could be found in almost every home and
every high school and college boasted of its mandolin or banjo club. In some localities the mandolin
has evidently lost some of its former popularity in recent years, a condition which is difficult to
explain. Perhaps, young boys listening in on the radio hear Benny Goodman, Gene Krupa and others,
and Father has to look around for a clarinet or a drum. If the mandolin in the hands of a real artist was
heard more often over the radio or in concert more people would become fascinated with it and would
want to play it.

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 ETUDE
April 1930
volume XLVIII
number 4
page 252, 300

The Romance of the Guitar

Based upon an Interview with the Great Spanish Guitarist
ANDRÉS SEGOVIA

Secured for The Etude

By SOPHOCLES PAPAS

The Guitar is a Miniature Orchestra in Itself."

BEETHOVEN

Editor's Note
This is one of the most interesting and comprehensive articles ever written on the Guitar and is of
immense usefulness, whether the reader plays this instrument or not.

WHAT GREATER compliment could be paid a solo instrument with only six strings than for this
great genius to compare it to an orchestra? And it is this instrument which filled with celestial sounds
the temples of Solomon, which accompanied Homer as he sang the deeds of the heroes of Troy and
which was used by the emperors and kings in their sumptuous entertainments and by the humble lover
in serenading his mistress.

In eight words Beethoven has summed up all the merits of the guitar, for by these he means not only
that it is capable of producing all the harmonic combinations of an orchestra but the effects and tone
colors as well. Yet, as Berlioz said, the guitar has been treated as an orphan and has been
misunderstood so often that the average person about to hear it for the first time is under the
impression that the performance is to be such as we usually hear in vaudeville. This situation exists to
some extent in Europe but much more so in this country - at least it did until Andrés Segovia, the great
Spanish guitarist, made his debut in New York two years ago and was acclaimed by the critics not
simply as a great guitarist but, indeed, as one of the greatest artists on the concert stage today.

Those who knew the guitar and its possibilities and had heard of the ovations which Segovia received
in Europe were sure of witnessing another triumph. Many traveled miles to hear him. But Segovia's
audience did not consist entirely of lovers of the guitar and his art. There were many prompted by
curiosity among whom may be included some of the music critics, for such was the confession of the
critic on the "London Times" after Segovia had played there. "And so," he says, "in the fulness of our
ignorance we went, expecting we did not quite know what but hoping, since Señor Segovia's
reputation had preceded him and the name of J. S. Bach appeared on his program, that we would
satisfy our curiosity about an instrument that has romantic associations without being outraged
musically. We did not go to scoff but we certainly remained to hear the last possible note; for it was
the most delightful surprise of the season."

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Segovia's Early Training

Andrés Segovia was born in 1896 near Granada in Andalusia, Spain, and, in his own words, "opened
the musical dynasty of his family." From his childhood he was greatly interested in music and the
guitar was his favorite instrument. The most amazing thing is that he was his own teacher, and, at the
age of fifteen, was able to interpret the most difficult compositions with uncanny skill. From that time
on he has appeared continuously on the concert stage, and his repertoire now embraces compositions
of the sixteenth century to the moderns.

It is impossible to describe Señor Segovia's playing; one must hear him to believe. With a
transcendent technic and unimpeachable musical taste, with his deep insight into the works of the
great masters combined with the most delicate nuances, perfection of phrasing and vital rhythm,
Segovia is a miracle. The hundreds of music critics who heard his performances all vied with each
other in praising him. Never before has there been an artist who has received wider acclaim than
Segovia.

When asked how he began the study of his guitar, he replied: "I cannot remember just when I did so,
as I was too young, but I knew that I had an insatiable desire to play and I heard as many guitarists as
possible. Then I went home to find out new ways for myself..... Of course there are teachers of the
guitar in Spain, but a great many Spanish boys need no further encouragement to begin than the
instrument itself."

Segovia being the greatest exponent of the guitar in the world at the present time and his being so
thoroughly familiar with its history and literature naturally makes this interview of unusual interest.

Remote Ancestors of the Guitar

BEFORE proceeding with the history of the guitar, two points must be made clear: first, that the
traditional lute differs from the guitar only in shape; second, that the cithara (Greek, kithara) which is
frequently mentioned in the works of the ancient Greeks was not an instrument similar to the lyre as
some historians claim but was in reality the predecessor of the guitar which today is called the kithara
by the Greeks and chitarra by the Italians.

Dr. Burney who made a most thorough research in determining this fact quotes Father Monfaucon: 'It
is difficult to determine in what respects the lyre, cithara and other such instruments differed from
each other.' And in his reflections on the construction of ancient instruments we read: 'The belly of the
theorbo or archlute ( a lute with additional bass strings) is usually made in the shell form and the
etymology of the word guitar seems naturally deducible from cithara.' It is supposed that the Roman
'C' was hard like the modern 'K', and the Italian word chitarra (guitar) is manifestly derived from the
Greek word kithara. In the Hymn to Mercury, ascribed to Homer, Mercury and Apollo are said 'to
play with the cithara under their arms.....' This seems to infer a guitar rather than a harp.

Like all the ancient musical instruments the guitar and lute, as might be expected, had undergone
considerable changes during the ages and were of various forms in different countries and in the same
country at different periods. They also had various tunings some of which are still in use for special
purposes. The Spanish tuning being the most practical was universally adopted - hence the name
'Spanish Guitar.'

Cargo for the Ark

THE GUITAR is so closely associated with the history of man's career throughout the ages, that we
could almost believe it to have been part of the household of Adam and Eve. Padre J. B. Martini in his
'Storia della Musica' reasons very convincingly that Adam was instructed by his Creator in every art

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and science, the knowledge of music being, of course, included. A vivid imagination could picture
Adam absorbed in his guitar beneath the apple tree while the wily serpent beguiled Eve with the
prohibited fruit. One thing is certain, however, and that is that the guitar was invented before the
deluge, perhaps by Jubal; and naturally some member of Noah's family, if not Noah himself, was a
performer on this instrument. Noah, it is believed, settled in Egypt after the deluge, and it is there that
we find concrete evidence of the guitar's antiquity in the form of an obelisk supposed to have been
erected by Sesostris whom some historians identify with Noah. According to Dr. Burney, on this
obelisk which is now in Rome there is a reproduction of an instrument similar to the lute.

Both the lute and guitar were venerated, and the performers were held in high esteem by the Egyptians
and Hebrews. David played the lute and it is reasonable to suppose that he instructed Solomon. "And
David and all the house of Israel played before the Lord on all manner of instruments made of
firwood, even on harps, and on psalteries and on timbrels and on cornets and on cymbals." 2 Sam. vi:
5. The same quotation in Syriac is given in part as follows: ".....with cithara, psaltery, cymbal and
sistrum."

It is probable that the guitar was introduced into Greece shortly after the Trojan war, about 1000 B.C.,
and was used by the rhapsodists. Homer sang the Odyssey and Iliad to the accompaniment of the lute,
and references to the guitar abound in the Greek writings. Thamyris, a guitarist, was so skilled in his
art that he challenged the muses, especially Clio, the patroness of stringed instruments, and the result
is described thus by Homer:

Too daring bard, whose unsuccessful pride

The immortal muses in their art defied;
The avenging muses of the light of day
Deprived his eyes and snatched his voice away.
No more his tuneful voice was heard to sing,
His hand no more awaked the silver string.

The comic poet, Pherecrates, introduced music on the stage as a woman with dress and person torn
and disfigured. This forlorn creature gives as the cause of her dishevelled appearance the treatment of
several musicians amongst whom is Thamyris. 'And next Thamyris took it into his head to abuse me
by such divisions and flourishes as no one ever thought of before, twisting me a thousand ways in
order to produce from four strings the twelve modes.' Form four strings the twelve modes! This could
have been done only upon an instrument with a neck which is proof positive of the existence of the
guitar at this period. It also suggests that Thamyris was a modernist, judging from the manner in
which his musical ideas were received.

Terpander whose name means 'to delight men' was born about 671 B.C., and was a celebrated guitarist
and flutist. He taught and composed for the guitar and made some improvements in its construction.

Socrates Takes Lessons

TO PROVE that one is never too old to learn, Socrates studied the guitar in his late years under
Damon, the teacher of Pericles. Who knows but that he was serenading the much-maligned Xanthippe
when, after she had relieved her overwrought feelings by throwing a bucket of water over him, the
great philosopher exclaimed, 'After the thunder follows the storm.'

Pythagoras did not play the guitar. But, as a result of his scientific treatment of sound, he invented the
monochord (single stringed) with a movable bridge or, rather, fret, which enabled future guitar makers
to place frets on the fingerboard accurately.

During the Golden Era the guitar was held in high esteem by all Athenians, one of whom was none

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other than Themistocles, one of the greatest generals that ever lived. In the words of Plutarch, 'He
(Themistocles) entreated Episcles of Hermione, who had a good hand at the lute and was much sought
after by the Athenians, to come and practice at home with him, being ambitious and having people
inquire after his house and frequent his company.' Plutarch writes that this was before Themistocles
became famous.

(To be continued in May Etude)

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 ETUDE
May 1930
volume XLVIII
number 5
page 317-318, 367

The Romance of the Guitar

By ANDRÉS SEGOVIA

Based Upon Notes Prepared by

PAPAS SOLPECLES [sic]

This article may be read independently of the first part which appeared in the special Spanish issue
last month

The story of the guitar is as fascinating as a Dumas romance. Far more people are now playing this
instrument than was the case a few years ago. The concerts of Señor Segovia, at which he has played
"everything" from Bach to Debussy, have stirred the enthusiasm of the greatest musicians of the time.

Nero's Prizes

NOT ONLY the guitar but music in general was very little cultivated by the early Romans. As Dr.
Burney says, "Most mature study of musical instruments would produce only despair and headache."
Like other arts, music was introduced into Rome by Greek musicians who were forced to go there if
they did not willingly go. Nero is responsible for the first mention of the guitar in Rome, but it is
doubtful if Diodorus dared to play his instrument there during the life of Nero.

In A.D. 66 Nero went to Greece and proclaimed himself victor in music at all the Olympic games,
and, on returning to Rome, carried with him eighteen hundred prizes which he had extorted from the
judges at the musical contests. He also brought with him many eminent Greek musicians whom he
had "defeated." Among these was Diodorus, the celebrated guitarist. All these were driven through
Rome in the same carriage in which kings who had been vanquished by Roman generals used to be
borne in triumph.

That the guitar played no small part in the religious ceremonies of the early Christians, Clemens
Alexandrinus and Eusebius prove. 'Praise the Lord on the lute, and on the psaltery with ten strings'...
'When the Christians are met, first they confess their sins to the Lord; secondly, they sing to His name,
not only with the voice but upon an instrument with ten strings and upon the cithara.' The latter
continued in use in the church up to the seventeenth century. In the Pope's chapel, when the falsettos
of the Spaniards and sopranos of the eunuchs proved unsatisfactory, women singers were introduced,
and Della Valle speaks of Signora Leonora 'who sings to her own accompaniment on the lute which
she touches in so fanciful and masterly a manner.' Prior to this, however, the guitar was flourishing
throughout Europe and was much in vogue at the royal courts.

Chaucer was the earliest English writer to mention the lute, and in his 'Pardoner's Tale' these lines
occur:
Whereas with harpes, lutes and guiternes
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They daunce and plaie at dis bothe day and night.

In Shakespeare's works we find frequent reference to music, and the following is his ode to 'the rarest
musician that his age did behold.'
Dowland to them is dear, whose heavenly touch
Upon the lute doth ravish human sense.

John Dowland, the most famous lutenist of the short but brilliant period (1597-1622), of the English
school of lutenist song writers, was made Bachelor of Music by the University of Oxford, and for a
time was lutenist at the court of Denmark, afterward returning to London in the service of Lord
Walden. Later he became lutenist at the court of Charles I. The majority of his works are songs with
guitar accompaniment, many of these being extant. He also wrote studies and a method.

Royal Lutenists

THE UNFORTUNATE child king, Edward VI, in his diary, on July 20, 1550, wrote: 'Monsieur le
Marechal St. Andre, the French ambassador, came to me in the morning..... He dined with me, heard
me play on the lute, saw me ride, came to my study, supped with me and so departed to Richmond.'

One reason why music, like everything else, made such progress during Elizabeth's reign is that, like
all Henry VIII's children, the Queen was a musician herself and her favorite instrument was the lute.

Just about the same period at which we find mention of Signora Leonora as lutenist in the Pope's
chapel, the guitar was playing an entirely different part in England at the court of the profligate
Charles II. In the Memoirs of Count de Garmont by Hamilton, edited by Sir Walter Scott, we read:
'There was a certain foreigner (Francesco Corbetti) at court, famous for the guitar. He had a genius for
music, and he was the only man who could make anything of the guitar. His style of playing was so
full of grace and tenderness that he could have given harmony to the most discordant instruments. The
truth is, nothing was too difficult for this foreigner to play. The King's relish for his compositions had
brought the instrument so much into vogue that every person played on it, well or ill; and you were as
sure to see a guitar on a lady's toilet as rouge or patches. The Duke of York played upon it tolerably
well, and the Earl of Arran like Francesco himself.

All in the Cause of a Saraband

'THIS FRANCESCO had composed a saraband which either charmed or infatuated every person; for
the whole "guitarery" at court were trying at it, and God knows what a universal strumming there was.
The Duke of York, pretending not to be perfect in it, desired Lord Arran to play it to him.

'Lady Chesterfield had the best guitar in England. The Earl of Arran who was desirous at playing his
best conducted His Royal Highness to his sister's apartments; she was lodged at court at her father's,
the Duke of Ormond, and this wonderful guitar was lodged there, too. Whether this visit had been
preconcerted or not I do not pretend to say, but it is certain that they found both the lady and the guitar
at home; they likewise there found Lord Chesterfield so much surprised at this unexpected visit that it
was a considerable time before he thought of rising from his seat to receive them with due respect.

'Jealousy, like a malignant vapour, now seized upon his brain; a thousand suspicions, blacker than ink,
took possession of his imagination and were continually increasing; fo, whilst the brother played upon
the guitar to the Duke, the sister ogled and accompanied him with her eyes, as if the coast had been
clear and there had been no enemy to observe them. This saraband was repeated at least twenty times.
The Duke declared it was played to perfection. Lady Chesterfield found no fault with the composition.
But her husband, who clearly perceived he was the person played upon, thought it a most detestable
piece.'

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Corbetti was born in 1612 in Pavia, Italy, and died in Paris in 1682. He toured all the principal cities
of Europe and was guitarist to the Duke of Hanover and court guitarist to Louis Quatorze of France
prior to his appointment in the same capacity to Charles II. Carlos Schmidl in his Dizionario
Universale dei Musicisti tells us that Robert De Visé, the most famous of Corbetti's pupils, in his
'Livre de Guitarre' which was published immediately after Corbetti's death included an Allemande
with the inscription 'Tombeau de Monsieur Francisque Corbette' which, by a curious coincidence,
opens with a passage identical with the funeral march from the 'Symphony Eroica' of Beethoven.

Some of Corbetti's compositions have been reissued recently by Max Eschig of Paris, but the famous
saraband is not included in the new issue, and it may be that Lord Chesterfield destroyed every trace
of it. That Corbetti was indeed a great performer is proved by the following epitaph written by
Medard, one of his pupils:

Ci-git l'Amphion de nos jours,

Francisque, cet homme si rare;
Qui fit parler a la guitare
Le vrai language des amours.
a free translation of which is:
Here lies the Amphion of our days,
Francis, a man so rare;
With his guitar he sang the lays
Of love, in language fair.

We gather that the following advertisement which appeared in an Irish newspaper shortly after
Corbetti's time was a result of the fact that some of the guitarists of that period did not live up to the
dignity of the instrument which they played. 'We, the undersigned (25) Gentlemen and Ladies of the
counties of Claire, Limerick and Tipperary, do hereby certify that Edmond Morgan, dancing and
guitar master, has taught in our families for some years past where he behaved with the greatest
discretion and sobriety, and acquitted himself with such extraordinary care and skill in his business
that it is but justice to comply with his request in recommending him to any family that may want to
employ one of his profession.'

Matteis - Engraver and Guitarist

NICOLA MATTEIS, born during the latter part of the seventeenth century, was the first music
engraver in England, and among the first pieces of music printed were several of his compositions for
the guitar. According to the historian, North, 'He was a consummate master of the guitar and had so
much force upon it as to be able to contend with the harpsichord in concert.' (The word 'contend'
seems to us particularly appropriate in reference to some 'pianists' and 'guitarists' of today.) Ballard,
the first music printer in France, was brother-in-law to the lutenist of Charles IX. Practically all the
kings of France maintained lutenists at their courts. Robert De Vizé [sic], a pupil of Corbetti, whose
compositions are included in my programs, was a guitarist of Louis XIV, at whose court also served
as lutenists Corbetti, Lully and Medard.

The Crusades were partly responsible for the guitar and lute movement in Europe, the crusaders upon
their return bringing with them many of these instruments. Toward the end of the eighteenth century
the guitar received such an impetus that, about the time of the great romanticists, it reached a stage of
the most virulent bacillus citaralis (guitar fever) as Richard Schmid puts it.

Italy, Spain and Germany have given us the greatest exponents of the instrument, although France,
England and the other European countries contributed to some extent also. Many contributors to guitar
literature came from the ranks of the great orchestral composers. Why historians have neglected to

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mention this fact is not known, unless it is that, not being acquainted with the guitar, they deemed it
advisable to give brief mention or no mention at all to guitar compositions. Among those who played
and wrote for the guitar are Handel, Schnabel, Garcia, Spohr, Hauptman (and his pupils Burgmüller,
Cowen and Sullivan), Rossini, Marschner, Donizetti, Verdi, Gade, Denza and Mahler.

Bach as a Composer for Guitar

THE GREAT Johann Sebastian Bach was one of the earliest masters to succumb to the charms of the
lute, for which instrument he played and wrote. He composed several suites which were later
transcribed for the piano, violin and cello and are now again published for guitar. Many movements of
these suites are played by me in my concerts. Bach also made use of the lute in the Saint John's
Passion for which he used special tuning.

Luigi Boccherini who, to many, is known only by his charming Minuet, was born in Lucca, Italy, but
spent most of his time in Madrid where he died. There he found his knowledge of the guitar very
profitable and was patronized by royalty. His works include twelve quintets for two violins, viola,
cello and guitar, and nine quintets for two violins, guitar, viola and bass. Of these quintets three are
now in print and are of exceptional beauty and interest.

Boccherini was not only a fine guitarist but an excellent cellist and knew how to use both instruments
to great advantage. In his quintets the cello has an unusually interesting part owing to the fact that the
guitar plays the bass which is generally given to the cello in string quartets. In these works Boccherini
employs the guitar very successfully, using all the effects that are characteristic of Spanish music. His
Quintet, No. 3, was performed for the first time in this country in New York several years ago,
Vahdah Olcott Bickford playing the guitar part and again in Washington, D. C., two years ago by the
Elena de Sayn Quartet, I myself playing the guitar.

Had Paganini not played the violin at all, his name would have been immortalized by the guitar, as for
a period of three years he abandoned the violin and proved himself as great a guitarist as violinist. A
quotation of Schilling in Philip Bone's "Mandolin and Guitar" reads: 'The celebrated Nicolo Paganini
is such a great master on the guitar that even Lipinski (a famous Polish violin virtuoso who had
ventured to seek a public contest with Paganini at Placentia in 1818) could barely decide whether he
were greater on the violin or the guitar.' When Paganini was asked why he gave so much attention to
the guitar, he replied, 'I love it for its harmony. It is my constant companion in all my travels.'
Paganini's love for the fretted instruments was born with his genius and, when a little boy, the first
instrument that he played was the mandolin.

Paganini's original style of composition for the violin is due to his thorough knowledge of the
mandolin and guitar; and those who are well acquainted with these two instruments can recognize
their influence on his writings. His works include twelve sonatas for violin and guitar which he played
on his tour with Luigi Legnani who was one of the greatest guitarists that Italy produced and who, in
addition to playing guitar solos, accompanied the great virtuoso. Paganini also composed trios,
quartets and quintets for strings and guitar, solos, studies and a sonata with violin obbligato.

Weber's Recreation

THE GREAT romanticist, Carl Maria von Weber, like most of his contemporaries, played the guitar.
Grove says: 'He had also acquired considerable skill on the guitar on which he would accompany his
own mellow voice in songs, mostly of a numerous character, with inimitable effect. THis talent was
often of great use to him in society, and he composed many lieder with guitar accompaniment.'
Eighteen of the songs mentioned are now in print, also a Divertimento for guitar and piano, Op. 38,
which consists of an Andante, Valse, Five Variations and a Polacca, and many solos and duets. Weber
loved the guitar so much that he found in it the inspiration for all his operatic melodies.

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Too poor to possess a piano, Franz Schubert used the guitar to work on his compositions and
accompany his light baritone voice. As a little boy he studied the instrument, and, judging from his
writings, was as good a virtuoso as many of the celebrated guitarists of his time. The proud possessor
of one of his guitars, Richard Schmid, whose father knew Schubert's brother, Ferdinand, well, edited
two volumes of Schubert's original songs with guitar accompaniment, and, in his sketch of the
composer's life, quotes Umlauf who said: 'In my morning visits, which I usually paid Schubert before
office hours, I found him still in bed. I also found him with his guitar already in his hands in full
activity. He generally sang to me newly-composed songs to his guitar.'

Compositions Influenced

THE INFLUENCE of the guitar on Schubert's compositions is indisputably recognized, especially in

his song accompaniments. His immortal serenade marked à la guitarre and the notes marked legato-
staccato prove this further.

One of the most beautiful of his works, a Quartet in G for violin or flute, viola, cello and guitar, is
particularly interesting as it was not discovered until a hundred and four years after it was written. It
was published in 1926 by Drei Masken Verlag of Munich, and in the United States was played for the
first time by the Elena de Sayn Quartet at Washington, D. C. This work consists of five movements,
Moderato, Minuetto, Lento e patetico, Zingara and Tema con variazioni. How many variations
Schubert intended to write is not known as he completed only two and wrote three measures of the
third. However, in order that it might be performed in public, this variation was competed by Dr.
Georg Kinsky. A facsimile of the first page, dated February 26, 1814, shows Schubert originally
intended it as a trio.

Commenting on this Quartet in G the great Wagnerian authority, Kurt Hetzel, now living in
Washington, D. C., said: 'The Quartet in G Major by Franz Schubert is a masterpiece of no less value
than his famous "Unfinished Symphony," and I am sure it will be taken into the repertoire of all
leading string quartets, as it fives through the inclusion of the guitar a most welcome amplification of
the existing tone colors.'

Hector Berlioz, 'The father of the orchestra,' pursued his musical studies on the guitar, that being the
only polyphonic instrument which he played. He tells us in his Memoirs that he was born December
11, 1803, and had his first sensation of music at the same time he had that of love, at the age of
twelve. Before he had any musical instruction he could play the tambour, an instrument similar to the
guitar, and the flageolet. Later he undertook the study of the flute and guitar but had not taken many
lessons on the latter when his teacher went to his father and said, 'Monsieur, it is impossible for me to
continue to give lessons to your son.'
'But why? Has he been impolite, or so lazy that you find him hopeless?' asked the father.
'Not at all; but it would be absurd, for he is already as skillful as I am.'

Berlioz, Teacher of Guitar

BERLIOZ became very proficient on the guitar, and, during his adventurous life in Paris, was able to
earn money by teaching it. Among his compositions are Variations for Solo Guitar and Little Songs,
settings of Moore's melodies which we are told could rouse his fellow-student, Felix Mendelssohn,
out of his moods of despondency. Referring to the evenings spent with his musical companions in the
garden portico of the academy at Rome he writes, 'my poor guitar and had voice were pressed into
service and, all sitting around a little fountain, we were singing in the moonlight the dreamy melodies
of Freischütz, Oberon, Euryanthe, and so forth, for I must say the musical taste of my classmates was
far from low.'

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The guitar was Berlioz' constant companion and, in his frequent trips to the mountains to disperse his
melancholy moods, he went chasant ou chantant (hunting or singing); that is, he took with him either
his rifle or his guitar on which he improvised melodies on lines from the classic writers. Berlioz, one
of the severest of music critics, considered the guitar a most important orchestral instrument, and, in
his "Treatise on Instrumentation and Orchestration" devotes several pages to it. One of his guitars
which is now in the Nationale Conservatoire de Musique in Paris is of double interest as it was
previously used by Paganini, his friend and benefactor.

The fascinating power and subtle charm of the guitar can best be illustrated by mentioning the effect
that it had on the composer of 'Faust,' Charles Gounod, the great Frenchman. According to Bone, in
the Opera Museum of Paris there is a guitar on which Gounod inscribed 'Nemi, 24 Aprile, 1862, in
memory of the happy occasion.' The incident referred to occurred one evening, when, vacationing by
the beautiful lake of Nemi in Italy, he heard a man singing in the distance to the accompaniment of a
guitar and was so enraptured by it that he moved in the direction of the music. Upon reaching the
singer be spoke to him. In Gounod's words, 'I wished I could buy both the singer and the guitar,' but,
as that was not possible, he did the next best thing buying the guitar on which he wrote the inscription
just given.

Special mention must be made of Franz Gruber whose name was perpetuated by the immortal
Christmas song, Silent Night, which he composed while and organist at the village of Oberndorf. Bone
says, 'On Christmas eve of the year 1818, Joseph Mohr, the pastor of the Oberndorf, visited the
school-master, Gruber, showed him a Christmas hymn he had just written, and requested him to set it
to music for two solo voices and chorus with guitar accompaniment. Gruber read the poem and
composed the desired parts and accompaniment, returning them the same evening to the clergyman.
On Christmas night of the same year in a small church on the lonely mountainside, this devotional and
inspiring hymn was sung for the first time, with its accompaniment of guitar.' Gruber was a prolific
composer, having written more than a hundred masses and a great number of instrumental pieces,
many of which are for guitar.

The Composer's Instrument

THE COMPOSERS who made a life study of the guitar are so numerous that we shall mention only
those who stand preeminent in their art.

Although Ferdinando Carulli (1770-1841) does not rank with the greatest of composers, he
nevertheless deserves special mention as the first to depart from the old style of suites. He realized the
possibilities of the guitar and wrote in what was then a modern style. One of his earliest works,
Overture, Op. 6, No. 1, for guitar solo, is a complete sonata movement. Later he wrote several sonatas
for guitar and piano, in three movements. In style his writings are similar to those of Joseph Haydn.
He also wrote the first method for the guitar which is still very popular throughout Europe, numerous
studies and other works. Carulli's son, Gustavo, was also a guitarist, but devoted most of his time to
teaching voice, harmony and composition, one of his famous pupils being Alexandre Guilmant.

Carulli's style was improved by Matteo Carcassi (1792-1853) who evolved one both more brilliant
and more effective. His compositions are numerous, many of them being operatic arias with
variations. He also wrote an exhaustive method which is used widely in the country as well as in
Europe and is excelled by few that have since been written.

One of the greatest exponents of the guitar was the Italian master, Mauro Giuliani, (1781-circa1840).
It was his playing that Beethoven heard when he said, 'The guitar is a miniature orchestra in itself.'
Like most guitarists of his period, Giuliani was self-taught, and at the age of eighteen we find him an
already-famous virtuoso touring Europe. From 1807 to 1821 he resided in Vienna giving concerts and
teaching, and was appointed chamber musician and teacher to the archduchess, Marie Louise. Many

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members of the Austrian royal family and nobility studied the guitar with him. Moscheles, Hummel
and Diabelli, also excellent guitarists, were close friends of Giuliani with whom they frequently
appeared in concert. His works range from easy teaching exercises to the most pretentious types of
composition. His style is more brilliant than any of his predecessors and full of the sparkling qualities
characteristic of his Italian contemporaries.

Solos with Orchestral Accompaniment

AMONG GIULIANI'S major works are several concertos with orchestral accompaniment. The
orchestral part of one of these was later transcribed for piano by Hummel who played it with Giuliani
in their concerts. Giuliani also wrote several duets for violin or flute and guitar. Of them Bone writes,
'In Giuliani's duets for violin or flute and guitar, we find the choicest and rarest compositions for these
two instruments ever written, duets which display to every possible advantage the characteristics,
capabilities and beauties of both instruments.' In these compositions the guitar is not treated as a mere
accompanying instrument, but has solo and obbligato passages just as complex as the piano part of a
violin concerto and requiring a skillful musician to perform them.

Writer, linguist, poet, violinist and guitarist - such was Zani de Ferranti, (1802-1878). At the age of
twelve years this genius was not only an accomplished violinist but admired by all Italy for his Latin
verse. At sixteen he toured Europe as a violinist and his technic, it is said, was equal to that of
Paganini. Later he became private secretary to the Russian prince, C. de Marischkin, during which
period he devoted most of his time to studying the guitar and became one of the greatest exponents of
that instrument.

It is recorded that Ferranti had a secret method by which he produced sustained tones on the violin,
and his playing created a sensation throughout Europe. In the Parisian Chronicle of April 9, 1859,
appeared the following vivid description: 'Between the hands of Ferranti the guitar becomes an
orchestra, a military band. If he play the Marseillaise he makes a revolutionary of you; if he sing a
love song, there is a seduced woman; if he sing a song of departure, we fly to the frontier.'

That this is true of his playing is further proved by the following anecdote. During the performance of
a fantasy of martial songs at the concerts which Ferranti gave at the home of Alexandre Dumas in
1855, the great author rose with enthusiasm and exclaimed "Sebastopol will be taken!" Ferranti toured
the United States with the violinist, Sivori, and upon his return to Europe was appointed court guitarist
to King Leopold of Belgium.

Had Giulio Regondi (1822-1872) chosen the violin as his solo instrument instead of the guitar
undoubtedly there would have been two Paganinis as "The infant Paganini" was the unanimous title
given him by the critics. He created a sensation wherever he played and at the same time the whole of
Europe was wild with excitement over Paganini's marvellous performances on the violin. In many
instances the itineraries of Paganini and Regondi were the same, and both were reaping the same
laurels, the one at the age of eight while the other had reached middle age.

Bone quotes the criticism of Regondi in a Vienese paper of that day: 'As a virtuoso, Regondi is more
conspicuous in his mastership of the guitar than were Giuliani, Legnani and others heard here during
the season. Regondi's mastership of the guitar is nearly incomprehensible and his playing is full of
poetry and sweetness. It is the soul of melody, and he plays the guitar in its purity without any musical
tricks. He is an artist whom all musical performers might copy, and even singers and actors, for his art
is a natural one. Regondi is the very Paganini of the guitar; under his hand the guitar becomes quite
another instrument than we have hitherto known it. He imitates by turn the violin, harp, mandolin and
even the piano so naturally that you must look at him to convince yourself of the illusion, for you can
hear the forte of the piano, the sweet pianissimo of the harp combined in its six simple strings.'

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Regondi's works, technically, might be compared with Paganini's guitar compositions, and at times
remind one of Chopin and Mendelssohn.

The Instrument of Spain

SPAIN, the land of the castanets, mantillas and toreadors, has always played a more important role in
the history of the guitar than any other nation. Although it was introduced there by the Moors and later
by the troubadours, it is difficult to believe that the guitar is not the natural offspring of this romantic
and music-loving nation.

That the Spaniards have always been lovers of music is proved by the fact that Spain was one of the
earliest countries to include music in its university curricula. Don Alfonso, King of Castile, who
reigned from 1252 to 1284, endowed a professorship of music in the university of Salamanca. He
himself was a composer of note, and William C. Stafford, in his History of Music (1830), tells us that
one of the manuscripts now exists in the library at Toledo containing his songs with the music written
"not only with the points employed by Guido and used in ecclesiastical books, but with the five lines
and the clefs."

Stafford, who made extensive travels in Spain writes: 'The Spaniards are singers from nature. The
have a fine ear and their songs are full of simplicity and feeling, partaking more of intellect and fancy
and of romantic and refined sentiment than of bacchanalian or comic expression. It has been well
observed that "The natives of Spain, full of intellect and fancy, dream when other Europeans would
reflect, and sing when others would speak. Living but in the fantasies of their ever-active
imaginations, Spaniards have always been animated with the love of romance and song. From Peagius
to Mina, from the conquest of Granada to the last moment of their struggle against French domination,
they have intoned the suggestions of their patriotism, and equally vocalized the tender themes of love
and the bold effusions of public virtue.

There are very few Spaniards who do not play upon the guitar. At Madrid and the other chief cities
and towns of Spain, the young men serenade their mistresses by placing themselves under their
windows and singing some amorous ditty to their own accompaniment; and in the provinces there is
scarcely an artificer who, when his labor is over, does not go to some of the public places and amuse
himself with this instrument.

Take the Andalusian peasant, for instance, who, after a hard day's labor, instead of resorting to the
glass or jug for refreshment and relaxation, tunes his guitar and exercises his voice. Night comes on
and the song begins. He and his companions-in-toil form a circle..... Each of the assembly sings a
couplet always to the same air. Sometimes they improvise, and if there be among them any who can
sing romances (which is not uncommon), he is listened to with religious silence.'

(More of these biographies to appear in later Etudes)

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 ETUDE
June 1930
volume XLVIII
number 6
page 398, 452

The Romance of the Guitar

By ANDRÉS SEGOVIA

Sor, Master of the Guitar

"THREE OF the 16th century Spanish guitarists whose works are now extant are Luis Milan, Gaspar
Sanz and Miguel de Fuenllana. At the end of the 18th century Spain produced not only the greatest
guitar composer that has ever lived but one of the greatest of all composers, Ferdinand Sor (1780-
1839), who was undoubtedly a great genius and a prodigy. Fetis tells us that he played his own
compositions at the age of five years; a little later he was placed in a monastery at Barcelona to
receive a thorough general education and instruction in harmony and composition. There he heard the
guitar played by the monks and became so fascinated that he immediately began an assiduous study of
it. At the age of sixteen he left the monastery equipped with a technic of the highest order and a
profound knowledge of composition and counterpoint. In 1797 he wrote his first opera, 'Telemacco,'
which was performed with great success in Barcelona and later in London. In 1818, during the
Peninsular war, he joined the Spanish army and was commissioned as a captain. Later he was
compelled to take refuge in France where he met Cherubini and several other great musicians who
prevailed upon him to again devote himself to the guitar.

"Sor is known as the precursor of the guitar in England where his playing created a furor. As has been
stated before, the lute was very popular there even up to his time, but Londoners had never even
dreamed of the possibilities of the guitar as revealed by Sor. Philip Bone who made and exhaustive
research of the lives of the guitarists tells us that Sor was the first to perform at the London
Philharmonic concerts. 'He also appeared as soloist at the Society's concerts in the season of 1817 at
the Argyle rooms, playing his own compositions, a concertante for the guitar, and he electrified his
audience by the wonderful command he possessed over his instrument.' George Hogarth, in his
Memoirs of the Philharmonic Society writes, 'He astonished the audience by his unrivalled execution.'

"Sor's works exceed four hundred and are of the highest musical value. Several of these are operatic
and orchestral. His guitar compositions include studies, fantasies, theme variés and sonatas. His
Variations on a Theme by Mozart which I frequently play in my concerts is among the finest
compositions of the sort ever written, even including those of Beethoven, that great master of the
variation form.

"An analysis of Sor's sonatas would require too much space. We shall therefore confine ourselves to
saying that they are comparable to those of the great German genius. His Opus 15 which must have
been written while he was still in the monastery is in sonata form proper but consists of only one
movement. In his Op. 22 and Op. 25 he demonstrates his great mastery of form, together with
intellectual and emotional depth which has justly won him the title of "The Beethoven of the Guitar."

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Likeness to Beethoven's Works

THE SIMILARITY of Sor's works to those of Beethoven is so marked that it is recognizable even in
the smallest of his studies. Most of his works are quite difficult to perform and require a perfectly
normal and supple hand. Napoleon Coste, one of the great guitarists of the 19th century and the
greatest French exponent of that instrument, was an argent admirer of Sor and, in a letter to one of his
friends, wrote concerning the latter's technic, 'Sor had an admirable left hand whose suppleness
permitted a reach that it would seem impossible to attain.'

"It has been said that great artistry is always accompanied by great modesty, and a great artist and
composer was Francisco Tarrega (1854-1909) of whom Bone writes: 'Of humble origin and
ceaselessly engaged in struggles against adverse circumstances he gave to the world and example of
genial personality, ardent temperament and of extraordinary intelligence all of which he devoted with
fervent spirit to his instrument with the noble idea of raising it to the highest category of art.'

"Tarrega was a graduate of the Madrid Conservatoire where he won first prize for composition and
harmony and where subsequently he was appointed professor of guitar. Although some of his
predecessors had seen the possibility of adapting many of the works of the great masters to the guitar,
it was left to Tarrega to prove to the world by his supreme artistry and deep insight into the
intellectual and emotional value of these works that the guitar is a worthy medium for the
interpretation of a Bach fugue, a Beethoven sonata or a Chopin nocturne. Among the compositions
which he transcribed are works of almost all the great composers. His original works include studies,
miscellaneous pieces and fantasies. Although self-taught I myself have been greatly influenced by the
style of this guitarist.

(Other articles on this interesting subject have appeared in the last three ETUDES.)

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 ETUDE
July 1930
volume XLVIII
number 7
page 472

The Romance of the Guitar

Based on an Interview with

ANDRÉS SEGOVIA

By Sophocles Papas

Folk Tune Variations

"IN ALL PARTS of Spain we find the guitar just as we find the castanets, but not all the people are
equally musical although every province may be identified by indigenous fold tunes. It is wholly
impossible for the people of the United States to realize these geographical distinctions. For instance,
in the northeast corner of Spain we find Catalonia, the adjoining province of Aragon. The two groups
are so entirely different in their thought, customs and music that one is forced to recognize the racial
divergence. It is as though you were to find on the opposite side of the Delaware river instead of two
identical races two wholly different peoples.

The immensely varied topography and scenery of Spain, with the tropical beauty of Andalusia and the
grim severity of the bleak mountains of the north, had their influence on the Spanish fold tunes of the
different provinces. In Andalusia we find some of the most ingratiating melodies ever written,
whereas in the north we find tunes of great ruggedness and vigor. This does not mean, however, that
we do not find strong and dominant themes in Andalusia.

"Many attempts have been made to write down the local fold tunes for the guitar, and some of these
have been especially fine; but there is a great deal of variation. This is due to the face that the people
themselves have taken great liberties with the themes. Get a hundred singers together in Andalusia and
ask them to sing the same tune in unison and the result would be terrible. Why? Because the very
enthusiasm of the singers would make each one insist upon his own particular version or rendering of
the melody. You see, every Spaniard is an individualist - a society in himself. He resents direction,
control and repression unless it comes from within. He is the freest of souls.

"My itinerary has taken me to all the principal cities of Europe, the two Americas and the Orient, and
my experiences in these countries are not without their humorous side. Russia and Germany can be
named among the countries where the guitar is very much appreciated. When in Russia I saw minute,
medium-sized and enormous guitars. Why, I have seen some with seemingly fifty-thousand strings!

"When playing at the court of one of the queens in Europe the following rather amusing incident took
place. Her Majesty, after having heard me play several pieces, addressed me with, 'How nicely you
play!' Then after a slight pause to find an adequate comparison, she added, 'It is almost like a music-
box.'
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"'Madame,' I replied, 'I do not flatter myself that I have yet attained such perfection.'

"'What modesty, sir!' replied the queen graciously.

Modern Composers

"OF MODERN composers for the guitar Ponce deserves special mention as his works are of more
elaborate character, His Sonate Classica (Hommage a Ferdinando Sor) was no doubt inspired by Sor's
Sonata Op. 25, the structure and general character of which he has very cleverly imitated. This work
in its logical development bears a strong resemblance to the style of Beethoven. It also is evidence of
Ponce's versatility as a composer, all his other guitar works being written in the modern idiom, some
of which are the following: Theme Varié et Finale, Sonate (modern), Tres canciones populares
mexicanas and Preludio.

"Other composers are Ravel, Stravinsky, Roussel, Samazeuilh, Pierre de Bréville, Raymond Petit,
Pedrell, Vittoria, Tansman and Raoul Laparra who has come nearer even than Bizet to capturing the
Spanish spirit and romance in his music.

"What is the guitar? All that has been said is inadequate to describe its charm.

"The immense variety of tone of which it is capable is a matter of constant surprise to the listener.
Now we hear piano tones, the cello, the violin; and yet it has its own peculiar quality. It might be said
that the guitar is an illusion, a pretense, that holds one by its uncertainty. 'It is because of this variety
of tone,' says G Jean-Aubry, the distinguished French critic and essayist, 'that people, to their
profound astonishment, can listen to the guitar for a longer time than to any other instrument played
alone - with the exception, perhaps, of the piano. There are those - and I own I am one of them - who
cannot listen for long to the harpsichord, even when played by Mme. Wanda Landowska, without
experiencing some tediousness of this delicate sound which is charming at first, but is always
accompanied by a tiny noise of scrap iron and which keeps an anachronistic character that renders it
interesting to one for a moment on account of its strangeness, but does not hold one by its actual vital
quality. The harpsichord is an instrument of the past; the guitar is an instrument of the present, which
succeeds in preserving the sonority belonging to ancient works without, however, erecting a barrier of
several centuries between the listener and the music, The harpsichord has the charm of a bygone thing,
amiable and refined; the guitar has that of a thing of today, warm and, one could almost say,
fraternal.'"

(This article closes this interesting discussion of the Guitar and its music, sections of which have
appeared in the last three issues of THE ETUDE.)

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