Ferdinando Carulli

Right hand technique was revolutionized in the nineteenth century with the emancipation of the little finger and the advent of using nails. Several methods around the turn of the century still advocated using the fourth finger on the right hand to support the other fingers and be placed on the soundboard of the instrument. One of the leading guitarists of the time, Ferdinando Carulli, stated in his method: “…the hand must support itself lightly on the little finger which must place itself to the side of the chantarelle, and precisely in the middle of the distance from the bridge to the rosette.[6]” The great Fernando Sor also wrote of the little finger: “Sometimes I employ the little finger, pressing it perpendicularly on the sounding-board below the first string, but taking care to raise it as soon as it ceases to be necessary.”[7] Dionisio Aguado, however, believed that for the right hand to be loose and completely free of tension the little finger should not be propped upon the soundboard. “By no means should the little finger or any other be rested on the table, because the hand has to be free and completely loose”[8] Aguado goes on in his explanation reasoning that full mobility of the right hand is dependant on the freedom of the little finger providing increased facility in speed, power and tone color.[9] Aguado’s rationale is still adhered to today with modern performance technique requiring a free and relaxed hand to perform complex tasks that are necessitated by the guitar’s repertoire.

Aguado and his Tripodaison

Aguado contributed a second innovation to guitar technique that has now become standard in modern performance practice, which is the use of nails for playing the guitar. The debate over using nails, or not, is a long and continuous one with each side having strong points to argue. However, in regards to observing how modern performance practice came about, the idea of Aguado to use nails had a profound impact. The practice of using nails did not catch on immediately and there are notable players who chose to continue playing with the flesh, such as Fernando Sor and Francisco Tarrega. With compositions of the time increasingly employing technical virtuosity, however, nails provided a stronger sound and a faster attack which allowed the showmanship of nineteenth century guitar music to reach new levels of audacity.

Even with virtuosic players writing substantial concert works for the guitar in the nineteenth century, the subtle sonority and small dynamic range of the instrument could simply not compete with the ever ubiquitous forte-piano which usurped the role that the guitar once had. Luthiers, achieving various levels of success, experimented with the guitar and its construction, however, It was not until Antonio Torres (1817-1892), a Spanish luthier, designed a much larger, fan-braced guitar that the instrument could once again be taken to the concert stage with success.

Francisco Tarrega (1852-1909) first met Torres in 1868 at the age of seventeen and upon hearing the young Tarrega perform Torres presented him with one of his finest instruments. With the larger, more powerful and resonant instrument in his hands, Tarrega would develop new techniques and performance practices that had a profound impact on how we play today.

Francisco Tarrega

Tarrega introduced the apoyando stroke into the guitar technique and in doing so completely abandoned the practice of resting the little finger on the soundboard.[10] Apoyando is now a technique that permeates the modern classical guitar technique and undoubtedly at the time it helped boost the projection of an instrument, which was often criticized for its small sound. The large size of the Torres guitar made it more suited to being placed on the left leg in a raised position with a footstool. This posture was first employed from the time of Tarrega and has only recently begun to change with a new found focus on ergonomic guitar supports in the twenty first century. Prior to the posture that was established by Tarrega nineteenth century guitarist were supported by a ribbon, a raised right leg (the guitar was propped up at an angle on the thigh) or in the case of Aguado a specially designed support named the tripodison.

The classical guitar enjoys arguably the highest level of playing ability, musicianship and compositional growth than ever before with no signs of the guitar’s development and refinement slowing down. Just as there were innovators on the vihuela, baroque guitar and the nineteenth century guitar there are scores of individuals who continually push the boundaries of guitar technique today. The classical guitar faces new challenges in the modern age with a variety of music styles competing for attention.

[6] Carulli, Ferdinando, Methode Compette, p. 4.

[7] Sor, Fernando, Method p. 11

[8] Aguado, Dionisio. Escuela, p.3

[9] Cox, Paul Wathen Classical Guitar Technique and its Evolution as Reflected in the Method Books ca. 1770-1850. Indiand University, Ph.D., 1978 p.123

[10] Turnbull, p.106.

A defining characteristic of the classical guitar and its lineage is the constant development and change it has undergone over the course of history. Modern performance practice, compositional styles and even construction of the classical guitar are still in a state of flux and although there may be a conceived standard for any particular aspect of the instrument at any given time, there have always been innovators and pioneers who challenge contemporary conventions and encourage development and diversity. The influences that have guided the way we play the classical guitar today are as varied in chronology as they are in geography. From the court of Louis XIV in France to the folk idioms of Argentine gauchos, the complex web of influence warrants a substantial treatise that delves far beyond the scope of this article. There are, however, pivotal figures and works that have guided the classical guitar’s trajectory and in this series of articles, I will discuss some of the principal exponents that have shaped the way classical guitar is played today.

From as early as the 16th century, players of the Spanish vihuela were laying the initial foundation of what would one day culminate into the modern classical guitar technique. For an instrument that was popular for a relatively brief time, the vihuela played a substantial role in the development of modern performance practice. The vihuelists of the sixteenth century were innovators on many fronts and perhaps one of their most notable achievements was the cultivation of variation form and art song accompaniment.[1] The variation form arose from a necessity to relieve the monotony of long accompaniments to recitations of medieval romances that could run to over 200 lines.[2] The most famous example comes from Luis de Narváez, who composed variations on the popular folk song Guardame las Vacas. The development of variation form is, in itself, a substantial contribution to the western music tradition, in addition to this, however, master exponents of the vihuela, such as Luis Milán, Luis de Narváez, Alonso Mudarra and Miguel de Fuenllana, made advances in compositional style and technique that can be viewed as initial steps towards how we play the classical guitar today.

Modern guitar technique utilizes all five digits on the right hand with melodic passages being realized through a process of alternation. European lutenists in the 16th century employed a technique of alternation between the thumb and first finger only and it was due the innovation of Spanish vihuelists that both the first and second finger were used in alternation to perform scale passages. At this point in the guitar’s development the third and fourth fingers were still unused, as the fourth finger would be rested lightly on the table of the instrument for support and stability.[3] With this development in technique and a newfound facility of playing available, the vihuelists were able to compose and perform music of great complexity and virtuosity. El Maestro, a pedagogical treatise on the vihuela, contains a variety of works that display the virtuosity inherent in vihuela playing of the time. Far from being just a collection of works for students, El Maestro was the first published book of works for the vihuela.

The process of intabulation on the vihuela was common and drew upon a wide selection of repertoire by renowned composers. The vocal music of Josquin de Prez, Willeart, and Cristobal de Morales and others, provided much of the material that was used for intabulation. This practice produced works that spanned from simple villancicos (strummend chordal music) to faithful representations of motets and masses. Intabulation was a necessary practice due to the high price of music books and perhaps the vihuela possessed the idiosyncratic difficulties in composition that the modern guitar has today, which can deter many composers from writing works.[4] In any case, vihuelists can be seen as some of the earliest arrangers of music for the guitar family. This practice is still very much alive today and has resulted in a large pool of pieces that were not originally intended for the guitar but nevertheless provide an indispensable addition to the repertory. The lute was also used in this manner and we have to look no further that the lute suites of Johann Sebastian Bach to identify arrangements that have endured centuries and inspired the further arranging of other works by non-guitarist composers.

Bass stopping, which is an advanced technique used by modern guitarists to stop open bass strings ringing over one another discordantly, is referred to by Fuenllana in an effort to create a clean performance. Similarly, he advises changing to a higher position on the instrument to facilitate sustained voices in a polyphonic texture.[5] These techniques, which are described in the mid 16th century, have endured with little change to the present day and it is a testament to the artistry and inventiveness of the Spanish vihuelists that their innovations have endured for so long.

The Guitar Player (c1672)- Vermeer

The time of the vihuela was brief, and by the seventeenth century the vihuela was overwhelmed by the newfound popularity of the four and five course guitar. Known today as the baroque guitar, the instrument was easier to play than the lute or the vihuela and became a very popular vehicle for chordal song accompaniment, much like the popular guitar today. The intricate polyphonic lines and the virtuosic playing of the master vihuelists gave way to an instrument that many considered to be inferior at the time. In respect to how the classical guitar is played today, the baroque guitar seems to have contributed little with its performance practices. The tuning, because of its heavy use of rasgueado, was changed to the pitches which we now associate with the five higher strings of the modern guitar (a,d,g,b,e) however, this tuning was often used with reentrant tuning and many players were still using a variety of scordaturas for their playing. The sheer popularity of the baroque guitar and its spread from Spain to Italy, France and the northern countries can be seen as one of its primary contributions which may have helped lead to the next leap in playing technique.

The  Evolution of Classical Guitar Technique Part 2 …

[1] Turnbull, Harvey. The Guitar: from the Renaissance to the Present Day p. 24

[2] Trend, J.B. The Music of Spanish History to 1600, 1926, p. 105

[3] Turnbull, p.27

[4] Turnbull pp.28,29

[5] Turnbull, p.27

Here are some slur scales that I came up with that really give a good work out to the left hand and also are quite fun to play!

You will notice that the scale takes on a pattern (except in first position) that can be repeated. Once you have completed one slur scale, shift the pattern up one fret and repeat the process. Be careful not to wear your hand out because slurs can be very tiring on those weenie left hand muscles and tendons. If you only want to do a few light repetitions you can start the patterns higher up the fretboard, around the seventh fret, as it will be easier than playing down in first position.

Focus on making a clean, crisp slur with a consistent snapping motion. After a while you will find that these scales start to flow nicely, at that point go and impress your girlfriend/boyfriend/attentive pet with your snappy slurry scales.

If you have some scales or exercises you like to do, let me know and we can share it with everyone.

Have fun!

Simon

Click on the image to see a larger copy.

an extension of the first shape…

a new pattern, you may recognize me from such books as “every scale book ever written“

New manuscript of Romanza dicovered!

Leading 19th century music specialists have discovered what academics have confirmed to be the original manuscript of the world’s most famous guitar solo, Romanza. Age has wearied the manuscript and the composer’s name remains lost. However, barely legible musical markings confirm that for decades the performance practices of many beginner guitarists have led the vanguard of understanding of this sometimes complex music. Classical Guitar Review would like to thank Andrew Blanch and the Sydney Classical Guitar Society, who discovered the manuscript, for granting permission to publish this invaluable resource.

Download the PDF here and share this amazing discovery with your friends!

He has appeared on stage throughout Australia, Canada, the US, Spain, France, Germany, Italy and the United Kingdom as a soloist and in his chamber ensembles, Zoco Duo (with oboist Laura Karney) and the Australian Guitar Duo (with Rupert Boyd). His solo CD Stélé, recorded in 2004, is regularly featured on Australian radio and was hailed by Classical Guitar Magazine (UK) as “wonderfully sympathetic and highly accomplished… Cordover managing to get to the very soul of this striking and brilliant music.”

Alongside Jacob Cordover’s established groups, he is in demand as a chamber musician and soloist, having worked with ensembles and orchestras including the Ottocento Orchestra, Z.O.O. guitar ensemble, the Leicester International Music Festival and artists ranging from Nicholas Daniel to Dave Young. In 2004-5 he spent nine months as a Resident Artist at the Banff Centre for the Arts in Canada, where aside from his regular performances and masterclasses he met international musicians and composers with whom he continues to work.

Whilst Mr Cordover plays the full range of classical guitar repertoire, he is also active in the development and research of contemporary and 19th century music. His interest in contemporary music was inspired by studies with Timothy Kain, which has led to his commissioning and premiering works for solo guitar and guitar with oboe, a previously overlooked combination. He is proving to be an important figure in the development of new guitar repertoire, having had works written for him by British, Norwegian, Mexican, Spanish, Australian, American and Canadian composers. He also works with specialist Carlo Barone in the application of appropriate performance practice of 19th-Century music, including performing this repertoire on a variety of period guitars.

Complementing his performance schedule, Jacob Cordover has won prizes and awards in international competitions the world over. These include 1st prize at the III Concurso Internacional de Guitarra Festival de Córdoba, Spain, 1st prize at the Sydney Performing Arts Challenge, 2nd prize at the Australian Guitar Competition, Chamber Music Section and 3rd prize at the Performing Australian Music Competition, London.

In October 2008 Jacob Cordover made his debut with the Orquestra Simfònica de Balears “Ciutat de Palma”. His performance of Leo Brouwer’s Retrats Catalans was conducted by Geoffrey Simon and sponsored by the Swiss Global Artistic Foundation. The music critic of Ultima Hora praised him as “an exceptional guitarist”.

Jacob Cordover has been the recipient of grants from the Australia Council for the Arts, the Ian Potter Cultural Trust, the Australian National University Friends of the School of Music, artsACT, Swiss Global Artistic Foundation and the Australian Music Foundation.

www. jacobcordover.com

The kaleidoscope of colors and effects that Funk Pearson employs in his compositions are inventive, capturing and always used with great purpose .  The sound of the guitar, with all of its song like, quirky, and even humorous qualities, is explored and manipulated to the point that, at times, I was wondering just how those exotic sounds were coming out of the guitar! Funk Pearson obviously has a profound knowledge of the instrument and he hones in on the expressive qualities that have endeared musicians around the globe. This album feels as much an homage to the guitar as it is to the composer himself.

From the very familiar and warm sounding Variegations to the alien landscape of Mountain Moor, Funk Pearson morphs and molds his compositions to create unique and distinct objects. Perhaps the most inventive and breathtaking work is an encore entitled ‘Sea Peace’ performed by B.A.M at the end of the album. A wonderfully evocative piece, sea piece uses the violin, guitar and mandolin to create a maritime vision that will leave you ensconced. I have rarely heard such an inventive use of acoustic instruments.

The performances are first rate on this album as are the compositions. Stephen Funk Pearson has made a great contribution to the guitar’s ouvre and if you haven’t familiarized yourself with his works I can highly recommend that you start with Artists Around the World Perform Stephen Funk Pearson.

You can visit the composers website at

http://www.stephenfunkpearson.com/

I am searching for six guitarists from around the world who have incredible stories to tell. They will form part of the documentary and may have the opportunity to contribute to the music within the film. I am looking to find passionate people who maybe have developed a unique playing style or have an incredible story to tell about guitar music – how it transformed or changed their lives and more about the mystique and influence of the instrument – the more extraordinary, heart rending or radical, the better!

Guitarists can enter their video pitch via their YouTube (or similar) account for an opportunity to appear in the film. The film is being funded by a crowdfunding business model and there are many ways for people to get involved and help out on this site.

I hope you will follow the journey and become involved in the making of this film and to promote the music of the beloved guitar.

James Smith, Director and Writer

http://www.rayafilms.com/sixstrings/

Carle Costa

Carlé Costa is internationally considered to be a unique and exquisite guitar performer.  He is a poetic and innovative composer, and with his own particular style is renovating the guitar´s language.

Costa has given recitals in Germany, France, Switzerland, Sweden, Estonia, Argentina, Uruguay, Chile, Bolivia and Peru in prestigious international festivals, often presenting  his own compositions, his performances are received enthusiastically by the public and critics alike.

Carlé Costa was born in Uruguay in 1959, and grew up in Argentina. At the age of 13 years he began his classical guitar studies in Mar del Plata with the italian teacher José Smiroldo. At the age of eighteen he went to Buenos Aires to continue his studies in the National Conservatory of Music.  There he studied classical guitar by Horacio Ceballos.  Later he studied contemporary guitar with Miguel Angel Girollet, and also took classes in  composition, electro-acoustic music, analysis, philosophy of music  and chamber music,  with Guillermo Graetzer, José Maranzano, Vadim von Struckhoff, Mario García Acevedo, Pedro Chiambaretta, Helmut Lachenmann and Ivo Malec.

As a young concert artist, Costa was a pioneer in interpreting and teaching contemporary and avant garde music.  In 1986 he recorded his first album for the label Circe of Buenos Aires, with a selection of contemporary compositions (Brouwer, Tsilicas, Obrovská, Labrouve, Gervasoni and Costa). The recording was highly praised by both critics and contemporary music specialists.  In his own compositions  he developed and created extended techniques for the guitar and incorporated these techniques in his compositions.

Parallel to his artistic activities, Costa developed a treatise to communicate new concepts and spirituality in music, awaking the creativity of young musicians.  He gave courses, seminars and masterclasses in conservatories and universities of Argentine, Peru, Chile, Sweden and Germany.  He organized with others important guitarrists the “Campus of Contemporary Guitar” (2002 to 2005) who inspired the documentation film of Javier de Silvio  “Guitarra Adentro”.   He created and gave the artistic direction of the “International Guitarplayers-Composers Festival in the Cordoba Northwest” (2001 to 2005).

Carlé Costa,  with his compositional work, his quality to perform the guitar, and his unusual and deep vision about art, is considered at the moment one of the most important referents of the new generation of artists.

Since 2006 Costa has been residing in Berlin, Germany.

http://www.carlecosta.com.ar/

What is the best classical guitar?

It would seem, in an effort to cater to larger performance spaces and help in chamber music situations,  that many luthiers are searching for new ways to improve the instrument’s ability to project.  Greg Smallman was one of the leaders in the late 20th century in guitar innovation and made great developments in guitar projection. His lattice bracing technique, that has now been adopted widely throughout the world, gives a substantial boost in projection, but the resulting change in timbre is too much of a trade for some guitarists who preferred a more traditional , Torres style, sound. Other innovations like the Contreras double top, the Humphrey Millennium Bridge, the Steve Connor sound portal and the Smallman arm-rest are further examples of the new ideas that are being used in guitar building.

With so many differing approaches we are presented with a diverse array of instruments that have very unique and distinct qualities and, in my humble opinion, I think this is more of a blessing than a curse. Hypothetically, it would be nice to have a Stradivarius of the guitar, a singular maker that was renowned to produce a world class instrument. In place of having a consensus on the best classical guitar, however, we are left with an individual mission to find a guitar, a luthier, that suits us.

After being to many guitar festivals, I think I can say the some of the most popular ice breakers are: “what guitar do you have?”, “what strings do you use” and of course… “oh really, can I try your guitar?” It seems like some guitarists are on a mission to either replicate someone else s sound or at least get peer assessment of their own setup. In the end, its not such a bad thing, after all curiosity is a virtue, however, I believe that the sound that is produced from a guitar has more to do with the player and how they wield that guitar, than the guitar itself. It is tempting to think that if we were just to obtain a Smallman we would sound like John Williams, or perhaps a Dammann then we would sound just like David Russell. But its just not the case (I have tried David’s Dammann and, sadly,  my sound was not transformed into something like his . A good instrument will help to create a good sound and you should always aim to have the best instrument you can afford but in my experience a master guitarist can make even the most basic guitar sound amazing.

In response to a comment posted on this site:

Why are so many artists so reserved about recommending guitar brands or makers?
Is it because they are really not all that taken with what they are playing?  I am currently looking for a classical guitar in the 5-6K price range.  I would really appreciate help from more experienced players of classical music.
Can anyone help me?

I will offer some recommendations of what I think are some of the better classical guitars available. Of course, these recommendations are limited by the fact that I have not played all the classical guitars out there, and like I said, ask 100 different guitarists what they think is the best classical guitar and you will get 100 different answers…

Please give your own suggestion by completing the statement:

I think the best classical guitar is …

Mid Price Range – 5-10k

Thomas Fredholm

Paul Sheridan

Joeren Hillhorst

Zbigniew Gnatek

Kenny Hill

Allessandro Marseglia

High Price Range 10k and up

Robert Ruck

Gernot Wagner

Simon Marty

Greg Smallman

Matthias Dammann

Steven Connor

Verdery Master Class

Benjamin Verdery announces the eleventh annual guitar class on the island of Maui in Hawaii from Wednesday, July 21 through Friday, July 30, 2010.
Ben believes that the beautiful surroundings inspire the student to play in ways they may not at home. There will be a concert by Mr. Verdery, and student recitals at two spectacular and intimate locations: the Lahaina Jodo Buddhist Mission and the Keawala’i Congregational Church in Makena, Maui. Each student will play three times during the ten-day class.

New applicants only:
Ben’s Maui masterclass traditionally has had a variety of ages and levels from beginners/amateurs to young professionals. Due to the popularity of the class, Ben is asking to hear an audio or video of each new applicant. The recording will help Ben decide whether there is space for the level of the student applying. This recording should include two contrasting works of style and tempo. This recording need not be done professionally and should not cause stress! Thank you for your understanding. Please send CDs by February 15, 2010 to Benjamin Verdery, 711 Amsterdam Avenue, #10 G, New York, NY 10025. We will notify you by March 1, 2010 whether you are accepted. If you want your tape or CD returned, please include a self-addressed, stamped envelope.

Classes will be held daily for approximately three to six hours at St. Theresa’s Church, located in walking distance to the Hale Kai O’Kihei Condos.  In addition to the master class each day there will be ensemble coaching and discussions on certain topics such as technique, practicing, posture, performance anxiety, career development, competitions and recital preparation.  Mr. Verdery will teach any repertoire including original compositions and/or any aspect of their playing that the student would like to work on. Students should come with two or more solo pieces of any level of difficulty that could be performed within a few days of arrival.  By mid-June, a schedule for the week will be set, and repertoire will be announced so that people will have a chance to borrow/buy music that will be studied. Ensemble music will be sent in advance so students can start rehearsals early in the week.

All students will get a chance to perform at one or more concerts during the week. The atmosphere of the class is very casual but active. In the past there have been group trips arranged around the classes and concerts to other areas of Maui, including beaches, rainforests and the Haleakala volcano.

Tuition is $400, which does not include room and board. Applications will be accepted until February 15, 2010 and interested participants should send a $150 check deposit – payable to Benjamin Verdery, 711 Amsterdam Avenue, #10 G, New York, NY, 10025. The $250 balance of tuition must be paid upon arrival in Maui.

Accommodations are reserved at the Hale Kai O’Kihei Condos on the beach in Kihei, South Maui.
The two bedrooms have two bathrooms and the one bedrooms have one bathroom…both units have a queen sized hideabed in the living room. All have AC, VCR’s, TV, fully equipped kitchens & private lanais (terraces) FACING the ocean. Amenities include a fresh-water pool, a putting green, laundry facilities and outdoor barbecues. It is a short walk to a major grocery market, specialty shops, drug store and post office.
Rates are based upon a 7-night stay:
One bedroom – $105-135 per night plus tax (for two persons)
Two bedrooms – $130-150 per night plus tax (for four persons)
Extra person rate is $10 per night plus tax per person. Hawaii State Tax and insurance is not included in the rate.

If you are planning to share a one or two-bedroom apartment, the deposit is $100. Best efforts will be made to accommodate people that would like help in finding a roommate for the week. The deposit is also payable to Benjamin Verdery.
If you are planning to share an apartment, the balance due for your apartment must be paid 60 days prior to your arrival in Maui.

PLEASE NOTE:
If you want your own apartment, would like to make your own accommodation plans or intend to come early or stay after the class, please call AA Oceanfront Condominiums (1-800-488-6004) and a deposit of 25% will need to be sent to them directly. Mention that you are with the Guitar Class Group. Early reservations are advised!
Full balance is due to AA Oceanfront 60 days before arrival.

You must make your own air travel and/or car rental reservations. Many airlines fly direct to the Kahului Airport in Maui, and when pricing flights you should ask about this option, as it will eliminate a connecting flight from Honolulu to Kahului.

You must let us know your travel and accommodation plans by April 30, 2010.

Please call/email Rie Schmidt for further information.

Rieschmidt@aol.com
www.benjaminverdery.com
(212) 662-8795 phone
(212) 864-9166 fax