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 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.