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 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.