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 “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.