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 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.