ETUDE
October 1940
volume LVIII
number 10
page 709, 711

Some Tips on Strings

By George C. Krick

NO MATTER HOW GOOD an instrument may be, unless a first class brand of strings is used, it will be impossible to produce that brilliant tone of which the instrument might be capable. A frequent replacement of strings is also advisable, depending on the number of hours daily the instrument is in use.

The worst offenders amongst strings are the first, second and third on the classic guitar, judging from numerous letters received from correspondents, who have had considerable trouble in finding the perfect string. A gut string for guitar must first of all be true in all positions; otherwise it is worthless; it should be hard and durable in order to withstand the strain due to the method of striking the string with the fingers of the right hand.

To test whether a string is true or not, it should be tuned up to its required pitch and the harmonic at the twelfth fret sounded; then the stopped note at the same fret is played; if the string is true the pitch of the two sounds will be exactly alike.

To play the harmonic the third or fourth finger of the left hand is placed lightly on the string at the required fret, the string is struck with the right hand finger and the left hand finger is quickly raised from the string. A little practice will soon enable one to get a clear harmonic tone. If the string is not true it might be well to try this remedy, which the writer learned some years ago from an old time banjoist. After proceeding with the test as outlined, the player should listen carefully to both tones and he will find that, if the string is false the stopped note will sound either higher or lower than the harmonic. If the sound of the stopped note is lower than the harmonic, it indicates that the string is a trifle too thick somewhere between the twelfth fret and the bridge. To correct this defect the player should lay the guitar on the lap in a position similar to that of a Hawaiian guitar, with the neck of the instrument pointing to the left. A piece of very fine emory paper is wrapped around the string and rubbed back and forth from the twelfth fret to the bridge. In order that the thickness of the string may be kept uniform, it is held at its other end, somewhere near the fifth fret, and slowly turned to one side and then to the other, while the right hand continues the operation with the emory paper. This is kept up for thirty seconds, after which the string may be tested again; and then this procedure may be continued until the string sounds true.

If, when first testing the string, the stopped note at the twelfth fret sounds higher than the harmonic, the above method is reversed by placing the guitar so the neck points to the right and applying the emory paper treatment to the portion of the string from the nut to the twelfth fret, twirling it with the right hand a little distance away from the bridge.

If these suggestions are followed carefully many strings that otherwise would wind up in the waste basket will give useful service.

For Best Results

Generally speaking gut strings of medium thickness give the best results on the average guitar. If, however, the instrument has a very thin top or sounding board, lighter strings are advisable. Perspiring hands will shorten the life of strings and care should be taken to wipe the strings with a woolen cloth before putting the instrument back into its case.

To those players having difficulty in finding gut strings made especially for the guitar, this department will be glad to furnish information as to where they may be obtained if the inquiry is accompanied by a self-addressed stamped envelope.

Wire strings are usually true, but if a false one happens to make its appearance, there is no other remedy than to replace it with one that is true. These strings, of course, can stand a great deal more wear and tear than those made of gut, but this is no reason why they should not be replaced frequently, as in time they will lose their elasticity and brilliance; this applies especially to those with an outer covering of fine wire. It is also of utmost importance to keep them free from moisture and rust.

An instrument with a removable bridge, such as used on the tenor banjo, occasionally sounds out of tune and this defect becomes more pronounced as one plays in the higher positions. In most cases this is caused by the bridge not being in its right place. To correct this fault, measure the distance between the nut and the twelfth fret and then see that the bridge is placed at exactly this distance from the twelfth fret.

Players of the mandolin and mandola are often puzzled by not being able to get their instruments in proper tune after replacing a broken string. These instruments are strung with four pairs of strings and each pair is tuned in unison and, of course, always played in unison. If one string happens to break, the other one of the same pitch also should be taken off and both replaced with a new pair in order to get a perfect unison. It is almost impossible to tune a new string in perfect unison with one that has been in use for any length of time.

A poorly and cheaply made string detracts from the tone of the instrument in quality and quantity; it will break sooner than a better one; and taking it all in all it is a poor investment. The string manufacturers, during the past few years, have made wonderful progress in the improvement of their product, and there is no reason why players of the fretted instruments should try to get along with anything but the best.

Answers to Correspondence

A.C.F. -Chicago

There are a number of fine guitar records on the market, that you may order from your dealer. Those made by Andres Segovia are to be found in the Victor catalog. Julio Martinez Oyanguren has recorded some of his best numbers for the Columbia Record Company, and recently the Decca Company has released an Album of five recordings by the same artist. The Decca Company has released also two very interesting Albums of recordings by Vicente Gomez. Oyanguren is on the air over Station WEAF at 12:15 P. M. on Sundays while Gomez can be heard at 3:00 P. M. also on Sundays over Station WJZ.