Special Exercises for Guitar

Special Exercises for the Guitar

By George C. Krick

WHEN SPEAKING of right hand technic on previous occasions, we have repeatedly stressed the necessity of using the third finger as much as possible, in order to give it strength and flexibility equal to that of the first and second finger. We all know that when playing a series of four or five note chords the top note of each chord should be heard distinctly, since in most cases it is the melody note and must not be overshadowed by the other notes of the chord. But the arrangement of strings on the guitar causes this note invariably to be played by the third finger of the right hand, which, with most players, is the weakest. To overcome this handicap, it is absolutely necessary to find some means of strengthening this finger.

One of our correspondents recently remarked that he had difficulty in finding exercises for this purpose. In fact, guitarists of the classic period employed the third finger only when absolutely necessary. It is in the music of J. K. Mertz that we find it used more extensively, and still more in the compositions of the modern writers for guitar. But, after all, it is a simple matter to use certain studies and change the fingering to suit our purpose. To illustrate, let us take a progression of a few chords in the Key of C, as in Example 1.

Now let us play them in arpeggio form, with the usual right hand fingering: thumb, first, second, first, as in Example 2.

Then change to thumb, second, third, second; and again to thumb, third, second, third, as in Example 3.

Another variation is shown here in Example 4.

Remember that, in guitar music, signifies thumb; indicates first finger; indicates second finger, indicates third finger. Many more combinations may be worked out by using progressions of chords in other keys, depending on the ingenuity and imagination of the student. The main purpose is to keep the third finger as busy as possible; the notes of the arpeggios should be arranged with this object in mind. A book showing chords in all positions, such as Book 2 of Foden’s “Chords for Guitar,” would prove quite helpful in this matter.

Another way to strengthen the third finger is to use it in the practice of scales. The usual right hand fingering for major and minor scales is done with alternating first and second fingers. Now let us use the alternating third and second fingers instead; and, if this is done persistently, the third finger will soon equal the first and second in strength and flexibility.

In too many instances the player becomes discouraged if results do not come quickly, but we must remember that establishing fundamental technic on any instrument is a slow and painstaking job and requires much mental concentration as well as slow, deliberate practice. All too often, players will begin to work up speed before they have gained perfect finger control, and they wonder why they cannot give a clean-cut rendition of an allegro movement, although they may give a good account of themselves when playing something in a slower tempo. When this happens, the fault can be corrected only by going over the troublesome parts again and again very slowly; the required speed should not be attempted until perfect control of the fingers is obtained

Even when a student has good finger control and is preparing a number to be played at a fast tempo, he should realize that everyone has his limitations when it comes to speed. Natural ability may enable one person to play a composition at a terrific speed, where another would fail dismally in attempting to imitate him. The best course is to discover your speed limit and keep within it, then you will still be able to impress your listeners with a satisfactory performance.

Players frequently have the idea that, in order to impress an audience, they must show how fast they can rush through a certain piece of music; they completely forget that a beautiful tone, shades of expression, and proper phrasing are the most important things in the rendition of any musical composition. These last suggestions may well be followed by players of the banjo and mandolin.

In a recent letter, one of our readers wanted to know “whether there are women who play the guitar professionally and how they compare with the well known guitarists among the men?” We are glad to state that the men have no monopoly on guitar playing, and we can point to several members of the fair sex who have earned an enviable reputation as interpreters of guitar music. Louise Walker of Vienna is considered the outstanding virtuoso guitarist in Central Europe. She began her study of the guitar when five years of age. After receiving a thorough musical training, she gave her first guitar recital at the age of fourteen. Since then, this artist has appeared in all the important music centers of Europe. She also gave two recitals in New York City, a few years ago. Miss Walker possesses a flawless technic and produces a large, beautiful tone on her chosen instrument. Her recital programs contain the best in guitar literature, including works of the classic and modern composers.

Other Women Guitarists

Ida Presti, a resident of Paris, is hailed as another fine guitarist who has given many recitals. A well known French critic says: “Ida Presti is an astonishing and most prodigious guitar virtuoso. Gifted with an irresistible inclination for this wonderful instrument, she produces a brilliant sonority of tone, has an extremely varied range of expression and incomparable musicianship, and it is an enchanting experience to listen to this artist.”

Alice De Belleroche resides in England, where she is looked upon as a virtuoso guitarist. She has given concerts in Belgium, Germany, England, and France, and frequently broadcasts from London. Miss De Belleroche was a pupil of Andres Segovia and Matilde Cuervas. Matilde Cuervas, wife of the Spanish guitar virtuoso, Emile Pujol, is an artist of great attainment. She is looked upon as the greatest exponent of the “Flamenco” style of guitar playing.

The South American City, Buenos Aires, is the home of many excellent guitarists. But, according to opinion expressed by Miguel Llobet and Andres Segovia, Maria Luisa Anido deserves the greatest honors. This artist has appeared in numerous recitals, and from her pen have come many fine arrangements of classic numbers for guitar.

Last but not least, we must mention the name of Vahdah Olcott Bickford of Los Angeles, California. This fine guitarist has given concerts in many cities in the United States, individually and in conjunction with her husband, Myron Bickford. Technically well equipped, Mrs. Bickford has published quite a number of excellent transcriptions of classical compositions.