ETUDE
June 1939
volume LVII
number 6
page 414

The Mandolin

By George C. Krick

“WHAT METHODS AND EXERCISES do you recommend to a young student, seventeen years of age, anxious to become a real mandolinist with ability to play all the high grade mandolin solos especially written for this instrument by the prominent classic and modern composers.” This paragraph from a recent letter addressed to this department shows that we still have players that take the mandolin seriously, but are somewhat in the dark as to its literature.

It is a deplorable fact that many people have only a vague idea of the artistic possibilities of this romantic instrument, being of the opinion that it is limited to the performance of popular melodies, marches or serenades; and while it is true that, on account of its fretted fingerboard, a fair amount of technical proficiency in the first position may be acquired in a comparatively short time, this should be considered only a beginning. An ambitious student, wishing to acquaint himself with all the beautiful music composed for the mandolin, will find this a most interesting task, and, having reached his goal, may well be proud of his achievement.

In commencing the study of instrumental music, it is most essential to have a good instrument. You cannot get a good tone from an inferior, cheaply constructed mandolin, and the production of a beautiful tone should be the aim of the student, right from the beginning. The most widely used American mandolin to-day is the flat model with carved top and back; while in most European countries the so called classic model, pear shaped, is still the favorite. There is a decided difference in tone quality, that of the classic type having more of a piercing, soprano voice, while the flat model reminds one of a contralto, the tone round and full with good carrying power. A fair instrument may be purchased for twenty-five to fifty dollars, an excellent one for seventy-five or a hundred dollars, and the cost of superior instruments is anywhere from one hundred dollars upwards.

Mandolin “Methods,” treating all phases of mandolin technic, starting with the fundamentals and leading in progressive stages to the advanced courses, are now published and we shall mention here a few of the well known ones. Amongst those by foreign writers the “Methods” of Branzoli, Christofaro, Munier and Calace have enjoyed great popularity. The “Mandolin Schools” by Pettine, four Books; Bickford, four Books; Odell, three Books; Stahl, two Books, and others, are published in this country and contain splendid study material.

As each composer of teaching material for the mandolin presents his own ideas and experiences in a different way from others, it is advisable to incorporate in one’s library every book of instruction by a recognized authority and thereby gain a most comprehensive knowledge of the subject.

Along with these books, at the proper time and in progressive order, it is imperative to make an exhaustive study of the “Concert Etudes” in three volumes by Jules Cottin, “La Scioglidita” (velocity exercises), in four volumes by Carlo Munier, together with “Grandi Studi di Concerti Op. 200,” by the same writer; also “Etudes,” by Bertucci and “Preludes and Etudes,” by Raffaele Calace. Most of the “Methods” mentioned contain chapters dealing with the “duo style” of mandolin playing, but these should be supplemented with the special courses on duo playing as contained in the “Duo Methods” by Pettine and Stauffer, and others.

This phase of mandolin technic is one of the most effective characteristics of the instrument and requires a great deal of preparatory practice. One must be thoroughly familiar with the entire fingerboard and must have a complete knowledge of all chords in the principal positions, and a perfect control of the plectrum.

Much time and great care should be given to the right hand fingers and wrist, in the early development of the various plectrum movements. A good tone, a smooth and even tremolo, speed in scale passages; all these depend on the proper manipulation of the plectrum. Nearly all mandolin authorities now seem to agree that the curved wrist motion of the right hand is preferable, as in this position the hand and wrist are entirely relaxed. It goes without saying that the plectrum should be carefully selected, that it is of sufficient flexibility, beveled on both sides, and that it is kept always in good playing condition. When the student is sufficiently advanced to begin building up a concert repertoire, each number should be carefully analyzed, practiced and memorized, before beginning the next one. He should not make the mistake of selecting numbers too difficult for his stage of technical development. There are numerous concert solos of medium difficulty by Pettine, Mezzacapo, Arienzo, La Scala Leonardi, Marucelli, Munier, and Calace; these to be followed later by the more ambitious compositions of these masters, and finally the mandolin concertos by Pettine, Calace, Munier and Ranieri.

We are putting the emphasis on original mandolin compositions written by masters who are well aware not only of all the possibilities of the instrument but also of its limitations; as we believe that its artistic future is bound up with the music written for it.

It is also permissible and, from the standpoint of further musical development, advisable to delve into the violin literature as many classic and so called semiclassic compositions may be adapted to the mandolin. However one should make these selections rather judiciously, as something more than technical proficiency is necessary to render a musical composition to the satisfaction of listeners. To play the famous Mendelssohn “Concerto” on the mandolin, before an audience that perhaps has been accustomed to hear it played by some of the outstanding violin virtuosos, is sheer folly and undoubtedly would be judged primarily as a technical feat. There is quite a supply of fine mandolin music available to the ambitious soloist, music that will agreeably surprise an audience by its sheer beauty and novelty of invention.

Mandolin Questions Answered

Q. What instrumentation do you suggest for a group of four or five players, also for one of about twenty, most of whom play mandolins. – W. M., Birmingham, Alabama.

A. The so-called “Romantic Quartet” is made up of first and second mandolins, mandola and guitar. The “Classic Quartet” substitutes a mandocello for guitar. Adding a mandobass will give you the ideal quintet in either case. A great variety of excellent music has been published for these combinations.

An orchestra of twenty players should have six first mandolins, four second mandolins, three mandolas, two mandocellos, four guitars and one mandobass. For the sake of variety, two tenor banjos may occasionally be substituted for two of the low voiced instruments.