ETUDE
January 1938
volume LVI
number 1
page 61, 64

The Plectrum Guitar

By George C. Krick

OUR NEW DEPARTMENT of Fretted Instruments came into THE ETUDE last month on “gum shoes.” We had made no special announcement of it: but, nevertheless, a large number of our readers have expressed their delight with this innovation. The Department is to be edited by George C. Krick. for several years the president of the American Guild of Guitarists, Banjoists and Mandolinists, and an Honorary Member of the International Mandolin-Guitar Society. His repertoire includes compositions by Bach, Chopin, Mendelssohn, Schubert, and many other masters; and he has appeared as guitar soloist in representative concerts in New York, Boston, Philadelphia, Vienna, Paris, and Munich. Among his pupils have been many now famous concert and radio artists. His library of classical guitar music ranks as one of the most comprehensive in existence, including many rare manuscripts.

If you are pleased with this new department and are interested in its continuance, we would be glad to have you to send us a message to that effect.

The Plectrum Guitar

THE PHENOMENAL GROWTH in public favor of the plectrum guitar during the past few years must be attributed to its introduction into the dance bands. Always on the alert for novel effects, the orchestra leaders were not slow in discovering that the sonorous tones of this instrument would provide a beautiful background and add something different to their rhythmic sections. The manufacturers also helped the cause along, by producing instruments of superior workmanship and greater carrying power. The plectrum guitar differs from the classic guitar mainly by being constructed of carved or arched top and back and having two plain wire and four wound wire strings, these being played with a “plectrum” or “pick.”

Most guitarists agree that the classic guitar is out of place in a dance orchestra. The mellow tones of gut and silk wound strings, while they are distinctly heard in concert halls, when the instrument is in the hands of an artist, are entirely overshadowed by the penetrating tones of the trumpet, saxophone and other instruments of the modern dance orchestra Here is where the plectrum guitar properly belongs, playing rhythmic chords in the higher positions, bass runs and occasional solo passages.

A Budding Prima Donna

AS A SOLO INSTRUMENT it may be said to be still in its infancy, although there are quite a number of clever compositions and transcriptions on the market, mostly in a lighter vein and of the popular type. Whether the tone quality of the wire strings would have sufficient appeal to hold the attention of a sophisticated concert audience for an hour or two, remains to be proved by some great artist, who has yet to make his appearance on the guitaristic horizon.

Since radio stations and orchestra leaders are continually on the lookout for talented players, the plectrum guitarist will find unlimited opportunities for artistic and financial gain. The days of the guitarist with a knowledge of only the three principal chords in the commonly used keys, have passed, and in order to hold down a job with a prominent orchestra he must know his guitar as a good pianist knows his piano. He must be able, when called upon, to read at sight, transpose from a piano or second violin part, and to play bass runs and treble scale passages and solo parts. He should be thoroughly familiar with the entire guitar fingerboard, and be able to form chords in every key in all positions. A study of harmony is also essential, so he may know “what it is all about.” Instruction books and other study material for the beginner as well as for the advanced student can be found in the catalog of almost every music publisher. These should be thoroughly mastered under the guidance of a reputable teacher. The advanced student will also find it profitable to get acquainted with the right hand technic of the classic guitar and its music. The literature for this instrument is so extensive, that amongst it many items can be found that will interest and benefit the plectrum guitarist.

The Hawaiian Guitar

THE NATURAL CHARM and beautiful tonal qualities of the Hawaiian guitar have endeared it to a large portion of the American public, so that to-day it has become one of the most popular instruments. Since its introduction into this country by native Hawaiians some twenty years ago, it has undergone many changes and improvements at the hands of American players and manufacturers. The original guitars were mostly constructed of Hawaiian koa wood, strung with six wire strings tuned from the first string to the sixth, E, C sharp, A, E, A, E. This tuning was adopted as standard, and most of the numerous instruction books, exercises, albums of music of every variety have been published in this form. When shopping for a guitar to-day we have a choice of those made of rosewood or mahogany and spruce top, and some made entirely of aluminum or German silver. Amongst the prominent professional players one uses a guitar with two fingerboards, another an instrument with ten strings, and still another with fifteen strings. The tuning of the strings also varies considerably with many radio and orchestra players. The recent development of the electric guitar is responsible for its introduction into the modern dance orchestra, and its enchanting, powerful new orchestral voice is proving a revelation. This guitar has probably “arrived” and its future looks bright. Plectrum guitarists will have to take up this instrument as a part of their professional equipment in order to double on both instruments. For the young student of the Hawaiian guitar, we suggest the instrument made of selected wood, with six strings in the original A tuning. Having mastered this, he is ready to delve into the other tunings. The strings should be somewhat heavier than those for the regular guitar and the three wound bass strings should be of the polished kind, in order to avoid a grating sound, when using the steel. For the same reason the strings should be kept free of rust.

A GREAT VARIETY of steels are in use, different in shape, size, weight and length. Most professionals prefer the round steel rounded at the end, of medium size and weight, and made of rustless steel. The tips for the fingers are made of metal and the thumb pick of celluloid. The technic of the steel in Hawaiian guitar playing is of great importance and should be carefully and thoroughly mastered. In that connection we may say that a relaxed position of the left hand, wrist and forearm is absolutely necessary for a free oscillation of the steel and this should be a part of the daily practice. For right hand technic, we suggest scale practice in two and three octaves with alternating thumb and first finger, and again with alternating first and second finger. This should be carried out in all major and minor scales. Being an instrument complete in itself, the Hawaiian guitar is admirably adapted to the home. Music of every type to suit everyone’s taste is now published, so with very few exceptions it is not necessary to be able to transcribe. To obtain still more musical satisfaction a group of players consisting of first and second Hawaiian guitar, Spanish guitar, and ukulele, may come together and find real enjoyment in making music instead of just listening.

Fretted Instrument Questions Answered

R. S., Pittsburgh – The society you refer to is evidently the “American Guild of Banjoists, Mandolinists, and Guitarists,” 117 Broadway, Providence, Rhode Island. Organized thirty-six years ago, the American Guild has held yearly conventions in different cities, and in connection therewith, has conducted orchestra concerts, artists recitals, banjo band and mandolin orchestra contests. The last convention was held in Detroit, in July of 1937, with attendance of over 500. Organizations devoted exclusively to the Guitar are: The Chicago Classic Guitar Society, 1229 West Jarvis Avenue, Chicago, Illinois, and the American Guitar Society with headquarters at 2280 West Twenty-third Street, in Los Angeles, California.