By Michael E. Singer 03/31/2009 It all began when I was thirteen years old. I met a friend of my older brother Jeff. His name was Troy Theisen; he had a band in the neighborhood. Troy was sixteen and wrote all original music; he rocked the neighborhood. It was like having a combination of Led Zeppelin, Black Sabbath, and Pink Floyd mixed with a touch of Blue Oyster Cult living right in your backyard. After being influenced to begin a very long personal journey with the guitar, Twenty-Five years later I decided to enroll at Glendale Community College. I then began the lengthy process of discovering accurate information in the complete retraining of my previous musical skills. I never had the benefit of a guitar teacher or parental support in my life, not even one lesson. No person taught me how to write lyrics or songs. No person ever explained a proper, effective, or efficient approach to the playing of this blessed instrument I have grown to call my friend. At G.C.C., even though the staff was very knowledgeable, I was responsible for uncovering the finest of details through patient study and practice as I embarked on my personal journey of refinement. This was absolutely the best way for me to acquire precise knowledge due to my personal engagement searching out the fine details through hands on experience. In due time with patient study, I began to discover three very important elements that make up a secure foundation for efficient guitar technique. Most important is body posture, next in line is the position of the right hand, and last is the attitude of the left hand fingers in their approach to the notes that will be played. Although these are mainly classical guitar techniques, they will benefit anyone who devotes the time and disciplined action to the acquiring of a very efficient and stable technique. The principles discussed herein will also send electric guitar playing skills through the roof! These benefits will yield a lifelong and very powerful resources. For our purposes, we will begin with the most rudimentary. Start in a seated position with the legs slightly apart in an 11:00 O’clock, (left foot) and approximately 1:00 O’clock, (right foot) position, imagine a straight line in front of you that you now slide the center of the ball of the right foot to, then slide the left foot forward until the center of the heel is on the line. Now you can see the right foot is slightly behind the left with both feet slightly off the axis of the imagined line. Then begin by gently sucking the belly button in toward the spine. This will facilitate a raising or elevation of the crown of the head. The result should be a slight lengthening of the spine and a feeling as if assuming a posture of nobility. This would look like a capital “T,” but relaxed not stiff. This posture facilitates comfortable, effortless breathing from the diaphragm promoting clear unobstructed pathways for neurological signals and blood flow with its precious oxygen. The brain and extremities then have the food required for high-level technical execution. Some players prefer to elevate the left foot. This places the guitar in a desirable location for the proper position of the right hand while addressing the proper attitude of the left hand fingers at precisely the same instant. For players who prefer an alternative position due to low back pain caused by prolonged periods of study in a seated position, there are angled cushions placed between the treble side of the guitar waist and the musicians left leg or knee stands made with suction cups that adhere to the treble side of the guitar. These are designed to provide a very similar positioning of the instrument to the musicians posture that facilitates the feet remaining flat on the floor thus reducing low back stress. These devices need to be personally explored to determine what achieves the best result for the individual. Once the student applies proper body posture, next is the positioning of the right hand. The positioning of the right hand is a gentle and very natural placement. The hand and arm can be thought of as a single unit that comfortably dangle from the shoulder joint, with the forearm resting lightly over the lower bout of the guitar. This position of the forearm assists in the stability of the guitar in relation to the body posture. The right hand relaxes under its own weight and can easily find a natural position for its appendages to articulate freely. The index, (indice) or -i- finger, locates the third, or (G) string, the middle, (medio) or -m- finger, locates the second, or (B) string, and the ring, (angular) or -a-finger, locates the high (E) string. The three (i,m,a,) fingers are placed lightly in a very relaxed manner to the rear of the sound hole. This location known as the “Sweet Spot” is where the plucking easily produces a round, warm, or sweet sound. The right hand thumb, (pulgar) or p, is placed over the sound hole for operating the three bass strings of the guitar, string number four (the D), string number five (the A), and string number six (the low E). The (i,m,a,) appendages move specifically in the direction of the right hand elbow, while the thumb moves in the direction of the left knee. This position of the right hand placement in combination with proper body posture, finger location, and direction of execution insures that the fingers do not interfere with the thumb while the thumb does not interfere with the fingers. With an understanding of right hand position influenced directly by proper body posture, you are now ready to tackle the attitude of the left hand. The left hand attitude is really a matter of five attitudes related to the five appendages known as the thumb and the four fingers. The fingers share a very similar attitude in their approach to the fingerboard, while the thumb has a delicate balancing act assisting and supporting the attitude of the fingers in exactly how they address the notes to be played. The index, or finger number (1), approaches the notes to be played with an attitude that is slightly to the left outside edge of the fingertip. In certain circumstances this can change toward the center of the tip or to the right side edge of the fingertip but usually during large to very large reaching maneuvers. The middle, or finger number (2), approaches with an attitude that is almost perpendicular to the fingerboard mostly on its tip and occasionally just to the right of center. The ring, or finger number (3), approaches with a perpendicular attitude as well; however, more focus on central location of the fingertip is natural and effortless for this appendage. The pinky, or finger number (4), has an approach with the attitude opposite the index, or finger number (1), in that its position is slightly more to the outside or right side of the fingertip. These positioning basics help establish a relaxed left hand with arched fingers that have separation between appendages so as not to interfere with each other’s operations. The attitude of the thumb has a relaxed balance on the back of the neck as if magnetized to the second fingertip in a floating manner. This provides assistance in the development of a relaxed left hand that refrains from choking the treble side of the neck for extra support. The result of the attitude of the thumb is a very relaxed manner of assisting the fingers to remain in the playing position with the least amount of conscious energy, thus the fingers are always ready for any performance demands instantly with the least amount of obstruction. A byproduct of these applied principles creates visible air space between the left hand palm and the treble side of the guitar neck. Once again, body posture is imperative to the development of a secure yet relaxed left hand. Body posture is absolutely the most important foundational principle for efficient guitar technique. Next the ability to produce intentional, yet effortless touches through both the right hand position as well as the attitude of the left hand appendages. This is critically influenced in a positive or negative manner based on the established body posture. If negative body positions are assumed, the right and left hands will be influenced in a negative manner, which will require incredible effort to perform even the most simple performance demands. If positive positions are understood and assumed, higher efficiency is immediately touched. Then through relaxed concerted effort, with patient, disciplined practice the student having applied precise causation; will yield greater results in a shorter period of time. Through these applied principles years of study may be removed in hours if not minutes; however, there is no substitute for proper, consistent practice. The beauty of precisely crafted technique with the efficiency experienced, understood and acquired, will glean a lifetime of continued musical execution and growth. Should the student choose to pursue higher levels of education in guitar performance, teaching or the manifestation of musical skills on any other instrument, the three foundational elements for efficient guitar technique in conjunction with the personal moment by moment experience, will provide assets not just about the guitar and how to play with effortless excellence, but also the learning process and how it can be applied to many other endeavors with equal results. Maestro Segovia 04/14/2010 The New Oxford American Dictionary defines maestro as, “a distinguished musician, esp. a conductor of classical music, a great or distinguished figure in any sphere” (New). I have discovered that Andre Segovia was much more than a musician, much more than a performer and much more than a maestro. Segovia was a man of great passion and incredible determination. He exhibited unlimited perseverance and consistent resolve in pursuing his passion and vision for raising the guitar from a peasant entertainment instrument to a globally recognized concert instrument. He embarked on a lifelong dedication to this extremely personal work. He chose to devote himself to a self-created cause that he believed in, and as obstructions to his goals arose, he met them with faith and fortitude. Segovia demonstrated a sacred relationship with the guitar throughout his lifetime. His achievements in performance directly influenced the repertoire of guitar compositions and transcriptions. Although there were many other guitarists of Segovia’s time, Andre Segovia made the single most important contribution to the development and acceptance of his chosen instrument. He understood the relationship of the guitarist to his instrument and referred to the guitar as “…our beloved instrument” (Segovia, Diatonic, preface). In addition to inspiring many guitarists, composers and performers of his day, he touched the lives of friends and associates while leaving a legacy for future generations. Andre Segovia was born in 1893 in Linares, in the province of Jaen, Andalusia (Wade and Garno, Vol. 1, 29). In his autobiography Segovia shares his awakening to the power of music. While as an infant, his uncle Eduardo, in an effort to calm young Segovia’s fit of crying, began singing and mimicked playing the guitar. Segovia was captivated by his uncle’s silly display and states in his autobiography, “This was the first musical seed to be cast in my soul and it was to develop, as time passed, into the strongest and most rewarding constant in my life” (Segovia, Autobiography, 2). At the age of five Segovia was afforded private instruction on the violin. This experience was very unpleasant and, luckily for Segovia, his instruction was terminated before his passion for music was destroyed. He then had the opportunity to learn from a travelling flamenco player for a very brief month and a half (Segovia, Autobiography, 3). Segovia’s passion for the mystery of the guitar was ignited as never before when he heard classical player Gabriel Ruiz de Almodovar. As Segovia listened to Gabriel play Francisco Tarrega’s preludes he was overwhelmed with a flood of emotions and states in his autobiography, “I felt like crying, laughing, even like kissing the hands of a man who could draw such beautiful sounds from the guitar” (Segovia, Autobiography, 6). Thus, with a roaring inferno of hunger and thirst, Segovia embarked on the quest for any printed materials or manuals for the study of the instrument he loved so dearly. In his autobiography Segovia shares that he began his self-education by assuming a dual role as instructor and student, forging his way through the difficulties of acquiring reading, comprehension and theory skills. His struggles were extensive and personal requiring patience and perseverance. Segovia’s uncle could not afford the cost of private instruction, and other options of support were unavailable during that time period, in part because the guitar was not considered a proper concert instrument (Segovia, Autobiography, 7). Despite the obstacles, Segovia persevered in his arduous journey toward developing and mastering the playing skills that would be the foundation of his life’s work. The year was 1909 and Segovia was just sixteen when his first public performance at the Cento Artistico in Granada brought him a taste of success and accomplishment (Wade & Garno, Vol. 1, 33). His performance was well accepted and earned him a promising review. He writes in his autobiography, “Reading [the review], I saw myself as world famous. Suddenly I decided to be an Apostle of the guitar” (Segovia, Autobiography, 20). Many prosperous friendships developed for Segovia in the course of his early travels and performances. Influential friends offered their support and assistance in helping Segovia to further his vision for the guitar and its repertoire. Some music and art aficionados assisted Segovia, by advocating on his behalf to secure venues as well as advertising for these performances (Segovia, Autobiography, 21-29). At that time, the large concert halls always seemed to be off limits to the guitar. The obstacles were many as the wisdom of the time held it ridiculous to even attempt booking a guitar performance in a concert hall. As door after door remained closed, Segovia continued to forge ahead with his faith and his work. He knew he would prove the leading opinions to be inaccurate in regards to guitar performance in great concert halls. Toward this end, Segovia desperately needed to perform in the best concert halls. In a documentary Richard Brune recalled, ”Segovia was only interested in going into the [loftiest] concert halls. He wanted to avoid the image of the guitar as a popular folkloric instrument”(qtd. in Los Romeros). Segovia became very good friends with Miguel Llobet who was Francisco Tarrega’s star pupil (Segovia, Autobiography, 98). Llobet like Tarrega and his following of students held the belief that “Concert halls are too large, and the guitar doesn’t have the power to carry sound from the stage to the entire hall. The audience has to strain itself to hear us, listeners become impatient. Then too, we don’t have enough works of universal appeal to satisfy the concert public and the reviewers” (Segovia, Autobiography, 102). Finally, during a meeting with Pujol, the managing director of the Palau concert hall in Barcelona, Segovia commented to Pujol he would like to give his farewell concert at the Palau. Pujol’s immediate response was, “ But can the guitar be heard in such a large place?” (Segovia, Autobiography, 119). Segovia was finally presented with the opportunity to alter the common perception of his era and prove his convictions were accurate. Segovia requested, “… permit me to make a little experiment” (Segovia, Autobiography, 120). Segovia asked Senor Pujol to stand at various places in the concert hall while he snapped his fingers from center stage asking Pujol if he could clearly hear. Pujol continually said,“ Yes,” so they increased the distance and repeated the procedure. Then Segovia’s friend Juanito Parra (who was sent to fetch Segovia’s guitar) arrived and was asked by Segovia to take up a position at center stage. Jaunito then played successive loud and soft chords, scales, arpeggios, basses, trebles, legatos and harmonics (Segovia, Autobiography, 120). Thus by checking the acoustical properties of the concert hall Segovia demonstrated that a concert hall seating one thousand spectators could indeed be filled adequately with the subtle sounds of the guitar. After his performance at the Palau, Segovia knew he had set a milestone in the acceptance of the guitar as a concert instrument, “…I had broadened the scope of the guitar and proved that it could be heard from any stage” (Segovia, Autobiography, 121). Segovia immediately knew the tide had been turned in favor of the instrument he loved so much. With this obstacle overcome he could now focus his attention to the development and securing of more universal works to broaden the guitar’s repertoire. Segovia directed his passion toward Spanish composers who did not specialize in the guitar, “the first of many being Federico Moreno Torroba” (Wade, Segovia, 51). Segovia knew that based on past and current works by guitarist composers, the repertoire for the guitar suffered and there were not enough concert masterpieces. There was a strong desire for both players and composers to break new ground in providing the guitar with a diverse and lasting compilation of fresh works. These compositions would need to be timeless to assist in propelling the guitar to new heights of popularity. Other composers began offering up their services knowing Segovia was an excellent vehicle for their prosperity if he in fact accepted and performed their pieces. Manuel de Falla contributed a single work composed for the guitar entitled, “Homenaje pour Le Tombeau de Debussy” (Wade, Segovia, 61), which shows the diversity in timbre and technique in a composition that a guitarist might not consider (z3rod). Heitor Villa Lobos, a famous Brazilian composer, composed “Twelve Etudes” for the guitar and dedicated them to Segovia upon completion in 1929. Segovia wrote the preface to the “Twelve Etudes” stating, “Villa-Lobos has given to the history of the guitar fruits of his talent as luxuriant and savory as those of Scarlatti and Chopin” (Villa-Lobos 8). John W. Duarte was another friend whom Segovia approached to compose works for the guitar. Mr. Duarte produced a number of works over the years and was asked by Segovia to collaborate with another famous composer Mario Castelnuevo-Tedesco. Their collaboration had just begun, when Mr. Tedesco died (Duarte 67). The piece they began composing was completed ten years later and published under the title, “Together” (Duarte 68). Segovia then asked Duarte to arrange some English folk songs and thus after numerous revisions “The English Suite” was completed November 22, 1963 (Duarte 70-73). Segovia also had some significant collaboration with a famous composer Manuel Ponce who was one of his favorite composers (Wade, Segovia, 116). In the book A New Look at Segovia His Life His Music Vol.1. Wade and Garno share the account of Segovia’s first encounter with Ponce. In 1923 Segovia was performing in Mexico City and Ponce was attending the performance. After the concert Ponce introduced himself to Segovia, they immediately became friends and in time, Ponce composed over eighty works for the guitar (Wade and Garno Vol. 2, 303). In Graham Wade’s book, Segovia A Celebration of the Man and His Music, Wade cites a New York Guitar Review article No.7 from 1948, where Segovia comments: “Anyone who loves the instrument […] must reverence the memory of Ponce. He lifted the guitar from the low artistic state in which it had lain. Along with Turina, Falla, Manen, Castelnuovo-Tedesco, Tansman, Villa-Lobos, Torroba, etc. but with a more abundant yield than all of them put together, he undertook the crusade full of eager- -ness to liberate the beautiful prisoner. Thanks to him- as to the others I have named- the guitar was saved from the music written exclusively by guitarists” (Wade, Segovia, 116). As stated by Wade and Garno “The relationship between Segovia and Ponce was an important one for all guitarists, and the arts in general. The works that were produced are of lasting quality and will endure the test of time to remain as great pieces of the repertoire” (Wade and Garno Vol. 2, 303). Segovia had incredible influence on classical guitar performers worldwide. Pepe Romero commented, “[Segovia] set the standard of what great classical guitar playing was” (qtd. in Los Romeros). Segovia was the officiator of master classes that assisted young performers in their development and thus future artists were cultivated to high levels of achievement. Schools worldwide were faced with the necessity to offer serious academic forms of guitar study. Musical academies, conservatories, colleges and related institutions all had no choice other than to become more flexible in the area of guitar curriculum. Most schools had very strict guidelines as institutions of music and to this day have extremely opinionated criteria. Segovia made an undeniable impact in the area of musical education and rigid rules of a traditional nature were transformed globally thus providing the guitar with its rightful place among concert instruments (Wade, Segovia, 117-118). Andre Segovia earned the title Maestro through a lifetime of diligent work. He exercised great patience and unwavering fortitude throughout his daily experience. He was a man of great faith in that regardless of any particular religious choice, he believed in his dreams unequivocally. Segovia followed his convictions with a knowing that allowed him to create in his life, the physical manifestation of exactly what he envisioned. There are numerous texts that define his legacy in many similar ways. Through my experience as a guitarist and as a human being searching for meaning, I have come to understand what astounding significance a man such as Andre Segovia can provide in inspirational influence. His lifetime, his achievements and his documented experiences can provide private mentoring for anyone who can simply relate on a personal level. Segovia taught masses of guitar students across the globe without the need to be present. The way he lived his life elevated the guitar to an unheard of position among concert instruments and altered the beliefs of the figures in authority, globally, once again, without the need to be present. His passion spread like a wildfire, captivating not just the musical sphere, but also the many that enjoyed his performances. Segovia’s life was well lived and his choices are an excellent example showing what one person can accomplish by persistent application to a worthwhile cause. The passion began as a small child, continually gained momentum through his lifetime, and will surely continue throughout the future to make the ultimate difference of giving back to music as well as humanity. Thanks to the personal determination and life that Andre Segovia chose to live. His inspiration and influence will continue to assist any guitarist who is blessed with discovering the blue print of this personal journey. He discovered in his lifetime the sheer power and pulchritude of his own existence. With proper guidance and patient perseverance, the beauty of the practicing musician’s heart and soul will sing to the heavens through this sacred instrument, the guitar. And that is how Andre Segovia would have wanted it. That is what he lived for. The Origin Of The Guitar 03/31/2009 In the spring of 1992, I attended the Roberto-Venn school of Luthiery. I studied the many details of crafting fretted and unfretted stringed instruments. The primary focus at that time was to learn how to design and construct two instruments as a course requirement. One guitar a solid body electric, and the second a choice of six string steel, twelve string steel, or classical nylon string acoustic guitar. The wood selection and reasoning behind these choices captivated my interest. The procedures employed in the finishing process were equally fascinating. The factors that influenced string choices for different types of guitars stimulated new realizations. One question that was not answered in school, “What was the origin or evolution of the guitar?” My curiosity was piqued to search a little deeper into the origins and common ground of the solid body electric guitar, the acoustic steel string guitar, and the classical nylon string guitar. The solid body electric began its commercially successful appearance during the 1930’s. It was a descendent of an early Spanish stringed instrument known as a Vihuela, which in turn was a descendent of a Renaissance stringed instrument known as a Lute. The modern solid body electric guitars of our day and age come in many shapes, styles and colors. The hard woods chosen for the bodies of these guitars are many varieties of mahogany, maple, walnut, ash, basswood, alder and zebra to name a few. Fingerboards are usually ebony, maple or rosewood. The necks of these instruments are mostly maple, but not exclusively. The types of finishes used on these instruments are generally three part catalyzed finishes. They are very similar to epoxies in that two or three components are mixed together and then sprayed. Ten to fifteen minutes later the finish catalyzes and is ready for the next process saving time, increasing production, and therefore maximizing profits. Some Luthiers prefer nitrocellulose lacquer, a standard in the industry for many years until more cost efficient and time saving finishes were produced. The types of strings used on solid body electric guitars are nickel wound on a steel core. These materials achieve a longer sustain of notes and are lighter to the touch than the strings of a steel string acoustic. The steel string acoustic (also known as a dreadnaught or folk guitar) made its appearance on the scene between 1900 and 1920. It is another direct descendent of the Spanish Vihuela and Renaissance Lute. The hard woods are more carefully selected for these guitars due to the tonal properties concerning the nature of acoustics. Varieties include, but are not limited to, burled, quilted, or plain mahogany, rosewood, quilted or flamed maple, birds-eye maple, sugar maple, figured or straight walnut and koa for the back and sides. Fingerboards are generally rosewood, ebony or maple. The necks on these instruments are a much wider variety than on solid body electric guitars. Commonly varieties of mahogany are in the forefront of neck wood selection on steel string acoustics; however, maple and other choices are sometimes utilized. Sitka spruce and cedar are the choice materials for the soundboards or what is referred to as the top of these instruments. The finish on these guitars can vary. For a long time nitrocellulose lacquer was the standard used by Luthiers. With more modern times and the cost of changing production driven by supply, demand, and the desire for increased profits, catalyzed finishes have become desirable due to time saved in manufacturing. The steel strings produce a more brilliant sound; however, the use of these materials was brought on by the need for an increase in volume during performance. There are a few string choices for the steel string acoustic. There are bronze wound strings, phosphor bronze and silk & steel. The silk & steel are slightly softer to the touch, but not as soft as the nylon strings of the classical guitar. The classical guitar has been around much longer and is believed to have emerged during the 1500’s. The classical guitar is a much closer descendent of the Spanish Vihuela and the Renaissance Lute. The Luthier critically evaluates the materials selected for the classical instrument driven by the musicians need for powerful resonation, tonal coloring and ample projection across the frequency range (treble to bass) of this instrument. The tonal characteristics of these materials are crucial to a fine instrument. The smallest of details are keenly scrutinized. Brazilian rosewood is chosen for its exotic beauty, tonal qualities and traditional use. It is favored for the back and sides although mahogany and other forms of rosewood are more readily available. Quilted, figured and burled woods are also in high demand for these guitars. The neck wood is mostly mahogany. Fingerboards are more commonly found in rosewood, but the most desirable choice is ebony. The soundboards for these guitars are select spruce and cedar varieties. French polish is popular for its thin application, which is believed to allow the instrument to resonate more naturally while durability offers protection with a beautiful shine. There are exceptions in high production manufacturing where catalyzed finishes are employed. The strings for the classical guitar are three nylon trebles and three copper wound basses on a nylon core. These strings come in low, medium, high and extra high tension. Unlike the solid body electric and the steel string acoustic, the classical guitar gives a very accurate image of what the performer’s touch is bringing out of the instrument as the tonal coloring or shading’s of sonority. There are many similarities between the solid body electric, the steel string acoustic, and the nylon string classical guitar. They are all direct descendents of the Spanish Vihuels and the Renaissance Lute. They all three share some characteristics in the selection of woods; however, some differences begin to emerge between the solid body electric and the steel string acoustic. The nylon string classical guitar shares more characteristics in wood selection and finishing materials with the steel string acoustic due to the nature of acoustical tonal properties and their influence on these materials. There are many brands of strings available for these instruments in various string gauges. Even though the Luthier must make very critical choices the most important selections must be made by the musician. They must decide what type and brand of guitar to purchase, what gauge and style of strings will best meet their musical needs, and finally how this instrument will be put to use. Michael E. Singer Don’t Forget To Ask About Dog’s “Deal Of The Day!”

Foundations For

Efficient Technique

By Michael E. Singer 03/31/2009

It all began when I was thirteen years old. I met a friend of my older brother Jeff. His name was Troy Theisen; he had a band in the neighborhood. Troy was sixteen and wrote all original music; he rocked the neighborhood. It was like having a combination of Led Zeppelin, Black Sabbath, and Pink Floyd mixed with a touch of Blue Oyster Cult living right in your backyard.

After being influenced to begin a very long personal journey with the guitar, Twenty-Five years later I decided to enroll at Glendale Community College. I then began the lengthy process of discovering accurate information in the complete retraining of my previous musical skills.

I never had the benefit of a guitar teacher or parental support in my life, not even one lesson. No person taught me how to write lyrics or songs. No person ever explained a proper, effective, or efficient approach to the playing of this blessed instrument I have grown to call my friend. At G.C.C., even though the staff was very knowledgeable, I was responsible for uncovering the finest of details through patient study and practice as I embarked on my personal journey of refinement. This was absolutely the best way for me to acquire precise knowledge due to my personal engagement searching out the fine details through hands on experience.

In due time with patient study, I began to discover three very important elements that make up a secure foundation for efficient guitar technique. Most important is body posture, next in line is the position of the right hand, and last is the attitude of the left hand fingers in their approach to the notes that will be played.

Although these are mainly classical guitar techniques, they will benefit anyone who devotes the time and disciplined action to the acquiring of a very efficient and stable technique. The principles discussed herein will also send electric guitar playing skills through the roof! These benefits will yield a lifelong and very powerful resources. For our purposes, we will begin with the most rudimentary.

Start in a seated position with the legs slightly apart in an 11:00 O’clock, (left foot) and approximately 1:00 O’clock, (right foot) position, imagine a straight line in front of you that you now slide the center of the ball of the right foot to, then slide the left foot forward until the center of the heel is on the line. Now you can see the right foot is slightly behind the left with both feet slightly off the axis of the imagined line. Then begin by gently sucking the belly button in toward the spine. This will facilitate a raising or elevation of the crown of the head. The result should be a slight lengthening of the spine and a feeling as if assuming a posture of nobility. This would look like a capital “T,” but relaxed not stiff.

This posture facilitates comfortable, effortless breathing from the diaphragm promoting clear unobstructed pathways for neurological signals and blood flow with its precious oxygen. The brain and extremities then have the food required for high-level technical execution. Some players prefer to elevate the left foot. This places the guitar in a desirable location for the proper position of the right hand while addressing the proper attitude of the left hand fingers at precisely the same instant.

For players who prefer an alternative position due to low back pain caused by prolonged periods of study in a seated position, there are angled cushions placed between the treble side of the guitar waist and the musicians left leg or knee stands made with suction cups that adhere to the treble side of the guitar. These are designed to provide a very similar positioning of the instrument to the musicians posture that facilitates the feet remaining flat on the floor thus reducing low back stress. These devices need to be personally explored to determine what achieves the best result for the individual. Once the student applies proper body posture, next is the positioning of the right hand.

The positioning of the right hand is a gentle and very natural placement. The hand and arm can be thought of as a single unit that comfortably dangle from the shoulder joint, with the forearm resting lightly over the lower bout of the guitar.

This position of the forearm assists in the stability of the guitar in relation to the body posture. The right hand relaxes under its own weight and can easily find a natural position for its appendages to articulate freely.

The index, (indice) or -i- finger, locates the third, or (G) string, the middle, (medio) or -m- finger, locates the second, or (B) string, and the ring, (angular) or -a-finger, locates the high (E) string. The three (i,m,a,) fingers are placed lightly in a very relaxed manner to the rear of the sound hole. This location known as the “Sweet Spot” is where the plucking easily produces a round, warm, or sweet sound. The right hand thumb, (pulgar) or p, is placed over the sound hole for operating the three bass strings of the guitar, string number four (the D), string number five (the A), and string number six (the low E). The (i,m,a,) appendages move specifically in the direction of the right hand elbow, while the thumb moves in the direction of the left knee.

This position of the right hand placement in combination with proper body posture, finger location, and direction of execution insures that the fingers do not interfere with the thumb while the thumb does not interfere with the fingers. With an understanding of right hand position influenced directly by proper body posture, you are now ready to tackle the attitude of the left hand. The left hand attitude is really a matter of five attitudes related to the five appendages known as the thumb and the four fingers. The fingers share a very similar attitude in their approach to the fingerboard, while the thumb has a delicate balancing act assisting and supporting the attitude of the fingers in exactly how they address the notes to be played.

The index, or finger number (1), approaches the notes to be played with an attitude that is slightly to the left outside edge of the fingertip. In certain circumstances this can change toward the center of the tip or to the right side edge of the fingertip but usually during large to very large reaching maneuvers. The middle, or finger number (2), approaches with an attitude that is almost perpendicular to the fingerboard mostly on its tip and occasionally just to the right of center. The ring, or finger number (3), approaches with a perpendicular attitude as well; however, more focus on central location of the fingertip is natural and effortless for this appendage. The pinky, or finger number (4), has an approach with the attitude opposite the index, or finger number (1), in that its position is slightly more to the outside or right side of the fingertip.

These positioning basics help establish a relaxed left hand with arched fingers that have separation between appendages so as not to interfere with each other’s operations. The attitude of the thumb has a relaxed balance on the back of the neck as if magnetized to the second fingertip in a floating manner. This provides assistance in the development of a relaxed left hand that refrains from choking the treble side of the neck for extra support. The result of the attitude of the thumb is a very relaxed manner of assisting the fingers to remain in the playing position with the least amount of conscious energy, thus the fingers are always ready for any performance demands instantly with the least amount of obstruction. A byproduct of these applied principles creates visible air space between the left hand palm and the treble side of the guitar neck. Once again, body posture is imperative to the development of a secure yet relaxed left hand.

Body posture is absolutely the most important foundational principle for efficient guitar technique. Next the ability to produce intentional, yet effortless touches through both the right hand position as well as the attitude of the left hand appendages. This is critically influenced in a positive or negative manner based on the established body posture.

If negative body positions are assumed, the right and left hands will be influenced in a negative manner, which will require incredible effort to perform even the most simple performance demands. If positive positions are understood and assumed, higher efficiency is immediately touched. Then through relaxed concerted effort, with patient, disciplined practice the student having applied precise causation; will yield greater results in a shorter period of time.

Through these applied principles years of study may be removed in hours if not minutes; however, there is no substitute for proper, consistent practice. The beauty of precisely crafted technique with the efficiency experienced, understood and acquired, will glean a lifetime of continued musical execution and growth.

Should the student choose to pursue higher levels of education in guitar performance, teaching or the manifestation of musical skills on any other instrument, the three foundational elements for efficient guitar technique in conjunction with the personal moment by moment experience, will provide assets not just about the guitar and how to play with effortless excellence, but also the learning process and how it can be applied to many other endeavors with equal results.

Maestro Segovia

04/14/2010

The New Oxford American Dictionary defines maestro as, “a distinguished musician, esp. a conductor of classical music, a great or distinguished figure in any sphere” (New).

I have discovered that Andre Segovia was much more than a musician, much more than a performer and much more than a maestro. Segovia was a man of great passion and incredible determination. He exhibited unlimited perseverance and consistent resolve in pursuing his passion and vision for raising the guitar from a peasant entertainment instrument to a globally recognized concert instrument. He embarked on a lifelong dedication to this extremely personal work. He chose to devote himself to a self-created cause that he believed in, and as obstructions to his goals arose, he met them with faith and fortitude. Segovia demonstrated a sacred relationship with the guitar throughout his lifetime. His achievements in performance directly influenced the repertoire of guitar compositions and transcriptions. Although there were many other guitarists of Segovia’s time, Andre Segovia made the single most important contribution to the development and acceptance of his chosen instrument. He understood the relationship of the guitarist to his instrument and referred to the guitar as “…our beloved instrument” (Segovia, Diatonic, preface). In addition to inspiring many guitarists, composers and performers of his day, he touched the lives of friends and associates while leaving a legacy for future generations.

Andre Segovia was born in 1893 in Linares, in the province of Jaen, Andalusia (Wade and Garno, Vol. 1, 29). In his autobiography Segovia shares his awakening to the power of music. While as an infant, his uncle Eduardo, in an effort to calm young Segovia’s fit of crying, began singing and mimicked playing the guitar. Segovia was captivated by his uncle’s silly display and states in his autobiography, “This was the first musical seed to be cast in my soul and it was to develop, as time passed, into the strongest and most rewarding constant in my life” (Segovia, Autobiography, 2). At the age of five Segovia was afforded private instruction on the violin. This experience was very unpleasant and, luckily for Segovia, his instruction was terminated before his passion for music was destroyed. He then had the opportunity to learn from a travelling flamenco player for a very brief month and a half (Segovia, Autobiography, 3).

Segovia’s passion for the mystery of the guitar was ignited as never before when he heard classical player Gabriel Ruiz de Almodovar. As Segovia listened to Gabriel play Francisco Tarrega’s preludes he was overwhelmed with a flood of emotions and states in his autobiography, “I felt like crying, laughing, even like kissing the hands of a man who could draw such beautiful sounds from the guitar” (Segovia, Autobiography, 6).

Thus, with a roaring inferno of hunger and thirst, Segovia embarked on the quest for any printed materials or manuals for the study of the instrument he loved so dearly. In his autobiography Segovia shares that he began his self-education by assuming a dual role as instructor and student, forging his way through the difficulties of acquiring reading, comprehension and theory skills. His struggles were extensive and personal requiring patience and perseverance. Segovia’s uncle could not afford the cost of private instruction, and other options of support were unavailable during that time period, in part because the guitar was not considered a proper concert instrument (Segovia, Autobiography, 7). Despite the obstacles, Segovia persevered in his arduous journey toward developing and mastering the playing skills that would be the foundation of his life’s work.

The year was 1909 and Segovia was just sixteen when his first public performance at the Cento Artistico in Granada brought him a taste of success and accomplishment (Wade & Garno, Vol. 1, 33). His performance was well accepted and earned him a promising review. He writes in his autobiography, “Reading [the review], I saw myself as world famous. Suddenly I decided to be an Apostle of the guitar” (Segovia, Autobiography, 20). Many prosperous friendships developed for Segovia in the course of his early travels and performances. Influential friends offered their support and assistance in helping Segovia to further his vision for the guitar and its repertoire. Some music and art aficionados assisted Segovia, by advocating on his behalf to secure venues as well as advertising for these performances (Segovia, Autobiography, 21-29).

At that time, the large concert halls always seemed to be off limits to the guitar. The obstacles were many as the wisdom of the time held it ridiculous to even attempt booking a guitar performance in a concert hall. As door after door remained closed, Segovia continued to forge ahead with his faith and his work. He knew he would prove the leading opinions to be inaccurate in regards to guitar performance in great concert halls. Toward this end, Segovia desperately needed to perform in the best concert halls. In a documentary Richard Brune recalled, ”Segovia was only interested in going into the [loftiest] concert halls. He wanted to avoid the image of the guitar as a popular folkloric instrument”(qtd. in Los Romeros).

Segovia became very good friends with Miguel Llobet who was Francisco Tarrega’s star pupil (Segovia, Autobiography, 98). Llobet like Tarrega and his following of students held the belief that “Concert halls are too large, and the guitar doesn’t have the power to carry sound from the stage to the entire hall. The audience has to strain itself to hear us, listeners become impatient. Then too, we don’t have enough works of universal appeal to satisfy the concert public and the reviewers” (Segovia, Autobiography, 102). Finally, during a meeting with Pujol, the managing director of the Palau concert hall in Barcelona, Segovia commented to Pujol he would like to give his farewell concert at the Palau. Pujol’s immediate response was, “ But can the guitar be heard in such a large place?” (Segovia, Autobiography, 119).

Segovia was finally presented with the opportunity to alter the common perception of his era and prove his convictions were accurate. Segovia requested, “… permit me to make a little experiment” (Segovia, Autobiography, 120). Segovia asked Senor Pujol to stand at various places in the concert hall while he snapped his fingers from center stage asking Pujol if he could clearly hear. Pujol continually said,“ Yes,” so they increased the distance and repeated the procedure. Then Segovia’s friend Juanito Parra (who was sent to fetch Segovia’s guitar) arrived and was asked by Segovia to take up a position at center stage. Jaunito then played successive loud and soft chords, scales, arpeggios, basses, trebles, legatos and harmonics (Segovia, Autobiography, 120).

Thus by checking the acoustical properties of the concert hall Segovia demonstrated that a concert hall seating one thousand spectators could indeed be filled adequately with the subtle sounds of the guitar. After his performance at the Palau, Segovia knew he had set a milestone in the acceptance of the guitar as a concert instrument, “…I had broadened the scope of the guitar and proved that it could be heard from any stage” (Segovia, Autobiography, 121). Segovia immediately knew the tide had been turned in favor of the instrument he loved so much. With this obstacle overcome he could now focus his attention to the development and securing of more universal works to broaden the guitar’s repertoire.

Segovia directed his passion toward Spanish composers who did not specialize in the guitar, “the first of many being Federico Moreno Torroba” (Wade, Segovia, 51). Segovia knew that based on past and current works by guitarist composers, the repertoire for the guitar suffered and there were not enough concert masterpieces. There was a strong desire for both players and composers to break new ground in providing the guitar with a diverse and lasting compilation of fresh works. These compositions would need to be timeless to assist in propelling the guitar to new heights of popularity.

Other composers began offering up their services knowing Segovia was an excellent vehicle for their prosperity if he in fact accepted and performed their pieces. Manuel de Falla contributed a single work composed for the guitar entitled, “Homenaje pour Le Tombeau de Debussy” (Wade, Segovia, 61), which shows the diversity in timbre and technique in a composition that a guitarist might not consider (z3rod). Heitor Villa Lobos, a famous Brazilian composer, composed “Twelve Etudes” for the guitar and dedicated them to Segovia upon completion in 1929. Segovia wrote the preface to the “Twelve Etudes” stating, “Villa-Lobos has given to the history of the guitar fruits of his talent as luxuriant and savory as those of Scarlatti and Chopin” (Villa-Lobos 8).

John W. Duarte was another friend whom Segovia approached to compose works for the guitar. Mr. Duarte produced a number of works over the years and was asked by Segovia to collaborate with another famous composer Mario Castelnuevo-Tedesco. Their collaboration had just begun, when Mr. Tedesco died (Duarte 67). The piece they began composing was completed ten years later and published under the title, “Together” (Duarte 68). Segovia then asked Duarte to arrange some English folk songs and thus after numerous revisions “The English Suite” was completed November 22, 1963 (Duarte 70-73).

Segovia also had some significant collaboration with a famous composer Manuel Ponce who was one of his favorite composers (Wade, Segovia, 116). In the book A New Look at Segovia His Life His Music Vol.1. Wade and Garno share the account of Segovia’s first encounter with Ponce. In 1923 Segovia was performing in Mexico City and Ponce was attending the performance. After the concert Ponce introduced himself to Segovia, they immediately became friends and in time, Ponce composed over eighty works for the guitar (Wade and Garno Vol. 2, 303). In Graham Wade’s book, Segovia A Celebration of the Man and His Music, Wade cites a New York Guitar Review article No.7 from 1948, where Segovia comments:

“Anyone who loves the instrument […] must reverence

the memory of Ponce. He lifted the guitar from the low

artistic state in which it had lain. Along with Turina, Falla,

Manen, Castelnuovo-Tedesco, Tansman, Villa-Lobos,

Torroba, etc. but with a more abundant yield than all of

them put together, he undertook the crusade full of eager-

-ness to liberate the beautiful prisoner. Thanks to him- as

to the others I have named- the guitar was saved from the

music written exclusively by guitarists” (Wade, Segovia, 116).

As stated by Wade and Garno “The relationship between Segovia and Ponce was an important one for all guitarists, and the arts in general. The works that were produced are of lasting quality and will endure the test of time to remain as great pieces of the repertoire” (Wade and Garno Vol. 2, 303).

Segovia had incredible influence on classical guitar performers worldwide. Pepe Romero commented, “[Segovia] set the standard of what great classical guitar playing was” (qtd. in Los Romeros).

Segovia was the officiator of master classes that assisted young performers in their development and thus future artists were cultivated to high levels of achievement. Schools worldwide were faced with the necessity to offer serious academic forms of guitar study. Musical academies, conservatories, colleges and related institutions all had no choice other than to become more flexible in the area of guitar curriculum. Most schools had very strict guidelines as institutions of music and to this day have extremely opinionated criteria. Segovia made an undeniable impact in the area of musical education and rigid rules of a traditional nature were transformed globally thus providing the guitar with its rightful place among concert instruments (Wade, Segovia, 117-118).

Andre Segovia earned the title Maestro through a lifetime of diligent work. He exercised great patience and unwavering fortitude throughout his daily experience. He was a man of great faith in that regardless of any particular religious choice, he believed in his dreams unequivocally. Segovia followed his convictions with a knowing that allowed him to create in his life, the physical manifestation of exactly what he envisioned. There are numerous texts that define his legacy in many similar ways. Through my experience as a guitarist and as a human being searching for meaning, I have come to understand what astounding significance a man such as Andre Segovia can provide in inspirational influence. His lifetime, his achievements and his documented experiences can provide private mentoring for anyone who can simply relate on a personal level. Segovia taught masses of guitar students across the globe without the need to be present. The way he lived his life elevated the guitar to an unheard of position among concert instruments and altered the beliefs of the figures in authority, globally, once again, without the need to be present.

His passion spread like a wildfire, captivating not just the musical sphere, but also the many that enjoyed his performances. Segovia’s life was well lived and his choices are an excellent example showing what one person can accomplish by persistent application to a worthwhile cause. The passion began as a small child, continually gained momentum through his lifetime, and will surely continue throughout the future to make the ultimate difference of giving back to music as well as humanity.

Thanks to the personal determination and life that Andre Segovia chose to live. His inspiration and influence will continue to assist any guitarist who is blessed with discovering the blue print of this personal journey. He discovered in his lifetime the sheer power and pulchritude of his own existence. With proper guidance and patient perseverance, the beauty of the practicing musician’s heart and soul will sing to the heavens through this sacred instrument, the guitar. And that is how Andre Segovia would have wanted it. That is what he lived for.

The Origin Of The Guitar

03/31/2009

In the spring of 1992, I attended the Roberto-Venn school of Luthiery. I studied the many details of crafting fretted and unfretted stringed instruments. The primary focus at that time was to learn how to design and construct two instruments as a course requirement. One guitar a solid body electric, and the second a choice of six string steel, twelve string steel, or classical nylon string acoustic guitar. The wood selection and reasoning behind these choices captivated my interest. The procedures employed in the finishing process were equally fascinating. The factors that influenced string choices for different types of guitars stimulated new realizations. One question that was not answered in school, “What was the origin or evolution of the guitar?” My curiosity was piqued to search a little deeper into the origins and common ground of the solid body electric guitar, the acoustic steel string guitar, and the classical nylon string guitar.

The solid body electric began its commercially successful appearance during the 1930’s. It was a descendent of an early Spanish stringed instrument known as a Vihuela, which in turn was a descendent of a Renaissance stringed instrument known as a Lute. The modern solid body electric guitars of our day and age come in many shapes, styles and colors. The hard woods chosen for the bodies of these guitars are many varieties of mahogany, maple, walnut, ash, basswood, alder and zebra to name a few. Fingerboards are usually ebony, maple or rosewood. The necks of these instruments are mostly maple, but not exclusively.

The types of finishes used on these instruments are generally three part catalyzed finishes. They are very similar to epoxies in that two or three components are mixed together and then sprayed. Ten to fifteen minutes later the finish catalyzes and is ready for the next process saving time, increasing production, and therefore maximizing profits. Some Luthiers prefer nitrocellulose lacquer, a standard in the industry for many years until more cost efficient and time saving finishes were produced. The types of strings used on solid body electric guitars are nickel wound on a steel core. These materials achieve a longer sustain of notes and are lighter to the touch than the strings of a steel string acoustic.

The steel string acoustic (also known as a dreadnaught or folk guitar) made its appearance on the scene between 1900 and 1920. It is another direct descendent of the Spanish Vihuela and Renaissance Lute. The hard woods are more carefully selected for these guitars due to the tonal properties concerning the nature of acoustics. Varieties include, but are not limited to, burled, quilted, or plain mahogany, rosewood, quilted or flamed maple, birds-eye maple, sugar maple, figured or straight walnut and koa for the back and sides.

Fingerboards are generally rosewood, ebony or maple. The necks on these instruments are a much wider variety than on solid body electric guitars. Commonly varieties of mahogany are in the forefront of neck wood selection on steel string acoustics; however, maple and other choices are sometimes utilized. Sitka spruce and cedar are the choice materials for the soundboards or what is referred to as the top of these instruments. The finish on these guitars can vary. For a long time nitrocellulose lacquer was the standard used by Luthiers. With more modern times and the cost of changing production driven by supply, demand, and the desire for increased profits, catalyzed finishes have become desirable due to time saved in manufacturing. The steel strings produce a more brilliant sound; however, the use of these materials was brought on by the need for an increase in volume during performance. There are a few string choices for the steel string acoustic. There are bronze wound strings, phosphor bronze and silk & steel. The silk & steel are slightly softer to the touch, but not as soft as the nylon strings of the classical guitar.

The classical guitar has been around much longer and is believed to have emerged during the 1500’s. The classical guitar is a much closer descendent of the Spanish Vihuela and the Renaissance Lute. The Luthier critically evaluates the materials selected for the classical instrument driven by the musicians need for powerful resonation, tonal coloring and ample projection across the frequency range (treble to bass) of this instrument. The tonal characteristics of these materials are crucial to a fine instrument. The smallest of details are keenly scrutinized. Brazilian rosewood is chosen for its exotic beauty, tonal qualities and traditional use. It is favored for the back and sides although mahogany and other forms of rosewood are more readily available. Quilted, figured and burled woods are also in high demand for these guitars.

The neck wood is mostly mahogany. Fingerboards are more commonly found in rosewood, but the most desirable choice is ebony. The soundboards for these guitars are select spruce and cedar varieties. French polish is popular for its thin application, which is believed to allow the instrument to resonate more naturally while durability offers protection with a beautiful shine. There are exceptions in high production manufacturing where catalyzed finishes are employed. The strings for the classical guitar are three nylon trebles and three copper wound basses on a nylon core. These strings come in low, medium, high and extra high tension. Unlike the solid body electric and the steel string acoustic, the classical guitar gives a very accurate image of what the performer’s touch is bringing out of the instrument as the tonal coloring or shading’s of sonority.

There are many similarities between the solid body electric, the steel string acoustic, and the nylon string classical guitar. They are all direct descendents of the Spanish Vihuels and the Renaissance Lute. They all three share some characteristics in the selection of woods; however, some differences begin to emerge between the solid body electric and the steel string acoustic.

The nylon string classical guitar shares more characteristics in wood selection and finishing materials with the steel string acoustic due to the nature of acoustical tonal properties and their influence on these materials. There are many brands of strings available for these instruments in various string gauges. Even though the Luthier must make very critical choices the most important selections must be made by the musician. They must decide what type and brand of guitar to purchase, what gauge and style of strings will best meet their musical needs, and finally how this instrument will be put to use.

Michael E. Singer

Don’t Forget To Ask About Dog’s “Deal Of The Day!”