·GUITAR NEWS
·GUITAR NEWSTHE OFFICIAL ORGAN OF THE CLASS IC GUITAR ASSOCIATIONNo. 4DECEMBER, 1951-JANUARY, 1952FRANCISCO TARREGA*In the Spanish town of Villiareal, where oranges grow a nd Mediterraneanbreezes stray inland from the nearby gulf of Valencia, a son was born toFrancisco Tarrega and his wife Antonia Eixea on Ncwember 21st, 1852, iandnamed after his father, Francisco.An interest in music developed during childhood , two instruments-pianoand guitar-competing for ascendlancy . His first introduction to the guitarwas from Manuel Gonzalez, a modest performer, of Castellon de la Plana ,but lessons from Julian Areas were of much greater importiance.At one time it seemed that the piano would dominate his musical life forhe studied it at Madrid Conservatory to such good effect that he won thehighest awards on the completion of his course under Professors Galiiana andHernando. But the guitar had not been neglected, and in his dilemma h eallowed a concert audience to decide which instrument he would adopt forhis career. He played solos on each instrument and the applause was greaterfor the guitar. Soon afterwards he took part in an important concert at theAlhambra in Madrid at which three celebrities, Albeniz, Chapi iand Chuecawere also in the programme. In spite of the presence of such famousmusicians Tarrega with his guitar scored the greatest triumph of the evening.Having chosen hiis life-work Tiarrega set ()IUt to improve the techniqueof playing the guitar. The playing position, the action of the fingers andthumb were decided upon only after much experimentation. Just as Paganin idrew on the technique of the guitar to improve his playing of the violin, soTarregia applied his knowledge of pianoforte technique to the guitar. Hi sgreatest inncwation was 'apoyando' or 'top-stroke'-the flexed tip of the fingerstriking the top of the string a glancing blow and coming to rest silently witha 'follow-through' action on to the adjacent lower string, thus producing iaclear carrying note which can be of considerable volume. This is applicableto single note passages but not to chords or tremolo playing.Tiarrega must have realised that the repertoire of mu.sic for the guitarat that time was inferior to that of thet piano in quality and diversity. Herewas another vast field for experimental work and it resulted in his transcriptions for the guitiar of much classical and modern music.His original compositions consist of Studies ( numbered 1 to 20) and aStudy in the form of a Minuet; Preludes ( numbered 1 to 13) and the Preludes( named) Lagrima, Endecha and Oremus; Solos-Capricho Arabe; D anzaMora; J ota Aragonesa; El Columpio; Danza Odalisca; La Mariposa; LaAlbor,ada (musical box) ; Pavana, Minuet ( pizzicato) ; two tremolo studies-Sueno and Recuerdos de Ja Alhambra; four Valses-Vals , Gran Vals, Lasdos hermanitas and Isabel; four Mazurkas-Adelita, Marieta, Sueno andMazurka en Sol; a Gavotte-Maria; a Polka-Rosita. It is possible thatother compositions wh ich have not been published are in the possession 0 r/
2GUITARNEWSDei:i. 1951-Jan. 1952Tarrega's pupils or other people, but \Some works have been published whichwere wrongly attributed to him.Much of Tarrega's music-original andtranscriptions-is still ob!Jainable from such firms as Biblioteca Fortea a ndUnion Musical Espanola in Madrid ; Antigua Casa Nunez and Ricordi A ericana in Buenos Aires; and Spanish Music Center in New York.Most of these comPositions are light pieces, of conside able charm,written no doubt to suit the audiences of his concerts and recitals , but theharmonies are alwiayis right and even the lightest of them has musicianshipof merit.Tarrega did not publish a Method but left it to his pupils to continuethe work he so ably started. Some of these, including Emilio Pujol, DanielFortca and Salvador Garcua are still living and actively working for the guitar.Francisco Tarrega died in Barcelona on December 16th, 1909, but laterhis remains ,,·ere buried at Villareal, his birthplace. His son, also namedFrancisco, continued to dwell in the Catalonian capital, but the daughter,Maria, went to Villareal to live.The principal rooms of her house wereconverted into an excellent museum. Describing this museum after a visitin 1943 the writer Jose Rico de Estasen said:- "There stood the greatguitarist' s p iano and on the lid lay the guitiar. Tarrega's daughter, herselfa lso a good guitarist, took it from its cloth case. Inside the guitar was theinscription: "Don Antonio de Torres-Constructor de Guitarras en Seville-ano 1883-Guitarria numerado 49, Segunda epoca." Lying about on tablesa nd other furniture were musical instruments , books, pieces of music-"DanzaMora," "Capricho Arabe," etc. Among the other objects in this little-knownmuseum were la ncbscapes, sketches, parchments and di plomas, fumi ly portraits a nd t he likenesses of g reat composers and musicians. And everywherein drawings, sketches, caricaturns and photognaphs the likeness of Tarregahimself with his great shock of hair, his sad eyes, the drooping mo ustacheand long, characteristically 19th centu ry goatee beard - the sensitive andmystical face,, full of modesty and goodness."The writer of this descri ption expressed the hope that the authorities willsee that these ,souvenirs do not become dispersed but are preserved in aworthy pl,ace.The influence of Francisco Tarrega is immeasurable even though to manypeople his name is still unknown. Yet it is the name of a genius who stands\\'ell in comparison with Liszt as a transcriber of music for .a particularinstrument and whose work to improve the technique of that instrument iscomparable with that of Corelli, Kreutzer, Paganini and Joachim forthe violi n.T he suggestion that December 15th (the ,anniversary of his death) shouldbe regarded as "Tarrega D ay" . by guitarists has received support fromseveral lands. Soon it will be the centenary of his birth. Spain has honouredsome of its glorious sons by issuing postage stiamps with their portraitsthe a rtists, Goya and Velasquez; the writers, Cervantes and Ibanez; Cierva( in ventor of the autogyro) and F'alJa, the composer. We hope to see T.arregaa nd his guitar similarly honoured in this and possibly other ways.WILFRID M. APPLEBY*pronounced T ARRega-accen t on the first syllable.
Dec. 1951-Jan. 1952GUITAR3NEWSITALIAN GUITA.R MAKE.RLORENZO BELLAFONTANA began the study of the luthier's art in19::!4 under the tutorship of Maestro Candi, of Genoa. Later he took up. theconstruction of guitars, first studying the traditional Italian form and finallydedicating himself to the Spanish style having found by several experimentalexamples that the latter gave the best results in volume and quality, of sound.Professor Emilio Pujol sent him his Torres guitar as a model, and since thenBellafontana has worked to improve on this, obtai ning perfect ba lance of tonewith a sober and perfect exterior line.The; 'personality' the Maestro puts into his instruments is such as to bedistinguished and recognised among,st others, and gives full merit to theexpression 'classic guitar'. In fact its particultar brilliance of timbre oftenresembles that of a clavichord, but with a clearer sound, while it can alsoassume the deep and mellow tone of a cello. In a big concert Iva.II a Bellafontana guitar can be heard well due to its incisive qualities; and, if playedwith proper technique, such effects as trills, mordents, tremolo, etc. are hoo,r dwith staccato clarity. This last, but not least, requi,site quality and also itsvery good fingerboard make these instruments much in demand not only inItaly but in other lands. At present Bellafonbana is working on several ordersfrom Istanbul, Turkey, where his guitars are a great success.Recently Professor Paleologo, of Istanbul, sent him a guitar by JoseSerratosa (born in Tarrasa, Catalonia, 24th Juo.e, 1855, and established inBarcelona, 1890) The first guitar based on this, model, which i,s larger thanthe Torres model, gave very satisfactory results both as to qU!antity andquali!JY! olf sound. The guitar I am using is of this type and I consider itone of Bellafontana's masterpieces.Maestro Bellafontiana is also a well-known and highly appreciated makerof violins which have gained awards at exhibitions, including the recentCremona Expositon.Both violins and guitars come out of his very own hands, for he worksat them by himself, not allowing anyone else to touch them. In his littl estudio he is busy the whole diay long at his inst ruments, and, sometimes,late at night you may find him there, bent over a guitar, giving it the finaltouches, handling it with infinite delicacy-that of the artist who will soonhave to part with his creation, trusting it to the hands of one who will findits soul, iand bring it out in its warm, clear voice. And each instrume,1t is abit of the soul of its creator.LOLITA SABICAS TAC.OREAddress: M. Lorenzo Bellafontana, Via P. Goacometti, 5/3 Scala D, GenovaS. Fruttuoso. Italy.SEGOVIA IN B.RIT AINThe fact that Andres Segovia arrived in Britain during a Parliam entaryElection campaign made no difference to the success of his recitals. The Wigmore Hall, London, was the scene of great enthusiasm and several 'encore'solos were played .
4GUITARNEWSDec. 1951-J an . 1952At Shetlield, Segovia's recital, fixed for the actual day of the Election,was postponed for a week, but on November 1st the large Victoria Hall waswell filled. The audience was completely under the spell of :Segovia's artistryarid expressed its delight in ovation after ovation.The organisers of this recital, Sheffield Philharmonic ,Society, in association with the Listener's Club, had the taisk of finding a suitiable footstool forSegovia. Their appeal in the local press for the loan of a stool brought about50 offers and from these Segoviia selected an ornately beautiful specimenwhich was within a fraction of an inch of the requisite height.The new compasitions by Turina (Sevillana), Caistelnuovo-Tedesco andVilla-Lobos were praised by the press critics. Dr. George F. Linstead ofthe "Sheffield Telegraph" wrote: "It was in this group that Segovia mosthappily displayed the instrument'is wide range of colours and variety oftimbres, and in Turina's "Sevillarna" its capacity to withstand rapid passagework and florid coloratura".LONDON RECITALSJULIAN BREAM'S recital at thefamous Wigmore Hall on N ovember 26th was an outstandingsuccess. The hall was crowded andthe press reports gave him veryhigh praise. 'The Times" siaid "heleft no doubt that the promising boyhas now grown into a mature andremarkablyfinishedmusician.''From "The Telegraph" we read:"He established himself as a p1'ayerand interpreter of the first rank,and his guitar as an eloquent andexpressive instrument."At the R.B.A. Galleries on December 1st, the French guitarist,IDA PRESTI,, gave her first recitalin Brit-ain. She also won praise inthe press, "The Times" mentioningher "truly astonishing right handdexterity and her lively temperament.''VICTORIA KINGSLEYAfter a visit to Jugoslavia Victoria Kingsley (Songs with Guitar)plans to start on a world tour inMarch 1952. This will include avisit to the U.S.A. where she hopesto meet guitarists. Her Londonrecital earlier this year was wellreceived by the press. ''·M usicalOpinion" said "She not merelysings 'b'ut lives each song. So subtleand skilled is her art and such is herastonislhing versatility that therewas not a suspicion of monotonyand only unalloyed enjoymentthroughout a long evening.''GUITAR SONGS ANDGRAMOPHONEThe music salon at R oya,! WellCentre, Cheltenham, was completelyfilled on October 20th to hear aprogramme presented by two members of Cheltenham Classic GuitiarCirole. The first part of the eveningconsisted of a recital of songs to herown guitar accompaniment by MissJoan Prior. These included not onlyEnglish but Italian and Frenchsongs, a Russian gipsy song ,andSpanish songs from the Pyrenees.Guitar and voice blended delightfully and won enthusiastic applauJSe.Recordings of guitar pJaying bySegovia and Vicente Gomez werethen presented Mr. C. E. R obinswhose informative ,and interestingremarks helped the audience toappreciate the artistry of these greatguitarists.
Doo. 1951-Jan. 1952GUITARNEWSGRAMOPHONERENATA TARRAGO (Accompaniments)"H.M.V." Six 10" Records of Songs in !Spanish sung ho,, Victoria delos Angeles with guitar accompaniment by Renia,ta Tarrag6-arranged by G.'farrago. DA 1970/1975. Price 6/5½ each.OLGA COELHO ( Songs with Guitar)Pllilfophone 10" RO 20580( a) Asturiana (b) Nana ( Fallia-Segovia).Cancion Andaluza(Segovia).Pllilfophone 10" RO 20593( a) Brazilian Emboladia, (Guarnieri).(b) Coco (Guarnieri) .(c) Maori Folk Song (Taos).( d) Inca Song from Bolivia (Coelho).Price 6/5½ each.British BroadcastingllADIO.This seems to be the season of the guitar in Britain and the list of broadcastsi is longer than UJSual.On Television LUIIS MARAVILLA, guitarist with the Ballet Espagnolof Pilar Lopez, was ,seen a nd heard in brilliant flamencd playing.OLGA COELHO, 1he Queen of Guitarist-singers, delighted with suchgems of South Amerioan song at Muelita, Peruvia n Inca song, Bahia StreetCry, etc., as well as other songs with guitar in broadoast and television.ALEXIS CHESNAKOV, with voice and guitar, provided the music forthe Chekhov play "Uncle Vanya."The music written and collectedl by Dr. Besardus in his Thesaurm, Harmonicus (1603) h!as been transcribed by Matyas Se'iber into moden:,i notation.Some of this music was bro-adca,st under the title "Madrigals and Music forGuitar". The Dorian IS.i ngers cond ucted by Matyas Seiber sang the Madrigals and JU LIAN BREAM pUayed the g uitar solos in a most interesting andpleasing broadcais t. There was a repeat of the Schubert Quartet in G withJulian Bream at the g uitar .R ecordings of brilliant guitar-pliaying by ANGEL IGLESIAS have beenbroadcast on more than one occasion .The new records of Spanish Songs sung by Victoria de los Angeles withg uitar accompaniment pla,yed by RENATA TARRAGO (arranged by herfather Graciano Tarrago) have been heard on the air.SEGOVIA bwadcast a recital on October 28th which includ ed Fantasiaand Pavana (Luis Milan) , Alllegretto (Sor), Estudio (Villa-Lobos), Hommage a Debussy (.Fal1a), Torre Bermeja (Albeniz) and Catal,a,n Folk Song(Segovia). His recording of the Castelnuovo-Tedesco Concerto for Guitarand Orchestrai was heard on November 9th.****From the sublime to-----,! ! !A 'blues ' singer with a w ire-stru ng guitar broadcast a jazzed version ofMichael Arne's charming old English song "The Lass with a Delicate Air."Why are such things permitted in any civilised country?
6GUITARCONG'l{ESS OF GUITARISTSIn the Italian city of Parma guitarists from many parts of 1talygathered for their 13th Congress onOctober 14th, 1951. The 'discovery'at this convention was fifteen-yearsold Enrico T1agliavini. Little ClaudiaTempestini, who caused quite a sensation Jast year ( when she was only9 years old), played better thanever and showed very great promise .An innovation was a competitionfor guit.ar-makers. The instrumentshad to be entered without labels andwere judged entirely on their merits.The first prizes went to LorenzoBellafontana for his Serratosa aridTorres models (in that order).At the fina l eveni ng concert aninety-minute recital was given byMasterLo lita Sabicas Tagore.TagJiavini and Professor GiorgioBalboni also contributed solos.EWsDoc. 1951-J an. 1952THE SEGOVIA COURSEFor the econd year in succession,a special course for the guitar underAndres Segovia took place duringAugust and September at the famousChigiana Music Academy in Siena.All the students of last year'scourse were there, and also sevena,lnew participants. The syllabus wasmuch more difficult this time, butSegovia proved bimself a wonderfulteacher, so full of patience andunderstanding for the difficuJties ofhis pupils.Those taking part in the cour:-eincluded Miss Elena PadovaniSundquistEwaMiss(Italy),(Sweden), Alvaro Company (Italy),Alirio Diaz (Venezuela), Viljo Immonen (Finland), Alexandre Lagoya(Egypt), Gerassimos Miliaressis( Greece), Mario Rigacci (Italy) andMiss Picky Messeni Petruccelli(Italy) .MEMBERS' ANNOUNCEMENTSEvery member and suoscriber may have a 25 word notice inserted free in "Guitar News'for each 5/- subscription paid. Extra notices may be included at the following rates: upto 25 words 2/6; from 26 to 50 words (maximum) 5/-"GUIT AR REVIEW". Would ,any C.G.A . member in Britain care to sharea subscriptioln (37 / 6) with two or more others? Box o. 153 "Guitarews", 47 Clarence Street, Che!ltenham, Glos ."GUITAR MUSIC" (transcriptions) published in Spain every 15 days.Subscription for six months-10 / -. Antonio Company, Musica paraGuitarra, Tabernes de V1alldigna (Valencia), Spain .DONATIONS-AND MUSICThe Honorary Treasurer acknowledges with sincere thanks the following donations to the funds of the Classic Guitar Association. Mr. GordonDavy 5/-; Mr. G. Kilgour 10 / -; G.O.W. 20/-. The sale of music given forG.C.A. funds now amounts to 4 / 9/ 6. Many thanks to those members whosent this music. They have enabled C.G.A. to do publicity and informationwork' of great importance! to the Classic Guitar.It is hoped that other members will send music to C.G.A. so that it canbe so'ld to provide funds for further activities. A list of the music availiablefor sale at any time will be sent to any member enclosing a stamp or replycoupon to the Honorary Organiser: C.G.A., 47 Clarence Street, Cheltenham (Glos.) England.
Dec. 1951-Nov. 1952GUITARNEWS7HINTS ON TREMOLO PLAYINGStrike the string with Lhe third, second and first fingers (a,m,i) in thatorder. Hold the right hand just a little higher than for no·r mal playing sothiat the fingers are slightly more vertical over the string.Practise isllowly and steadily at first but do not force the action. Aim atplaying with a certain amount of relaxation of tension. Exercise on the secondor th ird string is more difficult than on the first string and therefore morevlaluable.To achieve evenness of movement count I, 2, 3, 4 to the action of thethree fingers so that the first beat will fall to each of the three fingers insuccession. Practise in varying degrees of loudness a nd softness, also nearerto the bridge or otherwise. Practise tremolo every day. E-ven if you do notpla!Y ,a tremolo solo it will strengthen and develop your fingers-especiallythe third . Tremolo is delig htful-so is rich iced cake! Don't overdo itone tremo1o solo in a programm e is enough."GUADIANA."INTERNATIONAL NEWS.Argentine. There have been manyg uitar recitals in Buenos Aires during recent months. Abel Fleurygave a recital of music by LatinAmerican composers under theauspices of Antigua Casa Nunez."ASOCIACIONGUITARRISATCA ARGENTINA" presentedthe following g uitarists in recitals :Nellv Ezcaray, Enrique Fernandez,Emiiio Colombo, J orge A. Martinez,Oscar A. Devita , Nydia BeatriceSuarez, etc."AMIGOS DE LA GUITARRA"presented Nelly Menotti, Osvaldod'Onofio, Ca rlos A. I zaguirre Arona,FranciscoOrJandoLa Polla,Manuel Lopez Ramos, Lalyta Almiron, etc. The concert on October1:3th was g iven by the Quintet ofGuitars of the Escuela Superior deMusica de la Universidad Nationalde! Litoral. L ed byi Jorge MartinezZarate the Quintet played music byRvrd, Bach, Mozart, Schubert,\1 ussorgsky. Stravin kv Sor andother composers .Brazil. In Santos and Sao Paulothere is much guitaristic activity .Alfredo Scupinari gave the Augustrecital organised by '' ASSOCIACAO CULTU RAL DO VIOLAO".A five-column, front-page articleon the g uitar by Otacilio Colaresappeared in the newspaper "Unitar io." It was illustrated with aportrait of Tarrega and the headlines-right acr01Ss the page-were"The Guitar, An Instrument ofHigh and Noble Lineage."Another newspiaper, "A Gazeta"contained · an article on "TheR epertory of the Guitar'' by RonO'elSimoes.Britain.CHELTENHAM CLASSICGUITAR CIRCLE held its AnnualonSeptember29th.MeetingReports showed an increased mem bership and considerable acti
construction of guitars, first studying the traditional Italian form and finally . and, if played with proper technique, such effects as trills, mordents, tremolo, etc. are hoo,rd with staccato clarity. This last, but not least, requi,site quality and also its . arid expressed its delight in ovation after ovation.
68 fingerstyle guitar 79 funk guitar 125 gig guides 99 guitar bible series 106 guitar chord songbooks 101 guitar ensemble series 109 guitar one presents 96 guitar play-along 91 guitar school 110 guitar series index 14 guitar starter kits 95 guitar songbooks series 102 guitar tab white pages 28 guitar technique &a
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219 CLASSICAL GUITAR HAL LEONARD 2009-2010 CLASSICAL MUSIC CATALOG 220 Guitar Instruction 222 Solo Guitar Literature by Composer 238 Solo Guitar Collections 240 Guitar Duos 242 Guitar Ensembles 243 Guitar with Various Instruments 247 Voice and Guitar 247 Mandolin 248 Dulcimer 248 Lute 76164 6 Classical_Guitar: 6/18/09 4:02 PM Page 219
level of the GR-20 sounds and your guitar sound from the GK-3 and the guitar itself, whether you’re using only GR-20 sounds, the guitar sound alone, or both together. To adjust: the GR-20 sound level at the guitar—turn the large dial on the GK-3. the clean guitar level at the guitar—use the guitar’s own volume controls.
The main types of modern acoustic guitar are the classical guitar (nylon-string guitar), the steel-string acoustic guitar, and the archtop guitar. Vibration is the root of the tone of the guitar strings, which is amplified by the body of the guitar that serves a
Learn Guitar Scales In 8 Easy Steps Learn guitar scales in 8 easy steps with this free National Guitar Academy guide. (If you enjoy this article you should check out our Master Guide: How To Play Lead Guitar.) In this free guitar lesson we [ll cover 8 steps Guitar scales decoded: A simple explanation, at last! Step 1: Understand the basics
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Basics of Bass Guitar Playing 5 Amazing Bass Guitar Lessons: Teach Myself Bass Guitar Learn how to play with step-by-step bass guitar lessons supported by video and audio files. Teach Myself Bass Guitar takes you on a journey from beginner to advanced levels in your bass guitar playing.
