Classical Guitar Magazine

 

P

C O P ~ Paco Peria is one of the foremost flamenco guitarists in the world. e has dedicated dedicate d himsel f to conserve pure flamenco music, following in the footsteps of great guitarists like Ramon Montoya and Sabicas. His reputation as one of the outstanding exponen exponents ts of flamenco guitar has spread and he has performed all over the United Kingdom and in most of the European countries. e has also played in Canada, Japan, made three highly successful tours of Australia and given a recital at the Hong Kong Festival. Paco Peria appears regularly on British Television and has made several best-selling records for DECCA and PHILlPS. e has played a season of Flamenco at Ronnie Scott s jaz jazz z club, and taken par t in a concert performance of Falla's a Vida reve with Victoria de los Angeles at the Royal Albert Hall. His shared recitals with John Williams have been a great success both in England and abroad. Paco Peria uses D'Addario Pro Arte guitar strings exclus exclusively. ively.

For full details of this year's International Flamenco Guitar Seminar Write: Centro Flamenco Flamenc o Paco Pena Calle Reloj. No 7 Cordoba, Spain

 

CL

SSIC

L GUIT

Vol. 1 No. 1

SEPTEMBER/OCTOBER 1982 5

Classical Guita Guitarr News - Colin Cooper

7

Concert Diary - Colin Cooper

9

11

Julian Bream, The Contrib Contribution ution - John Los Romeros - Graham Wade

14

Scal Sc ales es - A Necessary Necessary Evi Evil? l? - Neil Smith

16

Paganini and the Guitar - Harvey Hope

18

Harmony for Guitarists - John

20

Music Supplement - Edited by Neil Smith

31

Analysis

35

Music Reviews

39

Record Revi Reviews ews

42

Concert Con cert Revie Reviews ws

49

Classicall Guitar Teachers Classica

of

W

R

W

Duarte

Duarte

Julian Bream - page 9

Prelude by J. S. Bach - Oliver Hunt

Features Editor: Martin Beaumont Reviews Editor: John W. Duarte Correspondence Editor: Graham Wade Concert Diary Editor: Colin Cooper Historical Editor: Harvey Hope Music Supplement Editor: Neil Smith

os

Romeros - page

11

Regular Contributors: Alice Artzt, Raymond Burley, Mary Criswick, Prances Gray, Oliver Hunt, Chris Kilvington, Ivor Mairants, Jorge Morel, David Russell, Charles Scott, Maurice J. Summerfield, June Yakeley Advertisements: J. Bell

ADVERTISEMENTS

All advertisements to be addressed to: J. Bell Classical Guitar,

Saltmeadows Road, Gateshead NE8 3AJ

SUBSCRIPTION RATES United Kingdo United Kingdom: m: £5.50 Overseas: £5.75 Surface Airmail: USA, Canada, South America, South Africa £11.75 Australia, New Zealand and The ar East £12.75 Middlee East Middl £9.50 in   f not remitting Sterling, please add equivalent of £2.00 for Bank Handling charges

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Published bi-monthly by:

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Paganini - page 16

3

 

EDITORIAL

 

_

This is the first issue of the only magazine in Britain to be devoted entirely to the interests of players of the classic guitar. The exclusion of guitars of other kinds, except where they are relevant to our main interest, does not mean that we disapprove of them; it does mean that we are not in the business of providing classic guitarists with half a magazine - or, if you put it another another way, way, wit with h one one whos whosee real real cost is twice the cover-price. What you may expect to find in our pages is spelled out elsewhere and need not be repeated here; it's more or less what you might expect and our first concern will be to maintain a high quality and level of interest. Though we shall have our own, regular writers our pages are open to anyone with something worthwhile to communicate, whether in the form of articles, news, music or a simple letter to the Editor. This will be your magazine in every good sense of the word. Just as important is what you will not find in our pages. They will be closed to cheap sensationalism, politics (professional or amateur), personal attacks and feuds, and all matters that might give employment to the legal profes sion on either side of a case of libel. Those who, like the old ladies who knitted at the foot of the guillotine in 18th century France, revel in such things will have to seek them elsewhere. Neither will we print bad language with the excuse that it is 'telling it like it was' or preserving the 'flavour' of the interview.

If this is a poli policy cy that that appe appeal alss to you, you, read read on on - and carry on doing it Your suggestions for the improvement of the magazine will be welcomed and, where practicable, acted upon. t remains only to say 'Welcome to our pages - and hel help p up to ke keep ep them them wort worthwh hwhile, ile, li live ve and clean'. clean'.

MARTIN BEAUMONT (Features Editor)

The review pages will cover records, sheet music and books; among these will be a proportion of outstanding issues from other countries which may be difficult (or even impossible) to buy in Britain. In these latter cases we shall give the addresses from which they may be obtained. From time to time we shall publish reviews of records that are not new issues, since all readers will not be familiar with everything available, and comparative surveys of recordings or printed editions of particular music. In the case of concerts we plan to cover the majority of those given in London and, in addi tion, a selected number of events in the provinces. In short, we shall try to give maximum coverage of what is on ofTer DUARTE (Reviews Editor)

JOHN

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CLASSICAL GUITAR NEWS by COLIN COOPER These are only the clear facts of the matter; anything else remains an area of speculation and is likely to continue to be so, no matter how tempting it may be for reporters with a taste for sensationalism to enter it . In the end it does not matter  whatever the circumstances, what would almost certainly have been a brilliant career was brutally ter minated before it could take flight. There the matter should be allowed to rest decently.

Shrewsbury for

Grice s

Master Class in June, writes ohn Dodd. Works by Bach, Sor, VillaLobos, Carcassi and Torroba were studied,, and guidance was given in studied technique,, even to the extent of some technique pretty basic right hand positioning. The proceedings were conducted in a relaxed and informal atmosphere, as might be expected. Cheryl is to give another class there next year, and early booking is recommended.

Long

Re Cycles

Cheryl

run

At the Harrogate Festival in August Carlos Bonell gave the first perfor mance,, with soprano Margaret Field, mance of a song cycle by Douglas Young. A setting of verses by James Joyce, the work comprises about twenty songs

The series of broadcasts on BBC Radio 3 The Classical Guitar began with a programme in June 1973 given by Alirio Diaz; its long continuity was broken after the programme of last May, by Monika and Jiirgen Rost (East Germany) and it was succeeded

The Segovia at International Competition Leeds CastleGuitar last October generated a fitting euphoria that has been sadly muted by a subse quent event, surrounded by less certainty than even the more responsible media reports have suggested. It concerns the winner, Tsuyoshi Horiuchi. At the end of the television programme based on the Competition it was stated, with fitting solemnity, that, five months after the event, Horiuchi had suffered permanent damage to his left hand and would never play again. That statement is precisely true.

in all with a total duration of some 35 minute minu tess - a subst substant antial ial wo work rk by by any any standards. The BBC are recording it later this year. Success for one song cycle; only the promise of it for another, as yet unwritten. Composer Oliver Hunt, attending the first performance of his guitar trio Circles Around a Still Centre was so impressed by the tenor voice of Sergio Martinez in a group of Italian songs that he there and then announced his intention of writing a song cycle for the Martinez-Dunlea duo, probably to verses by Pablo Neruda. Thus Martinez, who has sung here in English, Italian and

by ar new for guita guitar which whi chprogramme began with began with Music a Summer season of six programmes that were edited repeats of earlier ones from the original series. The Classical Guitar resumed its pilgrimage on 17 July with the first of nine programmes; the last of these, by Julian Bream, seems certain to mark the end of the marathon. This does not however end the guitar s years of benefit in terms of air-time for, in mid-September, a new series begins, retaining the title Music for guitar and scheduled scheduled to run well in into to 198 1983 3 - be beyo yond nd whi hicch there is as yet no decision; as it is not impossible that the wishes of listeners

However, rumours from m ded the horse s mouth reportsand had fro preceded prece the official statement by quite some time and, together with reports in the national press, created a confused impression. Having investigated the matter as fully as possible, we have established establ ished that after the Competition Horiuchi was delighted by his success and was looking forward to the prospect of making the recording and fulftlling the numerous concerts that were a part of it. He took a brief holiday in Japan at Christmas and returned to England early in the new year, after which his attitude seemed to change. Sometime during February

German, may at last be given the opportunity to sing a substantial work in his native Spanish. Britten s Songs from the Chinese may have opened one or two doors that had remained closed for too long. It would seem that composers are

may beof taken into account, your letters appreciation to the BBC might pay dividends. The original series had its weaknesses and · its critics (who on the whole offered nothing of constructive substance for the improvement of the programme) but its span of more than nine years and its accomplishments within that period were considerable. In the next issue of Classical Guitar we will give an overview of the series as an appreciative postscript. The new series of Music for guitar will follow the pattern of the series it replaces in that it will include programmes by both domestic and visiting guitarists,

he suffered the loss of the first one or two phalanxes of his left-hand little fmger; shortly after tha thatt he ret retu urned finally to Japan, Japan , his career obviously brought to an early and tragic end. end .

Cheryl Gri

Tsuyoshi Horiuchi with Andres Segovia

Tragic echo

becoming

more

aware

o f the

possibilities in the voice-and-guitar form. Indeed it is somewhat surpris ing, in view of the generally acknowledged suitability of the guitar as an accompanying instrument, that there have not been more song cycles for voice and guitar in recent years.

e

Masterr Class Maste

Players and observers from various parts of the country converged on

recorded in a variety of venues, but its programme-length will be a uniform 30 min utes and and th theere will be no con versation between the artist and an anch an chor or-p -per erso son n - on only ly mu musi sic. c. 5

 

Star

n

west

Admirers of Vladimir Mikulka, one of the players for whom the epithet

International contest

Nonsuch contest

The 25th Concours International de Guitare under the direction of Robert Vidal has been announced. Works required for the selection tests in interpretation are: Sarabande, Gigue and Double from the 2nd Lute Suite

Two new competitions have been announced by the Nonsuch Guitar Society, one for players and one for composers. The winners will be chosen at the Nonsuch Guitar Festival 83 at Ewell Court House, Surrey, on 13 and 14 May 1983. Prizes include an Asturias guitar, money, a Wigmore Hall recital and, for the winning composition, a first

(Bach);

Fandanguillo

(Turina);

Impromptus for Guitar (Richard Rodney Bennett). Full details from 25 Concours International de Guitare, France Musique, 116 Avenue du President Kennedy, 75786 Paris-Cedex 16, France.

Early Guitar seminar Vladimir Mikulka

'brilliant' is no mere advertiser's hype, will be pleased to know that he is now living permanently in Paris. His i mp ro v ed

accessibility

t ak es immediate effect in the form of a

Wigmore Hall concert on 3 October, a bold recital of premieres of works by East European composers that

hester Guitar

promises to be one of the events of o f the year.

Obituary The name of Martha Nelson (b. 1922) first appeared in the Guitar Review (published by the Society of the Classic Guitar in New York) No. 21 (1957) as 'Brazilian Editor', later as 'Contributing Editor' and finally as Associate Editor' in No. 34 (1971). In reality her devotion to the Society and to the journal was total, and their interests absorbed her waking life; the organization of some 270 guitar con certs represented only a part of her contribution. During the last two decades her work on behalf of Guitar Review was essential to its wellbeing, as it was selflessly given. Her gentle and leisurely speech proclaimed her place of origin as the Deep South, to which she withdrew at the end to die of cancer in Atlanta, Georgia, on 7 November 1981. In every way she will be sadly missed by her countless friends, all th thos osee - from the the world ld famous to the humble amateur  who knew her, and, for what she gave to the world of the guitar, by even more who never knew her except by name. W e are all the poorer for her passing. This brief tribute does not represent stop-press news but, as this is our first issue, it is one we must pay, however late in the day. 6

public performance by Raymond Burley. The adjudicating panel includes John Mills, Reginald Smith Brindle, John W. Duarte, Raymond Burley, Michael Doughty,Gareth Waiters and one or two others. The terms of both competitions appear to imply solo work only, but further information can be obtained from Terry Pamplin, Little Critchmere, Manor Crescent, Haselmere, Surrey. Please enclose a stamped addressed envelope.

Harvey Hope

For the fourth year in succession the Baroque guitar exponent Harvey Hope has organised two one-day courses on the early guitar, on Sunday 31 October and Sunday 7 November. Players may bring either a classical guitar or a fivefive-cour course se guitar, although a number of Baroque guitars will be available for those who attend. The courses cover repertoire, playing styles, tablature, technique and the history and developm development ent of the instru ment. Some remarkable guitars from Mr Hope s collection will be displayed, among them instruments by the 17th century makers Voboam, Tielke and Platestainer, as well as 18th and 19th century guitars by Pages, Panormo, Lacote, Stauffer and others. The course fee of £ 12 includes a 'ploughmans' lunch with wine. More details from The Guitar Study Centre, 64 Ashmore Grove, Welling, Kent DA16 2RY.

ircle

One of the main functions of the Chester Guitar Circle is to encourage the members, particularly the younger ones, to perform to a live audience, writes Charles Scott. The members' evening on 7 July found no shortage of enthusiasts willing to play. From a wide age range, they included Philip Holt, Dawn Jenks, Ian Powick, Roy and Rebecca Crosby (father and daughter), Adam Crook, Dave Sharp, John Pardoe, Brian Hewitt, Tom Davis, Chris Birtles, Peter Thorne and our own Charles Scott himself, who

took

the

opportunity

of

announcing the impending launch of Classical Guitar Chester Guitar Circle must be one of the very few to draw its members from more than one country; some come from as far afield as Bangor-on-Dee and Cefn-y Bedd, in Wales. Rebecca Crosby was congratulated on achieving entrance to the Royal Northern College, where her ability will fmd opportunities for development and advancement. Next meeting: first Wednesday in September (Members evening). October: recital by Katy Caws, with high calibre programme of Dowland, N arvaez, Brouwer Brouwer,, Walton, Lauro, Smith Brindle and Rodrigo.

 

CONCERT DIARY September

14 Thursday Aldenham: OMEGA GUITAR QUARTET Herts College of Higher Education, 7.30''pm 7.30

6 Monday London: MARC ONGLEY Wigmore Hall, 7.30 pm 7 Saturday Salisbury: HILL/WILTSCHINSKY GUITAR DUO

Salisbury Salisbur y Festival Festival - Med Mediev ieval al Hall, Hall, Salisbury, 7.30 pm Friday Lewes: HARVEY HOPE (Baroque Guitar) Alll Saints Art Centre, 7.30 pm Al 10

11 Saturday Sawbridgeworth: DAVID and RACHEL BURDON (Guitar, violin, oboe) The Old Malthouse, Knight St. (Tel: 0279 722318) 8 pm

OMEGA Wells: GUITAR QUARTET Wells Centre, Wells next the Sea, Norfolk, 7.30 pm

16 Saturday Sawbridgeworth: KATY CA WS The Old Malthouse, 8 pm

St Edwards School, 7.30 pm

Thursday London: THE LUTE GROUP Wigmore Hall, 7.30 pm (Pacoloni, Milano, Dowland, Valderrabano, Mudarra, Besard, Hume) 21

2 Saturday Coventry: CARLOS BONELL Cothedge Theatre, The Butts 3 Sunday London: VLADIMIR MIKULKA Hall,

7.30 pm

(Rak,

6 Wednesday Chester: KATY CAWS Chester G uitar Circle, 8 pm (Brouwer, Walton) 7 Thursday Coleraine: CARLOS BONELL Coleraine Colera ine Univ., N.I., N.I ., 8 pm 8 Friday Derry: CARLOS BONELL Derry Univ., N.I., 8 pm 9 Saturday Omagh: CARLOS BONELL Omagh Arts Festival, 8 pm 10 Sunday Salisbury: HARVEY HOPE

Sussex: CARLOS BONELL Gardner

7.45 pm

Centre,

GUITAR DUO

Preston Poly Arts Centre, 7.30 pm 30 Saturday Lincoln: HILL/WILTSCHINSKY GUITAR DUO

Lincoln Guitar Society, 7.30 pm

GUITAR APPRECIATION SOCIETY NORTH EAST ENGLAND prou ly present

GRAHAMWADE 17

OCTOBER

BARNEV BAR NEV KESSEL 31 OCTOBER

HARVEVHO PE 21

NOVEMBER

PEOPLE'S TH E A TRE - 8 pm NEWCASTLE UPON TYNE

Sussex Univ.,

22 Friday London: LUIS ZEA Wigmore Hall, 7.30 pm (Bach, Lauro, Duarte, Barrios, Holborne, Morley, Milano) Nottingham: CARLOS BONELL Nottingham Guitar Centre. Guest appearance (for venue and details: 0602 622709) 23 Saturday Kettering: CARLOS BONELL with ENGLISH SINFONIA (Rodrigo, Carulli. Further details: 0602 43653) 26 Tuesday Camden: HILL/WILTSCHINSKY GUITAR DUO

Camden Fest Festiva ivall - Sh Shaw aw Theat Theatre, re,

St Edmunds Guitar Festival

London, 1.0 1.05 5 pm

Wednesday Tiverton: HARVEY HOPE East Devon Coll College, ege, 7.30 pm

28 Thursday Bangor: CARLOS BONELL Bangor Univ., N Wales, 7.30 pm

13

Preston: HILL/WILTSCHINSKY

OF

QUARTET

October

Koskin)

Friday London: MANUEL BARRUECO Wigmore Hall, 7.30 pm (Bach, Cimarosa, Sor, Gonzalez, Granados, Rodrigo 15

Oxford: OMEGA GUITAR

14 Tuesday Hull: HARVEY HOPE Feren Art Gallery, 7.30 pm

Wigmore

Exeter: HARVEY HOPE (ring 0392 78396 for details)

29 Friday London: CAROLlNE McCAUSLAND (Songs with guitar) Wigmore Hall, 7.30 pm (Songs of the Country and of the Sea)

BARBICAN

CENTRE

SILK STREET LONDON EC2Y 80S

NEIL

SMITH WIT H THE

LONDON CONCERT ORCHESTRA PLAYING THE 'CONCIERTO DE

ARANJUEZ' by

JOAQUIN RODRIGO TUESDAY 26 OCTOBER 1982 at 1.00 pm

7

 

8

 

JULIAN BREAM The Contribution by JO

N

W. DUARTE

THE Julian Bream I first met in the 1940s was a small boy in short pants; when playing he was virtually obscured by his guitar, face and arms appearing on its perimeter like those of a musical Mr Chad. By the time this appears in print he will, incredibly, be in his 50th year. His fame is now such that he could, if it were in his nature to do so, join Segovia in adopting a surname-only billing. We so naturally accept his presence and stature that we are in danger of taking him for granted; it is perhaps a good moment at which to survey the path that has led him to his position of well-deserved eminence as, in a worthwhile sense, Segovia's truest successor. In relation to the guitar itself as a musical medium, Segovia's principal achievements were: (i) The establishment of the instrument on concert platforms around the world, to a hitherto undreamed-of extent. (ii) The winning of respect from other musicians for the guitar and its potential in high-quality music-making. This had a variety of consequences, one of the most important of which was his persuasion of non-guitarist composers to write for this humble and previously undervalued instrument. Technological advances - in jet-assisted air travel and in creati cre ating ng the lon longg-pl playi aying ng record record - gr great eatly ly enhance enhanced d the spreading of Segovia's influence and strengthened the situa tion of the guitar in the post-war years. At the same time there were those who viewed the matter with some apprehension: if Segovia were for any reason to disappear from the scene, what would happen to the instrument that was virtually identified with him? Such thoughts may well have passed through Segovia's own mind at that time. t was into this scenario that Julian Bream was the flrst 'young hopeful' with genuine talent to enter as the 1950s unfolded. To all intents and purposes a self-taught guitarist, as Segovia was, he acquired a formal musical education (which Segovia did not) at the Royal College of Music in London though, in a haughty establishment where he was requested to carry his guitar in through the back door, there was no-one to help him in developing his instrumental studies with the guitar. His official debut, in London's Wigmore Hall, was in 1950 and announced his long awaite awa ited d arriva arrivall - hi hiss reputatio reputation n had prec precede eded d him him in the guitar-musical world. Through the 1950s it became 'fashionable', not least among the politically motivated, to ackno ack nowl wled edge ge Bream's Bream's remark remarkable able musi musicia cians nship hip - but to to express regret that his guitar playing per s left much to be desired. Such myopic carpings may have hurt his feelings at the time but they did not retard his development (they may even have provoked its acceleration!) or the spread of his reputation in the world. Since then he has continued to develop in his own way, shaping his own path and attitudes, and contributing to the prestige and resources of the guitar to an extent unequalled by anyone since Segovia in the years of his most passionate evangelism. At the beginning of his performing career Bream used what has come to be known as the 'Segovia repertoire' reperto ire' - it wou would ld have have been sur surpris prising ing had had it bee been n

Julian

ream

otherwis other wisee at that time time - but wit withi hin n half a decad decadee he was already moving away from that territory; he has of course never entirely deserted it but it now forms only a segment of his working stock. Segovia had lobbied the sympathetic composers of his youth youth on on behalf behalf of th thee guitar guitar - Tor Torrob roba, a, Turina, Ponce, Villa-Lobos, Castelnuovo-Tedesco and others, some of whose music he found unacceptably 'dissonant'. In his turn Bream had little difficulty in extract ing new works from a galaxy of co comp mpos oser erss - Ben enn net ettt, Berkeley, Britten, Arnold, Fricker, Rawsthorne, Searle, Walton, Davies and Henze are names to conjure with in the wider world of music; many of these works, like those to which Segovia acted as midwife, have become standard items in today's programmes. The high reputation of many of those who wrote for Segovia now rest heavily on their guitar works and, indeed, some are currently represented in the record catalogue by little else. t is difficult to believe that a like fate will befall many of those on Bream's 'list', though time alone will tell. That Bream has been so richly successful is in part owed to what Segovia did, causing reputable composers to take the guitar seriously, but it is equally important that Bream's artistry has made it possible for their efforts to be reward ing. If Bream has not so far embraced anything beyond the friendlier manifestations of 12-no 12-note te music (a reaction shared by most contemporary audiences) his catalytic effect has been greater than that of any other guitarist of his time; his contribution has been vital to the well-being of the guitar. t has been just as important that it has been ream who has done it: when an artist of his quality and reputation presents new music guitarists list n - to his concerts and his record rec ording ingss and lea learn rn,, flr flrst st to toler tolerate ate and and the then n to

 

understand, love and perform the music that at first sounded uncomfortably strange, far-removed from the guitar s traditional image . This in turn helps talented, but less influential, performers by creating a climate in which it is more readily accepted that guitar music, like any other, inhabits an evolving rather than a static area. Today there are other guitarists whose musical educa tion and technical prowess at least match Bream Bre am s but, though working in the favourable ambience he has done so much to foster, none is so universally respected as he is a musician s musician. He has worked with others in a variety of fields but, though he possess skills in the lighter forms of music (he is for instance, a deft improviser in th thee jazz of the Django Reinhardt era), he has been careful to keep only to those areas in which his abilities genuinely match his reputa tion and standards. In no external area has he been more influential than in that of renaissance music, one for which he has deep affection and which strikes resonances in his own personality. He took to the lute for the simple reason that he felt was best able to express the music written for it (though he has never come to terms with the baroque lute) and not because he viewed it as an instrument with a developing future beyond that of re-creation. The revival of interest in the lute had gained momentum m omentum before Bream s involvement with it but the world of the lute was still an esoteric one, inhabited by performers whose abilities were technically ill-equipped to attract the affection of a nascent public. Bream approached the lute with a guitarist s right hand and used his nails, a thing that was and still is regarded with the same horror as would be the playing of the classic guitar with finger picks; he also used a lute that was far from auth authenti enticc , with a sing single le second course that tha t took root only only in in Dowland Dowland s last years - to mentio mention n onl only y one anomaly. Lutenists were so busy tut-tutting that they tended to overloo overlook k the important im portant point; their trees got in the way of the wood. Bream had an instinctive feeling for the music nd posssessed the technique to present it with burning conviction and the virtuosic fluency that purist lutenists then lacked; while they talked, criticized and researched, Bream communic ted with the public and opened its ears. There are now many lutentists of superb musical mus icality ity and and high high (aut (authent hentic) ic) tech techniq nique ue - most of them, ironica iro nically lly,, ex-guit ex-guitaris arists ts - but Bream Bream remai remains ns one one of the very few who can ftll a concert hall. Few are the diehards who now refuse to acknowledge that Bream played a key role in stimulating and accelerating public interest in lute music. Within that same field the Julian Bream Consort virtually pioneered the revival of the Elizabethan broken consort. Working with modern instruments and players who, no matter how versatile, were not specialists in early music, the Consort made a very great impact in concert and on record. It was disbanded after the tragic, early death of the violinist Olive Zorian but was revived in the 70s and is now active once more, Bream the only member not qualify Auth then enti tici city ty - bu butt who who car cares? es? He is ing for the medal of Au still the great communicator and that is what early music, like any other kind, is about. Julian Bream has been the most influential guitarist of the post-Segovia years, not merely because he is a mag nificent performer and consummate musician who has earned the genuine respect of musicians of ll kinds; his influence has been much wider than that. Segovia established the guitar within the musical world in which he himself e ~ ~ l o p e d that of Spanish and romantic (albeit late) music, a massive achievement in itself. Bream gave a firm bur affectionate push to a repertory that was severely in danger of ossification and stagnation, imparting a 10

momentum that others can now maintain more easily because of what he did; he created the climate in which they can now work. Others may trumpet loudly about the things they have done for the guitar, but a simple count of the new music they play and a head-count of the composers whose interest th y have stimulated will easily sort the wheat from the chaff. The world of lute music too owes him a debt that is now more freely acknowledged than it once was. Five men in the history of the guitar made different, key con tributions to the progess of the guitar: Sor, Torres, Tarrega, Segovia and Augustine, a list that should now be extended to a total of six by the addition of Julian Bream. 0

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MAURICE BERARD

The most beautiful book on guitars as works of art ever published . Text in English and French, 320 pages ( 1 2 t " x 9 f ) . hard cov cover er - te text xtur ured ed pa paper. Magnificent photographs illustrate th. th .e book, and most of these are in colour. Price £40.00 UK, post and packing £2.50. Available from Saltmeadows Ashley Mark Publishing Company, Road, Gateshead NE8 3AJ

 

LOS ROMEROS ROMER OS by GRAHAM WADE OVER the last three centuries many musical families have aroused a special fascination. In recent years the names o Dolmetsch, Menuhin, and Tortelier have represented on the concert platform not only the patriarch but families o out standing ability. That music definitely runs in families has been demonstrated by the sons of J. S. Bach as well as by Leopold Leopo ld and W olfg olfgang ang Mozart, Mozart , the Lawes brothers, and the Strausses o waltz fame including Johann I, II and Ill. In instrument making, famous dynasties range from the Stradivaris, the Amatis, and the Guarneris, to the Ramirez. Famous family units o modern times include Len Williams and son, Shostakovich and son, the Oistrakhs, Sir Lennox Berkeley and composer son Michael, Waiter and Alexander Goehr, and the amazing Abreu brothers. Los .Romeros .Romeros have established themselves over the last twenty years as formidable exponents o the principles o music in the family . In ensembles o various kinds, includ ing quartets, quartets with orchestra, and duos, as well as outstanding solo performances, Los Romeros have assilmed a unique significance in the crowded world o the inter national recitalists. For one thing, at a time when record companies are distinctly discouraging to many guitarists who deserve a wider audience, the Romero family between them have made at least two dozen recordings with massive international sales. Los·-Romeros consist o father Celedonio and his three sons, Pepe, Angel, and Celin. As well as the unique renown the family has achieved through their Guitar Quartet, the reputations o Pepe b. 1944) and Angel (b.1946) as important solo recording artists speci specialisin alising g in both Spanish and early 19th century music (including Boccherini, Sor, and Giuliani) are now secure in the international hierarchy. A constant stream o world-wide tours (Angel Romero is visiting Britain this autumn) ensures that the esteem built up by their albums is underpinned by frequent personal appearances. Moreover, at a time when leading Spanish players o the classical guitar seem peculiarly thin on the ground, Los Romeros have reasserted the Spanish identity o the guitar and provided a necessary corrective to the abundance o northern European and Anglo-Saxon viewpoints o the guitar and its repertoire which have threatened to dominate the commanding heights. t is essential that the three pillars o the guitar s conte contempor mporary ary appeal appeal - north Europea European, n, Spanish, Span ish, and South South American American - shou should ld be be well represented by a balance o recitalists from all three areas. For a healthy awareness o the repertoire we must, from time to time, hear Spanish music interpreted by Spanish players, Villa-Lobos played by Brazilians, Venezuelan music in the dazzling hands o Alirio Diaz, and the works o Walton, Britten, and Arnold as demonstrated in the strictly untarnished urtext versions o Bream. The internationalism o the guitar is now irrevocably founded on solid ground. Yet how necessary to go back to interpreta tions originating from the native soil of the composer s art. Los Romeros, as Joaqum Rodrigo remarked, have their Spanishness as their special stamp o identity . This

os Romeros

characteristic has been well nurtured despite a long residence n the United States. Celedonio Romero, the founding father, was born in Malaga in 1917, and gave his Madrid debut in 1937. He was the youngest son o a Spanish architectural engineer (the man who designed the harbour o Gibralter) and graduated from the Madrid Con servatory Celedonio left Spain in 1958 after some years o friction with Franco s regime, and emigrated with his family to America. Celedonio was a student of Daniel Fortea (1878-1953), a pupil o Tarrega. f Llobet (1878-1937), Barrios (1885 1944), Pujol (1886-1981), Segovia (b.1893), and Regino Sainz de la Maza (1897-1982) might be regarded as the vanguard o the twentieth century guitar movement, then Oyanguren (b.1905), Maria Luisa Anido (b.1907), Scheit (b.1909), Luise Walker (b.1910), Gomez (b.1911), Azpiazu (b.1912) and Almeida and Rey de la Torre (both born 1917) represent the second generation. t is in this group that Celedonio Romero belongs, and he is clearly a most significant player o this generation. Comparison o Celedoni Celedonio o s own solo recordings with others o his era shows that he can easily hold his own with most o them, Rey de la Torre, perhaps Llobet s most brilliant pupil, being the most formidable, and Laurindo Almeida the most well-known. In historical terms this generation o players has probably had the least apprecia tion from the critics, being sandwiched between the illustrious forefathers and the brilliant breed o the 1920s and 30s. Yet it was to this intermediate group that the generation of Diaz b. 1923), Presti (1924-67), Yepes b. 1927), Ragossnig (b.1932), Behrend (b.1933) and Brea ream m (b.1933) often had to turn where possible for a little guidance if geographical opportunities permitted. 11

 

Los Romeros - Pepe, Angel and Celin Romero with their father Celedonio Romero

Like that other teacher, whose influence on the guitar scene was like a tidal wave, Len Williams (b.191O), Celedonio Romero has achieved a remarkable pedagogic feat, that o equipping his sons with both technique and ins piration. t is a fascinating exercise to compare Celedonio s own recording of, for example, Narvaez Guardame las Vacas, with that by his eldest son, Pepe, or the two versions

here as they cohere the wilful spirits o four guitars into one musical entity. Their sonorities in quartet performance provide an object lesson in that blending o tone so elusive to more spasmodic attempts at ensemble music one hears occasionally. Los Romeros manage to deliver the impres sion o one large resonating guitar rather than four guitars played by separate individuals. Such musical closeness can

by father and son o Sor s Variations on a Theme o Mozart, Op 9. The distinctions are not only technical but also stylistic, that much misunderstood aspect o 20th century guitar history. Celedonio has succeeded in teaching his sons so well that their musical development is not constricted yet continuity of generatio generations ns is maintained. This example o guitar evolu tion within a single family is extraordinary and unique. t has even been revealed that, initially Celedonio demanded of the boys that they should play without nails, in the true Tarrega tradition, before going on to master the modern technique Guitar Player, January 1981). Thus Celedonio has provided an important historical link between the early 20th century traditions o the guitar in the Tarrega school, and later developments in the contemporary guitar world. The ensemble playing o Los Romeros is in itself an innovation, both in its excellence and in its repertoire. As an

surely be achieved only by performers intimately related. But the Romeros are probably aware that the sound o four guitars is not entirely satisfactory as a musical medium. Guitar ensemble material is greatly inferior to the richness and variety o ensemble music for other instru ments. The balanced voicing o a string quartet, superbly exploited by all the leading composers over the last two and a half centuries, is quite unlike the homogeneity o four guitars (even when a requinto or two may be added to take the soprano line). The chemistry o four guitars can quickly induce monotony with a rather cloying textural brew, at first delightful but later repetitive. The Romeros have tried to solve these problems. Though the deficit in the ensemble repertoire cannot be made up, and transcriptions o Vivaldi, Telemann, Haydn, provide no real answer, the Romeros have inspired such composers as Rodrigo and Torroba to look afresh at the

ensemble they have a distinctive, immediately recognisable quality o timbre, warm, elegant and expressive, and above all an ease and naturalness other quartets just have not achieved. Family togetherness is obviously at a premium

challenges o ensemble music. Rodrigo s Conc Conciert ierto o An dalu daluzz for four guitars and orchestra, li for like ke Torrob a s Concierto Iberico, attempts to bring in variety and contrast by using orchestral colour as a foil to the tones o plucked sound.

12

 

As a medium for sustained listening, the combination of quartet and orchestra is perhaps limited. The music is always melodious and imaginative, sometimes even evoking the pictorialism of mm music. Yet the range o f available available surprises soon diminishes and once the initial pleasantness of the music has been absorbed, it is difficult to listen repeatedly to such sonorities. When, as in the Andante movement of Torroba's work, the melody enters played by the guitars, sweetness is paramount. But the purple intent of the writing writing leads leads towards prettiness and pleasure rather than th an to that depth of emotion which takes us far beyond mere delight. The fault here is perhaps less with the nature of Torroba's than with with the the quartet mediumwas, itself.as To incorporateinspiration the orchestra in Rodrigo's Concierto Andaluz a valuable development. What is required now is a series of such works by many other composers, with or without orchestral backing, to exploit the potential of the guitar ensemble. The credit for the initial pioneering impetus and its dissemination on disc to a wid widee public goes to Los Romeros. Their very existence has thus opened another window on the world of the guitar.

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VIRTUOSO SOUTH AMERICAN GUITAR MOREL GUITAR SOLOS JORG

A beautiful music album of original guitar solos and arrangements of traditional South American themes by the brilliant Argentinian guitar virtuoso, Jorge Morel. The 32 page book contains the following titles, 'El Condor Pasa', 'Misionera', 'Carnavalito', 'Danza Brasilera', 'Romance Criollo', and 'Danza in E Minor', arranged note for note by Jorge Morel as he plays them on his latest Guitar Masters recording GMR 1002. Available from good music shops throughout Great Britain, Brit ain, 'Virtuoso South American Guitar Solos', retails retails at £3.99. In case of difficulty it is available direct from the publishers (add O 50p for postage). ASHLEY MARK PUBLISHING COMPANY, Saltmeadows Road,  Gateshead NE8 3AJ

A T LAST

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A compilation of music available for guitar priced in sterling. I t reflects the demand that we experience as retailers and includes a consider able amou nt of material not gene generall rally y known - particul particularly arly in in the student ensemble section - an area often thought to be lacking. CONTENTS :

Tutors & Didactic Material Scale, Theory Books & Manuscript Repertoire ire - all graded graded student Reperto Solo Duo Trio Quartet Quintet Concert Reperto Repertoire ire - solo & duo Clarinet & Guitar Flute & Guitar Oboe & Guitar Recorder & Guitar Violin & Guitar Viola & Guitar 'Cello & Guitar Harpsichord & Guitar Piano & Guitar Voice & Guitar Chamberr Music .. . Trios Chambe Quartets Quintets Sextets Concertos Index of Composers & Arrangers

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13

 

A NECESSARY EVIL?

SCALES

by NEIL SMITH SOME years ago my harmony teacher, a fine pianist, drew my attention to a document he kept by him during piano lessons; it contained an impressive list list of names - Brahms, Chopin Cho pin,, Liszt, Liszt, Krei Kreisl sler er,, Rubinst Rubinstein ein and others others - atta attached ched to single-sentence quotations relating to scales and their role in the life of a professional musician. None of these quota tions were from guitarists. At that time I was beginning to

pelled to prepare the next note, discontinue the sounding note nd time the right-hand stroke precisely. In ascending one is not compelled to remove the finger(s) from the pre vious note(s); this makes one less less problem for the hands and mind to deal with. If we play the single-string scale of Ex. 1 at half-note (minim) 200 the ascending and descending portions will

understand the value of scales to a guitarist, though I knew that many abhorred the word itself let alone the work that was involved. There are good reasons why work with scales is valu able in both the physical (performance) and academic (theory) sense. First, without probing too deeply, the academic view: even a cursory examination of music before . 1900 (and much of it after that) will show that it is con structed with scales as its raw materials; melodies and har monies are largely built from scale notes. Through this one may obtain a modest insight on the processes of composi tion in in traditio nal music and may begin begin to relate relate them to more recent musical trends. In the physical sense the development is usually con fined to major, minor, chromatic, whole-tone and intervallic (thirds, sixths, octaves and tenths) scales but, however limited they may seem in theoretical range, they can be used

require different treatments. Leaving the fingers in place works well in ascent, but what sounds best in descent? Very very slow practice is essential and close listening is needed to eliminate problems with the left hand and to synchronize the action of the right. Further techno-musical problems arise in playing the simple scale in Ex.2. If we play the first note, C, and keep it held down while placing the 4th finger on the next note, D, we achieve a legato so far as the left hand is concerned (but not a slur); this is potentially the smoothest way to join the D with the C. The role of the right hand at this point must however be considered: once the first note is sounding it may be stopped in three ways: 1 The 2nd finger can be lifted. 2 The 4th finger may arrive early on its note. 3. The right han d can arrive early in approaching the next stroke, touching the already vibrating string.

to develop power, agility, speed, good tone, accuracy and endurance - and because endurance because the their ir notes notes are are the ver very y fibr fibres es of the musical fabrics they relate directly to the vitally important area of interpretation. One difficulty is that melodies, usually couch ed in in scale notes, often refuse to fit on the guitar in a technically simple way. A theoretically simple sequence of notes such as CEFDC can result, with an inexperienced player, in an unmusical jumble of sounds; even a player who is fairly advanced may produce a poor result if such a sequence is played at high speed in any octave and with any fingering. Although there are many scale books in print, most give little indication as to how their contents are to be practised; however, some do. Pascual Roch (a pupil of Titrrega), n his tutor of 1921, tells the player to keep the left-hand fingers depressed for as long as possible, releasing the pressure only when necessary. A similar approach is

The full note-length of the first note can be realized only if the right-hand finger begins to touch and move through the string at the precise moment when the next left-hand finger stops its note. If this movement is not perfectly con trolled a small silence will result of practical value in staccato passages) and this will become an annoyance, interrupting a flowing melodic line. This difference in depressing, striking and releasing accounts for the effect produced by outstanding performers in playing any particular passage. The length of each sound is decided by each player, guided by the ears and controlled by the hands; intelligent scale practice can make this possible. This element of articulation helps to give life, depth, interest and meaning to a passage. To return to the fmgerboard: let us examine more carefully the playing of su succ cces essi sive ve not notes es - se seco cond nd and and third DIE), and the return journeys from third to second

advocated in Hector Quine  Quine   s Introduction to the uitar (1971) though it is stated that fingers should be removed from one string after the first note on the next string has been sounded. The Roch tutor states that, in descending passages, all fingers should fall simultaneously on to their respective notes, preparing them in advance; on this point Quine is less specific. One thing is ce cert rtai ain n - de desc scen entt alo along ng one string is very different from ascent in that one is com-

pre-placement cement of E/D) and second to first DIC). Though pre-pla the 2nd finger on the C secures that note without interrup tion the movement is difficult when the music is moving quickly or in a complex way (or both) since we may not have time to do it. the D is lifted before the C is prepared a brief silence will result and one may lose security security of touch. Ideally, the fingers should exchange one note for another; this requires great care, very slow practice and, above all,

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attentive listening Problems arise in crossing from one string to another: in following the D with the E (or vice versa), for instance, the first of the two notes must stop sounding at some point. If the two notes overlap they will produce a transient major 2nd, which may not be what the music mus ic calls calls fo forr - and this this should should be detec detected ted by liste listenin ning g carefully. In moving from D to E a gentle apoyando on the second note will cut short the first, even if it is still depressed. In the reverse direction the following may be helpful: 1. The 4th froger may 'lean' against the higher string  many good players will do this instinctively. 2. The 1st 1st finger may be lifted but kept n contact with the

string A right-hand froger may damp the first note by touching its string. These, singly or in combination, can eliminate unwanted overlaps and the results are to be judged by listening This is the tip of the iceberg. If the reader remains unconvinced of the value of work with scales he/she should tape-record scales played at a metronome speed of 100, with four notes to each beat (400 notes per minute), for a ' minimum of 30 beats. If the playback reveals any problem with rhythm, clarity, tone or evenness, or if any trace of difficulty is apparent, it would be wise to establish a daily routine, of work with scales without delay. 0 3.

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The BRISTOL SPANISH GUITAR CENTRE presents the sensational Cuban-American guitarist

MA NUE L BARRUECO in concert THURSDAY 1 4 OCTOBER 1982 at 7.45 p m BRISTOL POLYTECHNIC

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Tickets £3.00 on the door or in advance from the Spanish Guitar Centre (SAE with postal bookings please) The BRISTOL SPANISH GUITAR ENTRE (Principal Michael Watson) has provided an unequalled service for over 27 years. We have the most comprehensive selection of student and concert guitars in the country and our professional private and class tuition is much in demand. A 'by return' postal service will supply you with music, strings (including pyramid lute strings and 10 string guitar sets) and guitar accessories and our 'no deposit' HP scheme simplifies your guitar purchase. Please ask us to quote for sending a guitar direct to your home. Send 20p in stamps for our catalogue  Spanish Guitar Centre, 2 Elton Road, Bishopston, Bristol 7. Tel. (0272) 47256

15

 

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PERHAPS the most romantic figure in the history of the violin was the virtuoso Nicolo Paganini. His accomplish ments remain a source of wonder to violinists to this day. He was born in Genoa on 28 October 1782. His father, who managed to make a living as a merchant, was passionately fond of music and encouraged the young Nicolo at an early agee to pla ag play y the the man mando doli lin n some so me mi migh ghtt say say too enthusiastically. There is little doubt that his father was a strict disciplinarian and forced his son to practice for many hours each day. t must have been obvious that Nicolo was no ordinary beginner, and indeed he showed such an aptitudee that he was very soon placed under the guidance of aptitud some of the most highly esteemed teachers, with whom he studied the mandolin, the guitar and the violin. He was soon giving concerts and, realising his capacity for earning money, his father sought to tighten the control he had over his son. When Nicolo was 17 he went to perform at the festival at Lucca, and took the opportunity to run away from home. Having been under such an authoritarian rule for so long, it is little wonder that he went to the other extreme. His time was spent in the taverns, with the ladies, or at the gambling tables. He was always in debt and was reduced to pawning his treasured violin. At one time he was associated with Eliza Bonaparte, Napoleon's sister. t was said that 'she fainted often during his conc concerts' erts'.. She She wasn't wasn't the the onl only y one one - a goo good d many many young ladies went into raptures and swooned with excite ment when they heard Paganini play. Following Follow ing a brillian brilliantt early career, Paganini disappeared from the musical scene and lived with a certain aristocratic lady of Tuscany. He never revealed her identity. The only clue to her name is the compositions he dedicated to her, bearing the pet name 'Dida'. As she preferred the guitar, and may well have been a fine player, he laid aside the violin for the three years he spent at her villa; his first composi tions for the guitar date from this period. For several years he lived with the singer Antonio Bianchi, who bore him a son, Achille. The guitar continued to play an important part in Paganini's life When he was asked by a friend why he spent so much time with it he replied I love it for its harmony; it is the constant companion of my travels'. A number of guitars have been said to have belonged to Paganini. One such instrument and a mandolin were originally in the Heyer Museum, Cologne, but were transferred to Leipzig in 1925; their location is not now known. They are illustrated in The Guitar and a nd Mandolin by P J. Bone. The photograph shows the mandolin to be in fact a mandore, or liuto soprano This was a small lute, about the size of a mandolin, with six pairs of strings. At some time it had been altered to take four pairs of strings arranged in the Neapolitan style, and tuned to the same intervals as the violin. Another guitar, sold at auction in London in 1906, was described as 'an interesting guitar, formerly, the property of the great gr eat Paganini'. The where-abouts of this instrument is also now unknown. A mandolin and a guitar are reported to have been given to the town of Genoa by Paganini's grandson in the early 1900s. 16

THE GUITAR HOPE

Nicolo Paganini

On his second visit to Paris, Paganini visited the famous instrument maker and dealer Vuillaume, who showed him a guitar that had been made by Grobert, a violin maker of Mirecourt. The instrument appealed to Paganini, who borrowed it When it was returned, Vuillaume suggested that Paganini autograph the table. Later, the same instrument was lent to Berlioz, who added his signature opposite to that of Paganini; it is now in the museum of the Paris Conservatoire. Paganini appeared able to achieve the impossible on the violin. t was rumoured that he was in league with the devil for how else could such amazing sounds be produced? t is easy to understand how these rumours began. His every appearance both hypnotised and inspired his audience. He was a tall, thin man with a striking i f haggard face and piercing eyes. When he performed on stage, the odd shadows cast by the flickering candles and oil lamps served to heighten the impression of the supernatural. Always with an eye to publicity, Paganini encouraged the mysteries that surrounded him. He took to wearing black clothes and let his hair grow long. When he was asked about his system of playing, he would smile mysteriously and say 'everyone has his secrets'. Only when Satan began to get the credit for his playing did he take the trouble trouble to refute refute the rumours He delighted in astonishing his audiences. A favourite trick was to break a string in the middle of a piece, preferably in some fiendishly difficult variation, and to continue as i f nothing had happened. Once he played a series of variations using a walking stick instead of a bow When the composer May seder challenged him to play one of his most difficult com positions, believing t impossible to be played at sight, Paganini handed him his violin and asked him to put if out of tune; he then proceeded to play the work faultlessly.

 

He was a close friend o the composer Rossini. In Rome during the carnival o 1822, the two dressed up as beggar-women and strolled the streets strumming their guitars and singing a begging song composed by Rossini. They must have appeared a comical pair, for Paganini was tall and very thin, whilst Rossini was short and fat. They collected the composer Meyerbeer from his lodgings and, while Paganini and Rossini played and sang, Meyerbeer passed the hat round. In the Summer o 1834 Paganini purchased a large country villa, the Villa Gaiono. He shared it with the guitar virtuoso Luigi Legnani for several months and they spent much o the time rehearsing for a proposed tour to London. They gave a number o concerts in the towns o Northern Italy, and on 27 June 1837 gave a recital together in Turin. This was destined to be Paganini s last public performance. They had planned to give a recital in a new casino in Paris, on the way to London. Paganini had invested heavily in this venture and, when the authorities refused to license the building for gaming, he suffered considerable financial loss. The directors o the establishment sued him for breach o cont ract and these legal and financial financial worries worries contributed to the deterioration o his health. He was already a very sick man and the plans for a joint tour fell through. In the hope that a change o air would help him to regain his health, he moved to Marseilles and then to his native Genoa. With the onset o Winter he moved to the warmer climate o Nice. Sadly the moves were in vain for he died in Nice on 27 May 1840. As a violinist Paganini had been incomparable. As a guitarist, he was considered by many to be the equal o the virtuoso Giulio Regondi. The celebrated guitarist Carulli, a contemporary o Paganini, says in his his tutor that he was a fine fi ne p erformer on the g uitar . A commemo rative plaque aff affixe ixed d to the house where he died bears the inscription: Nicolo Paganini died in this house 27 May 1840. His magic notes still vibrate in the soft breezes o Nice .D

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Paganini o Genoa by L. Day. Paganini by L. Sheppard.

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17

 

H

RMONY FOR GUI T

RIS TS

by JOHN W . DUARTE

Part THIS series of articles is not intended to cover its subject comprehensively but, rather, to provide a sound basis of knowledge for those who are content to let it rest there,or on which more which more strongl strongly y motivated motivated readers readers may bui build ld - eit either her by reading the available textbooks or by taking lessons lessons with a properly informed teacher. t is not necess ary to examin examinee too many pie pieces ces of music in order to discover that a given melody may be underpin ned with various harmomic sequences and, equally, that even the simplest harmomic progression or formula may support a wide variety of melodies. Given even a particular melody and a specific progression of chords, the latter may appear with different bass notes, creating correspondingly different combinations of upper (melody) and bass voices - a question of counterpoint in a simple form. What this means is that, despite the existence of numerous 'chord encycl enc yclope opedia dias' s' - mor moree impre impress ssiv ivee to loo look k at than of value in use, it is impossible entirely to separate harmony from the other facets of music. Neither are such close bedfellows as melody and harmony inexorably linked by predictable for mulae that can be applied like ready reckoners; this is just as well since, if it were otherwise, music could be written with the simple aid of a handbook and without need of crea tive imagination. There are clearly limits to what can be achieved in a series of this nature (and, perhaps, to what should even be attempted) but we will do the best we can within them. The starting ground Some basic knowledge of what is regrettably called music 'theory' is necessary if one is to approach the subject of harmony; the information supplied by the ears alone is not enough, important though it is. We must assume a minimum level of knowledge of basics that can be gleaned from any standard primer 2 notation, construction of major and minor scales, descriptions descriptions of degrees of the scale, the nomenclature of intervals. To provide some sort of guidance, the reader should be able to answer the questions in the the foll follow owin ing g 'te st' without without too much much dif diffi ficul culty ty - pre pre ferably in the mind rather than on paper. If this proves impossible, or laboriously difficult, at this stage, the reader is advised to consolidate this basic knowledge before approaching these articles. 1. Nam e the 4th degre degreee of the scale of E major.

6th degree of the scale of B major. submediant of the scale of G major. leading note of the scale of E minor. 2. Name the relative minor of A major. Eb major. relative relati ve major of G minor. B minor. 3. What note is a Perfect 5th above A? Minor 6th above F? Major 3rd above Ab? Major 7th above Db? 4. What interval do you get if you invert a Minor 2nd?

Major 3rd? Augmented 4th? Diminished 5th? Major 6th? Minor 7th?

18

5. What is the name of the interval between the following pairs of notes, assuming the first of each pair to be the

lower and the interval to be simple? C and Gb Bb and F#

D and Bb

A and C

Db and A

D and Cb

Answers are given at the end of this article. Intervals Two notes are not enough to form even the simplest chord, though they may suggest one, yet when played together they signal the beginnings of harmony. If we play two notes successively we hear th their eir in indi divi vidu dual al chara characters cters - pit pitch, ch, timbre volume duration but if we play them simultaneously they acquire an extra dimension. Different pairs of notes make different, subjective and emotional impacts on us and display a par ticular identity of their own. If we think of the effect of two separate notes as 4 and 5, when they are played simultaneously their sum is greater than 9! The emotional effect of intervals varies widely and is subjective insofar as different listeners may use different words to describe the effect of anyone interval. t is not that we perceive different characters when we listen to the same interval, we may simply use different words to describe the same emotional area. We can in fact group intervals into 'families' within which the emotional effect is very similar; in doing so we use only the simplest ways of describing the possib pos sible le notenote-separat separations ions wit withi hin n and octave octave - a minor minor 6th 6th sounds like like an augmented 5th (each has the same number of semitones) so we describe the interval as a minor 6th: perf pe rfec ectt in inte terv rval alss 1st, 4t 4th, h, 5t 5th, h, 8t 8th h stro st rong ng,, sta stark rk,, empty, cold, severe. Minor and major 3rds and 6ths  pleasing, harmonious, friendly, warm, compatible. Minor and major major 2nds 2nds and 7ths 7ths - unple unpleasant, asant, discord discordant, ant, agg aggres res sive, acidic, angular. Augmented 4th or diminished 5th (trito (tr itone) ne) - vag vague, ue, meande meanderin ring, g, uncertain, uncertain, lack lacking ing strengt strength. h. Write out and play, repeatedly, as wide a variety of all these intervals as your conscience and patience permit. isten to them carefully and learn to recognize their emoti emo tion onal al type - li list sten enin ing g (not just overh overhear earing ing)) is what music is finally all about. After some time ask a friend to play a variety of intervals to you, not necessarily on the guitar, and t ry to iden identify tify the group to which they belong by recognising the type of effect they have on the ear. As the next step, listen again to repeated playings of all possible intervals with the object of learning to differentiate among the members of a particular group. The interval is clearly from, say, group one (perfect) but which one is it? Focus your ears in these ways: Perfect Perfe ct - the unison unison and octave octave should should be be easy easy to reco recog g nize and to differentiate, the 5th has a much 'stronger' effect, reminiscent of a bagpipe drone, than the more 'neutral' 4th. 3rds 3r ds ver versu suss 6th 6thss - the former former sound 'closer' and 'tig 'tighter hter'' than the latter. 2ndss and 7th 2nd 7thss - 2nds are vicio vicious us (li (like ke hand-ta-hand hand-ta-hand fi ght ing), 7ths are just disagreeable (like throw ing stones across the street).

 

Tritone Trito ne -

has its its own, own, unique unique ide identi ntity, ty, uncha unchanged nged by nota tion (A 4th or D 5th). Hence once more your obliging friend will be useful in helping you to test your grasp on this form of recognition. The final step is to learn to differentiate between major and minor intervals of the same numerical size - is it a major or a minor 3rd? I f you cannot readily recognize the character of each one within a pair, even with practice, put to use the basis on which the intervals are named. Regard the lower note as the tonic of a major scale, sing through the scale (out loud or, better, in your mind's voice) until you come to the appropriate degree degree;; does it agree with the upper note of the interval? If so it is major; if not it is minor. The willect same method help have difficulty dis tin tingui guishi shing ng a perfect perf 4thyou from fro mif ayou perfe perfect ct 5th - si sing nginalon along g the scale. There are various ways of accomplishing this last step but the simplest is the one I have described. The final objective is to be able to identify an interval when you hear it and to recognize the kind of emotional effect is has, a very difficult thing to do without the help of a friend since it is almost impossible to give oneself an 'unknown' test. However, the vital thing is to listen carefully and objectively; if one does this conscientiously one will succeed - a nd tests will only confirm the fact

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