Appendices

442
Appendix 1
Guitar: Michael Gee (1997)

Luthier Michael Gee

Country England, Earls Barton, Northamptonshire.
Year 1997

Top Sitka Spruce

Back and Sides Indian Rosewood

String Length 65cm

String spacing (nut) 45mm
String spacing (bridge) 58mm
Fingerboard width (nut) 53mm

Top strutting Fan (Hernandez and Aguado style – see below)

Top thickness 2.5mm (edges) – 2.8mm (behind bridge)1

Michael Gee is a leading British guitar maker working in the north of England. He has

made over 500 guitars since opening his workshop in 1997. Michael Gee’s guitars are

largely hand made with few machines being utilised in the process. Construction

methods are based on a traditional approach as demonstrated by his use of a Spanish

strutting method for the underside of the guitar’s top as developed by Hernandez y

Aguado. Gee also makes instruments based on those of the early 20th century German

luthier, Herman Hauser.

1
Measurements made by author

443
Adrian Copley of the Stafford Spanish guitar centre notes:

His guitars have been described as having an exceptionally smooth and warm tone with
great projection and excellent separation.2

These qualities are just those sought by contemporary guitarists. So even though adopting

a traditional approach to guitar making Michael Gee also accommodates the

contemporary performer’s desire for a powerful and balanced instrument with a

crystalline tone.3 To this end he has specifically developed a new ‘sandwich’ top that

further enhances these desirable characteristics.

2
Adrian Copley, [Web page] (Stafford Spanish Guitar Centre, [cited Jan 20 2007]); available from
http://www.staffordguitar.com/shop/gee.asp.
3
A discussion of the tonal characteristics of contemporary instruments is found in Chapter 10

444
Figure A 1 – Guitar by Michael Gee 1997

The strutting pattern used by Michael Gee is based on that developed by Hernandez y

Aguado as illustrated below.4

4
Roy Courtnall, Making Master Guitars (London: Robert Hale, 1993), 78.

445
Figure A 2 - Hernandez and Aguado – Strutting pattern (as used by Michael Gee)5
Measurements of top thickness in mm. as for 1997 Michael Gee Guitar

5
Ibid.

446
Appendix 2

Guitar: Gaetano Guadagnini (1829)

Luthier Gaetano Guadagnini (1796 – 1852)

Country Italy, Torino, Piazza San Carlo
Year 1829

Top Local European spruce

Back and Sides Apple wood
Fingerboard Fruit wood

String Length 64.5cm6

String spacing (nut) 38mm
String spacing (bridge) 61mm
Fingerboard width (nut) 45mm
Frets 21 / Bone
Tuning Pegs Reproduction with mechanical tighteners
Purfling and sound hole
decoration Whale bone
Top strutting Transverse
Top thickness 2.0 – 2.2 mm

Gaetano Guadagnini was a member of a well known family of instrument makers from

Turin which included his father Carlo, and his son Antonio. Turin, along with Naples,

was one of the major centres of guitar production in early nineteenth century Europe.

Gaetano Guadagnini’s innovative use of a large figure eight shaped body gave his

instruments a particularly full bodied sound and resonance, qualities that suit the

performance of chamber music and concerti with orchestra.

Gianni Acconero notes that these guitars were played by some of the leading players of

the period including; Maria Teresa de Regatis and Benvenuto Terzi.7

6
All measurements made by the author.

447
Figure A 3 - Guitar by Gaetano Guadagnini (1829)

7
Johann Kaspar Mertz, Johann Kaspar Mertz, Complete Works, Duo Maccari - Pugliese (Varese: Trio
Zecchini, 2002).

448
Appendix 3
Analytical Extracts

The following extracts were surveyed in the analysis of changing notational styles from
the early nineteenth century to the late twentieth century in chapter two:

• Fernando Sor (1778-1839) - Fantaisie Elegiaque Op. 59 (1836); Bars 1 – 1418

(inc. anacrusis as a separately numbered bar)
• Mauro Giuliani (1781–1829)- Sei Variaziono per Guitarra Op. 62 (1814); Theme
and Variations 1 – 39
• Johann Kaspar Mertz (1806-1856) - Fantaisie Hongroise Op. 65 # 1 (c1856);
Bars 1 – 4510
• Napoléon Coste (1805-1883)- Le Source du Lyson, Op. 47 (1878) – ii Andante
Sostenuto; bars 1 - 3711
• Pierre Boulez (b.1925) - Le marteau sans maître (1934); Bars 1 – 9512
• Leo Brouwer (b. 1939) - Elogia de la Danza (1964); Lento bars 1 – 5313
• Peter Sculthorpe (b.1929) - From Kakadu (1994); Cantando bars 123 – 17614
• Phillip Houghton (b.1954); Kinkachoo, I Love You (1998)15

8
Fernando Sor, The Complete Works for Guitar, ed. Brian Jeffery, 9 vols. (London: Tecla Editions, 1982),
Vol.7 Pgs.42-45.
9
Mauro Giuliani, Mauro Giuliani - the Complete Works in Facsimiles of the Original Editions, ed. Brian
Jeffery, vol. 39 (London: Tecla Editions, 1986), Vol.8.
10
Johann Kaspar Mertz, Guitar Works, ed. Simon Wynberg, 10 vols. (Heidelberg: Chanterelle Verlag,
1985), Vol.9 Pgs2,3.
11
Napoleon Coste, The Guitar Works of Napoleon Coste, ed. Simon Wynberg, 9 vols. (Heidelberg:
Chanterelle Verlag, 1983; reprint, 1986), Vol.5 Pgs.64,65.
12
Pierre Boulez, Le Marteau Sans Maitre (London: Universal Edition, 1957), 1- 6.
13
Leo Brouwer, Elogio De La Danza, Guitar Archive (Mainz: Schott Musik International, 1972), 2, 3.
14
Peter Sculthorpe, From Kakadu and into the Dreaming (London: Faber Music, 1994), 8, 9.
15
Phillip Houghton, Kinkachoo, I Love You (Moonstone Music Publications, 2001), 1, 2.

449
Fernando Sor (1778-1839) - Fantaisie Elegiaque Op. 59

Figure A 4 - Fernando Sor (1778-1839) - Fantaisie Elegiaque Op. 59 (1836); Bars 1 –

3716

16
Sor, The Complete Works for Guitar, Vol.7 Pg.42.

450
Figure A 5 - Fernando Sor (1778-1839) - Fantaisie Elegiaque Op. 59 (1836); Bars 38–
6717

17
Ibid., Vol.7 Pg.43.

451
Figure A 6 - Fernando Sor (1778-1839) - Fantaisie Elegiaque Op. 59 (1836); Bars 68 –
10618

18
Ibid., Vol.7 Pg.44.

452
Figure A 7 - Fernando Sor (1778-1839) - Fantaisie Elegiaque Op. 59 (1836); Bars 107 –
14119

19
Ibid., Vol.7 Pg.45.

453
Mauro Giuliani (1781–1829) - Sei Variaziono per Guitarra Op. 62

Figure A 8 - Mauro Giuliani (1781–1829) - Sei Variaziono per Guitarra Op. 62 (1814);
Theme and variation 120

20
Giuliani, Mauro Giuliani - the Complete Works in Facsimiles of the Original Editions, Vol.8.

454
Figure A 9 - Mauro Giuliani (1781–1829) - Sei Variaziono per Guitarra Op. 62 (1814);
Theme and variations 2 & 321

21
Ibid.

455
Figure A 10 - Mauro Giuliani (1781–1829) - Sei Variaziono per Guitarra Op. 62 (1814);
variation 322

22
Ibid.

456
Figure A 11 - Johann Kaspar Mertz (1806-1856) - Fantaisie Hongroise Op. 65 # 1
(c1856); Bars 1 – 2023

23
Mertz, Guitar Works, Vol.9 Pg2.

457
Figure A 12 - Johann Kaspar Mertz (1806-1856) - Fantaisie Hongroise Op. 65 # 1
(c1856); Bars 21 – 4524

24
Ibid., Vol.9 Pg.3.

458
Napoléon Coste (1805-1883)- Le Source du Lyson, Op. 47

Figure A 13 - Napoléon Coste (1805-1883) - Le Source du Lyson Op. 47 (1878) – ii

Andante Sostenuto; bars 1 - 2825

25
Coste, The Guitar Works of Napoleon Coste, Vol.5 Pg.64.

459
 Figure A 14 - Napoléon Coste (1805-1883) - Le Source du Lyson Op. 47 (1878) –
ii Andante Sostenuto; bars 29 - 3726

26
Ibid., Vol.5 Pg.65.

460
Figure A 15 - Pierre Boulez (b.1925) - Le marteau sans maître (1934); Bars 1 – 1527

27
Boulez, Le Marteau Sans Maitre, 1.

461
Figure A 16 - Pierre Boulez (b.1925) - Le marteau sans maître (1934); Bars 16 – 3228

28
Ibid., 2.

462
Figure A 17 - Pierre Boulez (b.1925) - Le marteau sans maître (1934); Bars 33 – 4629

29
Ibid., 3.

463
Figure A 18 - Pierre Boulez (b.1925) - Le marteau sans maître (1934); Bars 47 – 6330

30
Ibid., 4.

464
Figure A 19 - Pierre Boulez (b.1925) - Le marteau sans maître (1934); Bars 64 – 8031

31
Ibid., 5.

465
Figure A 20 - Pierre Boulez (b.1925) - Le marteau sans maître (1934); Bars 81 – 9532

32
Ibid., 6.

466
Figure A 21 - Leo Brouwer (b. 1939) - Elogia de la Danza (1964); Lento bars 1 – 2133

33
Brouwer, Elogio De La Danza, 2.

467
Figure A 22 - Leo Brouwer (b. 1939) - Elogia de la Danza (1964); Lento bars 22 – 5334

34
Ibid., 3.

468
Peter Sculthorpe (b.1929) - From Kakadu (1994)

Figure A 23 - Peter Sculthorpe (b.1929) - From Kakadu (1994); Cantando bars 123 –
14935

35
Sculthorpe, From Kakadu and into the Dreaming, 8.

469
Figure A 24 - Peter Sculthorpe (b.1929) - From Kakadu (1994); Cantando bars 150 –
17636

36
Ibid., 8, 9.

470
Figure A 25 - Phillip Houghton (b.1954) - Kinkachoo, I Love You; Bars 1 – 40
(1998)37

37
Houghton, Kinkachoo, I Love You, 1.

471
Figure A 26 - Phillip Houghton (b.1954) - Kinkachoo, I Love You; Bars 41 – 72
(1998)38

38
Ibid., 2.

472
Appendix 4

Analysis of the 20th century guitar methods

This appendix presents the full analysis of the 20th century guitar methods from which
conclusions were drawn in chapter 2 - Performance Practice in the 20th and 21st
Centuries.

The following tutors were included:

• The John Mills Classical Guitar Tutor – John Mills39

• Solo Guitar Playing - Frederick M. Noad 40

• Classic Guitar Technique – Aaron Shearer41

• Pumping Nylon, The Classical Guitarist’s Technique Handbook – Scott Tennant42

• Pumping Nylon (Easy to Early Intermediate) – Scott Tennant43

• Pumping Nylon (Intermediate to Advanced Repertoire) – Scott Tennant44

• Progressive Classical Guitar – Jason Waldron45

39
John Mills, The John Mills Classical Guitar Tutor (London: Musical New Services, 1992).
40
Frederick M. Noad, Solo Guitar Playing, New Edition ed. (New York: Schirmer Books, 1968).
41
Aaron Shearer, Classic Guitar Technique, vol. 1 (New York: Belwin Mills, 1959).
42
Scott Tennant, Pumping Nylon, the Classical Guitarist's Technique Handbook, ed. Nathaniel Gunod,
National Guitar Workshop (Van Nuys: Alfred, 1995).
43
Scott Tennant, Pumping Nylon (Easy to Early Intermediate), ed. Nathaniel Gunod (Van Nuys: Alfred,
1997).
44
Scott Tennant, Pumping Nylon, Intermediate to Advanced Repertoire, ed. Nathaniel Gunod (Van Nuys:
Alfred, 1999), 23.
45
Jason Waldron, Progressive Classical Guitar, ed. Gary Turner and Brenton White (Burnside: Koala
Publications, 1986).

473
 Name The John Mills Classical Guitar Tutor46

Author John Mills

Type Performer / Teacher

Performance Practice Elements Key Words

Tone Colour ‘Aim at producing a full, warm, and clear sound, without - full, warm,
(Timbre) and cutting or clipping any notes.’47 clear
Volume
‘Also listen to the balance in these chords to make sure no -balance
one string drowns out another..’48

‘..and use the rest-stroke for its tonal colour, not for -tonal colour
accentuation.’49

‘...playing with a full mellow tone quality.’50 -full mellow

‘The guitar is a marvellous instrument because it is capable

of such rich textures and tone colour, but changes in tone -rich textures
colour can easily become vulgar if they are done in a -vulgar
random fashion. Always consider the type of piece you are
playing, the period in which it was written, and then if it
needs tone colour variations, just how much would be
considered in good taste.’51 -good taste
Articulation ‘Both pieces must be played with great attention to the
voices or lines and clarity is of the utmost importance. Try -clarity
and make your performance of this music have a
smoothness or LEGATO as it is termed, so there is a -smoothness
feeling of the notes moving onward in a horizontal line,
rather than vertically.’52 (Sonatos 8 & 9 – E. de
Valderrabano)
Tempo and ‘The sign over the final note is call(ed) a fermata, which
Tempo means that the note in question is to be held a little longer -held a little
Modifications than its written value.’53 longer
(including
rubato)
‘ “Rit” at the end of this piece is short for Ritardando,and
means a gradual slowing up, so bringing the music in this -slowing up
46
Mills, The John Mills Classical Guitar Tutor, 56.
47
Ibid., 19.
48
Ibid., 22.
49
Ibid.
50
Ibid., 29.
51
Ibid., 44.
52
Ibid.
53
Ibid., 20.

474
 Tempo & case to a satisfactory conclusion.54
Tempo
Modifications Keep the tempo steady and do not rush. 55 -steady
(including
rubato) contd. ‘ would suggest the student does not take too much notice -does not take
of the bar lines, but tries to convey the feeling of longer too much
phrases in the music, the scale passages being pushed on in notice of bar
tempo slightly, with a free style of interpretation, whilst the lines
cadences and more vertical harmonic sections be treated -pushed on in
more strictly, so giving a steadying effect.’56 (Fantasia – tempo
Francesco da Milano) (See also “Expression”) -treated more
strictly
“..I would be inclined to slow the tempo, as to maintain -slow the
strict tempo here sounds if anything rather rushed.”57 tempo
(Study – Napeleon (sic) Coste)
Rhythm ‘...because the cardinal sin in music is to interrupt or break
the flow or rhythm.’58 -flow

‘Guitarists, more so than most other musicians, are guilty

of taking liberties (usually subconsciously) with rhythm -liberties
and tempo.’59

‘...and it will be far easier to command a firm control of -firm control

rhythm in your solo playing…’60

‘Slurs should never be rushed. Always try and play them -strictly and
very strictly and rhythmically.’61 rhythmically
Expression / ‘The Fantasia was an extremely popular style of
Interpretation composition, but it should be remembered by the student improvisation
that a piece of this nature must have a feeling of -appearance
improvisation in the interpretation, and one must not be of music on
misled by the appearance of the music on paper. I would paper
suggest the student does not take too much notice of the -pushed on in
bar lines, but tries to convey the feeling of longer phrases tempo
in the music, the scale passages -free style of
being pushed on in tempo slightly, with a free style of interpretation
interpretation, whilst the cadences and more vertical -treated more
harmonic sections be treated more strictly, so giving a strictly
steadying effect.’62 (Fantasia – Francesco da Milano)
54
Ibid.
55
Ibid., 37.
56
Ibid., 58.
57
Ibid., 70.
58
Ibid., 19.
59
Ibid.
60
Ibid.
61
Ibid., 33.

475
 Expression / ‘An artist whose painting look rather like photographs, is
Interpretation very often more difficult or even impossible to study, than
contd. somebody who transmits more of his own feelings and -feelings
technique, and is capable of imitating in his pictures
anything he sees around him, but it is how to breathe life, -breathe life
energy, motion, warmth, sadness, into his work which
separates the great from the not-so-great.’63

‘In most cases the composer cannot perform the piece for
us, we have to interpret the vague series of dots on a page -vague series
left to us by the composer. We must have the technique to of notes
be able to actually play those notes, but then must try to
understand what the mood, feeling, character, of the piece -mood,
is – what the composer is trying to say. We then go one feeling,
step further….., because every performer performs a given character
piece differently, tempos will vary, and any one performer
will take a piece at a fractionally different tempo each
time. We must learn to understand the language of the -language
individual composer, what period he is from, the life he has
led, the circumstances in which the piece was written and
so on.’64

‘The composers of that time assumed every performer

understood this language, and so we find very little -understood
prompting in the original manuscripts.’65 (Minuet – J.S. this language
Bach)

Summary Many of the above notes have references to the expressive

aspect of the interpretive device being used.

An emphasis on producing a clear and full sound and

maintaining flow in rhythm.

This is qualified later in the tutor with some examples of

possible interpretive reasons for not following exactly the
printed score.

The only Tutor to go into any detail as to interpretive practices.

Still however relies on judgment and good taste of the player.

62
Ibid., 58.
63
Ibid., 60.
64
Ibid.
65
Ibid., 65.

476
Summary One assumes this is a learnt discriminatory ability.
(contd.)
But the above statement is preceded with the following
qualification, ‘There were very subtle rhythmical variations
and accentuations which cannot be put down on the printed
music.’

One would assume that there was no need to add such

indications, as ‘every performer understood this language.’

477
 Name Solo Guitar Playing66

Author Frederick M. Noad

Type Teacher (performer)

Performance Practice Elements Key Words

Tone Colour ‘It is also the means of developing a strong clear tone -strong clear
(Timbre) and with the right hand,..’67 (The Rest Stroke) tone
Volume
‘Be prepared to experiment at length with this stroke
until a clear full bodied tone can be produced.’68 (The -clear, full
Rest Stroke) bodied

‘In addition to the basic stroke, experiment with sliding

the nail at a slight angle across the string in the direction
of the bridge for a more delicate sound.’’69 -delicate sound

‘Start slowly and increase speed only when each note is

clear and even.’70 -clear and even

‘...aiming to produce a clear sound and even timing.’71 -clear sound

even timing
‘Aim for a rich, full sound, and be careful to sustain the -rich, full,
chords for their full time value.’72 (Robert de Visee - sound
Saraband)

‘Another great aid to an interesting performance is the

full use of the tonal variety of the guitar.’73 -full use of tonal
variety
‘The fingering takes advantage of the new positions for
smoother changes and greater tonal variety.’74 -tonal variety

‘The use of the 4th string for the A and G gives a -consistent,
consistent and rich sound to this voice.’75 rich sound

66
Noad, Solo Guitar Playing.
67
Ibid., 30.
68
Ibid., 32.
69
Ibid.
70
Ibid., 46.
71
Ibid., 55.
72
Ibid., 108.
73
Ibid., 140.
74
Ibid., 148.
75
Ibid., 150.

478
 Tone Colour ‘One of the most compelling attractions of the guitar is
(Timbre) and the singularly sweet and sensitive tone that can be -sweet and
Volume contd. produced from it.’76 sensitive

‘Particular attention should be given to producing an

even, clear sound at a good volume with a consistent -even, clear,
quality between all the notes.’77 good volume,
consistent
‘The position change here is to put the hand in place to
take the A on the fourth string, so that the entry of this
voice has a consistent sound.’78 -consistent
Dynamics ‘The next step is to consider the dynamic markings. If
they are those of the composer, they should be carefully
noted and respected.’79 -noted and
respected
‘Make the chords ring and, and vary the dynamics to -vary the
sustain interest.’80 dynamics
Articulation ‘Smoothness and continuity of playing can be improved -smoothness,
by use of a technique known as ligado or slur.’ 81 continuity

‘In general aim for a positive performance with every

note clearly defined.’82 -clearly defined

‘...it is particularly important to make the melody as

smooth and lyrical as possible.’83
Tempo & ‘Aim for an even, flowing tempo, with an eventual -even, flowing
Tempo metronome speed of about d = 96.’84 (Ferdinando -metronome
Modifications Carulli – Etude)
(including
rubato)
Rhythm ‘The following exercise should be practiced until they -correct rhythm
can be played in correct rhythm without pauses.’85 without pauses

‘...it should be accurate rhythmically,… If you have a -accurate

metronome, set it to 138 and the click will give you the rhythmically
time for each quarter note.’86 (Malaguena) -metronome

Rhythm ‘Keep a strong rhythmic feel by accentuating slightly strong rhythmic

76
Ibid., 161.
77
Ibid., 167.
78
Ibid., 180.
79
Ibid., 140.
80
Ibid., 154.
81
Ibid., 91.
82
Ibid., 154.
83
Ibid., 170.
84
Ibid., 104.

479
 (contd.) the first beat of each measure, aim for an eventual
tempo of about d = 92.’87 (Henry Purcell – Minuet)
Vibrato ‘The principal technique of the left hand for producing
tonal variety is known as vibrato.’88 -tonal variety

‘Some players reserve the vibrato for use as a special

effect to intensify or add emotion to a passage. Others, -intensify, add
like most violinists nowadays, use it by habit as a basic emotion
part of technique. In general this does not sound
excessive, since the vibrato cannot be used anyway on -excessive
chords of more than two notes or during fast
passages.’89

‘Vibrato is effective if not used to excess.’90 -not used to

excess
Other Effects ‘The portamento, like vibrato, is very rarely indicated in
guitar music since it is considered an effect best left to
the good taste of the player. It is most appropriate in -good taste
91
sole passages of lyrical style...’

‘The slide was more popular at the end of the last -more popular,
century than it is today, and it should be mentioned that end of the last
many of the slides appearing in music of that period are century
converted by modern players into portamenti. When
they appear before a note as a form of grace note they
are also frequently omitted altogether.’92 -omitted
Expression ‘When the basic problems of technique are overcome, it
is important to remember that the object of playing a
musical instrument is not to execute the notes, but to
make music. Music is a means of expression and -make music
communication, and for this reason has often been
called a language. Like spoken language it is divided -language
into the equivalent of phrases, sentences and -phrases etc.
paragraphs, and it is important to try to see these, so that
a musical performance becomes a coherent statement.
Again following the same parallel, when we speak, we varying pitch
use our voices in varying pitch and volume, since we and volume,
know that a monotone is unexpressive and boring.’93 unexpressive,

85
Ibid., 63.
86
Ibid., 78.
87
Ibid., 132.
88
Ibid., 161.
89
Ibid., 162.
90
Ibid., 210.
91
Ibid., 162.
92
Ibid.
93
Ibid., 140.

480
 Expression Finally, remember that one of the best ways to increase
contd. knowledge and understanding of music is by intelligent
listening.’94 -listening

‘The techniques described above can be used in varying

degrees and combinations to produce an exceptionally
wide range of sounds and effects. In this respect the -wide range of
guitarist has a great advantage over, for instance, the sounds and
pianist, and it is important to recognise and use this effects
additional means of expression.’95

‘It is always more interesting to hear effects and -interesting,

contrasts slightly overdone than to hear a timid or overdone
unimaginative monotone.’96

Summary Specific aspects stressed include:

• The production of a clear, full bodied tone

• Even timing / continuity
• Use of tonal variety for expressive effect – risk
exaggeration
• Lyrical playing

Frederick Noad’s book is unique in the fact that it

includes a whole section on ‘Musicianship’ where he
discusses the importance of ‘making music’. In the
discussion that follows he highlights some of the major
points he sees as useful in making music an expressive
‘language’. Importantly he draws attention to the need
to listen to the great performers both live and on
recordings, and to use them as models.

94
Ibid.
95
Ibid., 164.
96
Ibid.

481
 Name Classic Guitar Technique97

Author Aaron Shearer

Type Teacher

Performance Practice Elements Key Words

Tone Colour ‘...but will produce a clear tone with maximum volume.’98 -clear tone
(Timbre) and (On the qualities of a good quality instrument) -maximum
Volume volume
‘…beautiful and personal of instruments.’99
-beautiful
‘Without them there exists a lack of brilliance in
execution and volume; and most important, the tonal -lack of
resources of the guitar, to a great extent, remain brilliance,
dormant.’100 - tonal
resources
‘Experiment until you obtain a beautiful tone; this is a
prime essential for the concert guitarist.’101 - beautiful tone

Tempo and ‘USE A METRONOME (M.M.). Set it as slowly as

Tempo necessary to play without hesitation from the beginning. -without
Modifications Work the tempo up slowly, accurately; one count for each hesitation
(including click.’102 -accurately
rubato)
‘The entire piece should be played with a steady and even -even
1-2-3 count.’103 (Fernando Sor – Andante 1)

“The entire composition must be played at the same -same tempo

tempo; the first 16 measures no faster than the last.”104
(Mauro Giuliani – Andantino)

“This piece must be played very evenly..”105 (D. Aguado -evenly

– Estudio)

97
Shearer, Classic Guitar Technique.
98
Ibid., 5.
99
Ibid., 29.
100
Ibid., 38.
101
Ibid.
102
Ibid., 14.
103
Ibid., 72.
104
Ibid., 75.
105
Ibid., 78.

482
 Rhythm ‘an even rhythm can be maintained…’106 -even

‘...counting VERY EVENLY;’107 -very evenly

‘EVENNESS is most important!’108 -evenness

‘Emphasis must be placed upon EVENNESS and the -evenness

training of (a) to sound the melody note of each chord
distinctly.’109 -distinctly

‘The entire piece should be played with a steady and even -even
1-2-3 count.’110 (Fernando Sor – Andante 1)
Summary An emphasis on basic technique particularly relaxation;
musical instructions minimal but areas given some focus
include:

• Production of clear tone and maximum volume

• Maintain even rhythm and EVENNESS generally
• Need for nails to take full advantage of tonal
resources

106
Ibid., 20.
107
Ibid., 62.
108
Ibid., 63.
109
Ibid., 67.
110
Ibid., 72.

483
 Name Pumping Nylon, The Classical Guitarist’s Technique
Handbook111

Author Scott Tennant – Performer / Teacher

Type Technique Handbook

Performance Practice Elements Key Words

Tone Colour The reason for playing with our fingernails at all is to -(Enhance)
(Timbre) and assist us in securing and controlling the string, to volume and
Volume enhance the volume and tone.112 tone

‘This generally results in a fuller sound’113 -fuller sound

‘In order to achieve a full, or ‘fat’ tone we must give -full or “fat”
special attention to the angle of the fingertips to the tone
strings.’114

‘Anyone who makes a good sound, who can control their -control
tone and articulation, and has any kind of developed
awareness of what their fingers are doing, is planting
their fingers to some extent.’115

‘Always strive to produce a good solid tone.’116 -solid tone

‘The thumbnail shape also allows for greater control of -control

tone colors, since it makes it easy to switch from an ‘all-
nail’ tone to an ‘all-flesh’ tone, or play with the standard
‘flesh/nail’ combination.’117
‘Project (dig in and get a good volume!).’118 -Project, good
volume!
‘Always strive for a good tone.’119 -Always, good
tone
‘Strive for equal volume on all notes’120 (tremolo) -Equal
‘Listen to perfect balance between the voices as you play volume
it.’121 (Giuliani 120 R/H studies, opening chords) -perfect
balance
111
Tennant, Pumping Nylon, the Classical Guitarist's Technique Handbook.
112
Ibid., 30.
113
Ibid., 32.
114
Ibid., 34.
115
Ibid., 35.
116
Ibid., 37.
117
Ibid., 40.
118
Ibid., 54.

484
 Articulation ‘The next step is to play them as legato as possible, -legato
without a noticeable gap between the notes.’122

‘Planting the fingers is the only effective way to control -control

articulation.’123

‘Move quickly between notes, avoiding gaps in the -avoiding

sound.’124 gaps

‘Strive for equal duration on all notes.”125 (tremolo) -equal

Speed and “Strive for consistent accuracy rather than speed.”126 -consistent
Accuracy
Expression ‘Music is the most powerful of all the arts. It instantly
stirs up emotions, conjures visions, and offers glimpses -emotion -
of other, higher dimensions. It arouses men to battle; conjures
kindles amorous passions in lovers; soothes a baby to -arouses
sleep; comforts us when we grieve. It engages our hearts -comfort -
and our minds, and can bring out the best that we are. engages
One can safely presume that not a single emotion, not
any human or natural event, has been left undocumented
by music.’127
Summary This chart shows a substantial focus on the production of
a full ‘fat’ tone and control - balance and equal are words
that reappear frequently.

There is a specific chapter on ‘Control and Velocity’,

highlighting the importance of these areas.
The conclusion contains the player’s vision of music in a
very subjective and evocatively romantic fashion. These
aspects of interpretation are not specifically dealt with in
the text - there is an ‘unwritten’ assumption that these
aspects of interpretation are well understood and
therefore do not require specific expansion. A controlled
and well-structured technique will lead to these
outcomes.

119
Ibid.
120
Ibid., 56.
121
Ibid., 79.
122
Ibid., 17.
123
Ibid., 35.
124
Ibid., 48.
125
Ibid., 56.
126
Ibid., 48.
127
Ibid., 94.

485
 Name Pumping Nylon (Easy to Early Intermediate)128

Author Scott Tennant

Type Performer

Performance Practice Elements Key Words

Tone Colour ‘Make sure the first three and final two chords of the -well-
(Timbre) and study are well-balanced, with all notes even in volume balanced
Volume and tone.’129 -even

‘Get a good, warm tone with the a finger.’130 -warm tone

‘Make sure the repeated notes played with an a-m-i

exchange sound even in volume and tone.’131 -even

‘Produce equal tone and volume on all notes.’132 -equal

‘Strive for an even, round tone on both bass and treble -even
strings’133 round
on both (bass
and treble
strings)
‘Strive for a consistently even volume and tone with p.’134 -consistently
even

‘Make sure the chords in the first eight bars are well-
balanced.’135 -well-
balanced
‘The quicker and slower notes should be of equal (or at
least EXTREMELY SIMILAR) volume and fullness.’136 -equal
Articulation ‘Work towards evenness of the arpeggios.’137 -evenness
and Accent
‘Work towards making the p melody legato and -expressive
expressive.’138

128
Tennant, Pumping Nylon (Easy to Early Intermediate).
129
Ibid., 10.
130
Ibid., 16.
131
Ibid., 26.
132
Ibid., 34.
133
Ibid., 36.
134
Ibid., 37.
135
Ibid., 40.
136
Ibid., 56.
137
Ibid., 22.

486
 ‘Play the triplet figures slightly staccato for clarity and -clarity
articulation.’139

‘Don’t play the first note of a slur grouping too loudly.

This will create an accent. We want everything to sound
as even as possible.’140 -even

‘Normally, we pull into the fingerboard for a crisp -crisp

attack.’141
Phrasing ‘Phrase (‘move’ and crescendo) towards the downbeat of -phrase
the bar, putting a slight accent on that note.’142

Tempo & ‘You don’t necessarily have to play with the metronome,
Tempo but at least use it to establish a tempo.’143 -tempo
Modifications
(including
rubato)
Expression ‘Work toward making the p melody legato and -legato and
expressive.’144 expressive

‘When you’re familiar enough with the piece to play it

from memory, close your eyes and go deeper into the
finer points of playing, the most important being
expression. Expression is communication. Talk through -expression
your guitar as you would recite a long-loved poem.’145
Summary In the second volume of Pumping Nylon a greater number
of references to articulation and accent appear, balancing
the references to tone colour and volume. A few other
scattered interpretive references are made, with a
concluding point about the importance of ‘expression’.
As in volume one expression is defined in a very
subjective, romantic fashion, but its overriding
importance is stressed.

138
Ibid., 36.
139
Ibid., 40.
140
Ibid., 52.
141
Ibid., 54.
142
Ibid., 19.
143
Ibid., 30.
144
Ibid., 36.
145
Ibid., 60.

487
 Name Pumping Nylon146 (Intermediate to Advanced Repertoire)

Author Scott Tennant

Type Performer / Teacher

Performance Practice Elements Key

Words
Tone Colour ‘For the scale passages, I suggest using free stroke a-i
(Timbre) and alternation, as these fingers are further away from each other
Volume than are i-m, creating a better balance in the hand thus
allowing for greater evenness and fluidity in the lines.’147 -evenness
(Frog Galliard – John Dowland)

‘Make them sound well balanced with a good, round tone.’148 -well
(Napoleon Coste – Etude # 11) balanced

‘Balance all the chords well, making each voice clear – as -voice
they would sound on a piano.’149 (Fantasia Original clear
Capricho a imitacion del Piano – Jose Vinas)
Articulation ‘For the scale passages, I suggest using free stroke a-i
alternation, as these fingers are further away from each other
than are i-m, creating a better balance in the hand thus
allowing for greater evenness and fluidity in the lines.’150 -fluidity
(Frog Galliard – John Dowland)

‘Scales may be played with the right-hand fingering

indicated or with i-a, p-i, or p-m.’151 (Luis Milan – Fantasia
18)

‘Aim for smooth scales.’152 -smooth

‘Make the chords in measures 9 and 10 as smooth and -smooth
connected as possible.’153 connected
(Fantasia Original Capricho a imitacion del Piano – Jose
Vinas)

‘Keep the overall feeling of the Introduction (Andante

legato
Mosso) legato.’(Fantasia Original Capricho a imitacion del
Piano – Jose Vinas)

146
Tennant, Pumping Nylon, Intermediate to Advanced Repertoire, 23.
147
Ibid., 5.
148
Ibid., 32.
149
Ibid., 34.
150
Ibid., 5.
151
Ibid., 8.
152
Ibid., 16.

488
 Phrasing ‘Shape the lines. A good way to start is to go up (louder) -shape
when the line goes up, and down (softer) when the line goes
down. This is general advice and as the piece becomes more
familiar, your own phrasing and idea of shaping will
surface.’154 (Luys Navarez - Veintidos diferenciasde Conde
Claros)
Tempo and ‘In general, the classic performance practice for a theme and
Tempo variations is to play the variations in more or less the same -same
Modifications tempo as the theme, until indicated. However, I like to vary tempo
(including each one in tempo slightly to further ‘vary’ each
rubato) variation.’155 (Giuliani – Variations sur les “Folies -vary
d’Espagne, Op. 45)
Rhythm ‘Although there’s some room for expression, the eighth notes
should remain fairly smooth and constant.’156 (Giuliani – -smooth
Variations sur les Folies d’Espagne, Op. 45) and
constant
Rubato ‘Although there’s some room for expression, the eighth notes expression
should remain fairly smooth and constant.”157 (Giuliani – (= rubato?)
Variations sur les Folies d’Espagne, Op. 45)
Expression ‘Although there’s some room for expression, the eighth notes expression
should remain fairly smooth and constant.’158
Summary More information is given in respect to interpretive practices
but this information tends to be based around the premise of
‘accepted practice’ and one assumes listening to great
interpreters. Some tantalising hints that there is more
expected from the interpreter than is contained in the
notation.

153
Ibid., 34.
154
Ibid., 16.
155
Ibid., 23.
156
Ibid.
157
Ibid.
158
Ibid.

489
 Name Progressive Classical Guitar159

Author Jason Waldron

Type Performer / Teacher

Performance Practice Elements Key

Words
Articulation ‘In order to achieve speed and evenness, both vital for evenness
later development, you must practice alternating right
hand finger combinations in scale and single line
melodies.’160
Speed and ‘In order to achieve speed and evenness, both vital for -achieve
Accuracy later development, you must practice alternating right speed
hand finger combinations in scale and single line
melodies.’161
Rhythm ‘...so as to establish a steady rhythm and flow between -steady
each exercise.’162 rhythm,
-flow
Summary A tutor method that focuses on the physical aspects of
guitar technique and the rudiments of music theory.
Recommendations as to interpretive practices are avoided.

The aim of the method stated in the introduction is to give

students a specific level of musical knowledge. There is a
specific reference to music theory.

Personally knowing this teacher’s work and his focus on

tone production and how it can be put to interpretive ends,
it is a contrast to find the Tutor lacking in such advice.

Perhaps this is considered by the publisher to be too

subjective and inappropriate for a method book.

159
Waldron, Progressive Classical Guitar.
160
Ibid., 26.
161
Ibid.
162
Ibid., 36.

490
Appendix 5

Emphasising higher notes

In chapter 4, ‘Expressive Emphasis: Phrasing, Articulation, Accents and Dynamics’, Carl

Czerny discussed the need to emphasis higher notes of the pianoforte which were
inherently tonally weaker. The following example was provided, arranged here for the
guitar. Other examples from the guitar repertoire are presented in the same chapter.

Czerny noted:

‘With the same sort of emphasis every higher note of a melody, as compared with those

which are deeper as to pitch.’163

Figure A 27 – Czerny: Piano Forte School – Emphasis on higher notes in a tonally

weaker area of the guitar

163
Carl Czerny, Complete Theoretical and Practical Piano Forte School Op. 500, 3 vols. (London: 1839),
10.

491
Appendix 6

Guitar Arrangement – Czerny: Expressive use of dynamics - Complete

Theoretical and Practical Piano Forte School Op. 50

Figure A 28 - Czerny’s expressive use of dynamics

492
Appendix 7

Czerny - On occasional changes in the time or degrees of movement164

Version 1

Andante

Figure A 29 - Czerny - On occasional changes in the time or degrees of movement

– Version 1

Czerny notes:

“According to the first way, the passage will be played in strict time throughout, and the

requisite expression will be produced merely be the crescendo and the diminuendo, by

the Legato and the demi-Legato of the quavers, as also by the Legatissimo of the

minims.”165

164
Ibid., 3/3/32. The annotation of the scores in this appendix follows Czerny’s written text
rather than his diagrammatic representation of the changes of the tempo. See also Chapter
7 ‘A Lesson with Czerny’.
165
Ibid.

493
Concluding that:

‘The character of the passage is soft, tender and extremely timid. The first way, in strict

time, will not suffice for this expression,’166

Version 2

Andante

Figure A 30 - Czerny - On occasional changes in the time or degrees of movement

– Version 2

Czerny notes:

‘According to the 2nd way, even in the second bar a slight holding back in the time is

employed, which towards the end of the 3rd and throughout all the 4th bar, fades away in

a continued Smorzando, without however, degenerating into a downright tedious

lingering in the degree of movement.’

166
Ibid.

494
Concluding that:

‘Of particular merit is the protracted duration of each note in the crescendo, which gives

more significance to the melody and the chords.’ 167

Version 3 – Czerny’s favoured interpretation

Andante

Figure A 31 - Czerny - On occasional changes in the time or degrees of movement

– Version 3

Czerny notes:

‘According to the 3rd way, the first two bars must be played in a somewhat hurrying or

accelerated time; and the 2 last bars must again be retarded in the same degree.’168

167
Ibid.
168
Ibid.

495
Czerny proposes the third version as being the most expressive and consistent with the

character of the music:

‘It gives to the two first ascending bars more life and warmth, and the rallentando which

follows makes the last two bars so much more pleasing.’169

Version 4

Andante

Figure A 32 - Czerny - On occasional changes in the time or degrees of movement

– Version 4

Czerny notes:

‘Lastly, according to the 4th way, the whole will be executed with much holding back and

lingering in the movement, so that by degrees and toward the end the time will slacken

almost into an Adagio.’170

169
Ibid.
170
Ibid., 3/3/33.

496
This version with its holding back of time until an Adagio tempo is reached is seen by

Czerny as being too languishing.

It is in reference to the above examples that Czerny notes that the changing of tempo

must not be excessive and must not vary by more than a QUARTER or a SIXTH.

497
Appendix 8
Guitar Arrangement - Czerny: Extended application of expressive
tempo modifications as explored in Chapter 7 ‘A Lesson with Czerny’

498
Figure A 33 - Czerny’s extended application of expressive tempo modifications171

171
Ibid., 3/3/34.

499
Appendix 9

Contents pages of Czerny’s and Hummel’s Methods

Carl Czerny - Complete Theoretical and Practical Piano Forte School Op. 500

Johann Nepomuk Hummel - A Complete Theoretical and Practical Course of Instruction

of the Art of Playing the Piano Forte

500
Figure A 34 - Title Page - Czerny: Complete Theoretical and Practical Piano Forte
School Op. 500172

172
Ibid.

501
Figure A 35 - Contents – Czerny: Complete Theoretical and Practical Piano Forte
School Op. 500173

173
Ibid.

502
Figure A 36 - Title Page - Johann Nepomuk Hummel: A Complete Theoretical and
Practical Course of Instruction of the Art of Playing the Piano Forte174
174
Johann Nepomuk Hummel, A Complete Theoretical and Practical Course of Instruction of the Art of
Playing the Piano Forte (London: J. Boosey and Co., 1827).

503
Figure A 37 - Contents - Johann Nepomuk Hummel: A Complete Theoretical and
Practical Course of Instruction of the Art of Playing the Piano Forte175

175
Ibid.

504
Figure A 38 - Portrait - Johann Nepomuk Hummel: A Complete Theoretical and
Practical Course of Instruction of the Art of Playing the Piano Forte176

176
Ibid.

505