Early Guitars and Vihuela

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I'm starting this new discussion called The way of holding the guitar.

In the dicussion "the left hand tnumb" things are turning in that direction so I thought why not just add a new discussion with this subject in mind.

 

Rob mentioned someplace in the left hand discussion that the vienese way of holding the guitar is such so the head of the guitar is pointed allmost straight up.

I recall reading that this actually was one way of holding it and not only in vienna.

So I've found some paintings/drawings of ways of different ways holding the guitar.

 

 

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According to one of my books its a picture from Aguados "Escuela de guitarra (1825)" Allso its says that Aguado for the first time used his newly invented tripod at a concert in Paris in 1832. The book from wich I have this is by the author and guitarist Josef Holecek, once teaching at the consevatory in Sweden. The book is from 1996 and is when  translated directly called " For the cause of the music". Its written in swedish though.

On this picture (method by Bennet) we can see the straps. Many early guitars had buttons for straps. But we don't see a lot of pictures showing guitar players using it. Here is a case. Interesting...

 

Lars,

You said you had a tripodison? What do you think of it?

Rob

I don't have one but I know a guy who's got one. I dont recall his opinion of it but I can ask him.

 

Saying that one is playing wrong because he or she dosent play exactly as the composer seem to me a bit fanatic especially when it comes to using the littlefinger on the soundboard. I play with my littlefinger on the guitar but not all the time. The awareness of diffenrent techniques back then and the many different oppinions on this issue gives us quiet some freedom to create our own technique instead of one uniform standard technique. Thought when playing some of Sors music using his p i p i technique in scales is rather helpfull for me and especially my duo partner Ruben. In L'encouragement the thema variation part, Ruben playes the triplets in variation 3 with p i p i p i. It really works well for him, its actually easier to play it.

 

You can tell the teacher to read Carcassi's method (opus 59, page 12) about the right hand he said : about the little finger, you should stay lighly on the soundboard... (and the same in Carulli and Sor...)

well said.

In the picture with the tripod, Aguado has his little finger on the bridge. This can also be seen in many lute pictures, and many lutes and guitars have worn/dirt marks around this area. This tells us that many people played with the little finger on the bridge or soundboard, and that many did so close to the bridge. This makes more sense when you use gut strings, in my experience. 

 

Sor said he would place the little finger on the soundboard when his thumb came to the treble strings, but took it off when the thumb went back to the bass strings. I like this idea of a flexible, variable-position, right hand. 

Many of the guitars in towards the mid 19th century has even some kind of plate on wich one can rest ones little finger. I'm not sure what this plate is called

Like this :

I put one of those little "pick guards" on a clients Lacote replica before I would let him take it. He plays with his pinky finger planted (and never seemed to trim his nail) so all his instruments have a nasty extra hole (or near hole) in the top. A little oval pad of Rosewood or Ebony, I think it looks very elegant. 

I cant seem to find a section in my method by Aguado. Wich method do You have Martin. The one I have is the english version called "New guitar method".

Knowing that Aguado played with his nails the rest on the soundboard would have scratched the soundboard. Though he could have had a short littlefinger nail.

 

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