“Music is the medium through which we express our feelingsof joy and, sorrow, love and patriotism, penitence and praise.It is the charm of the soul, the instrument that lifts the mind tohigher regions, the gateway into the realms of imagination. Itmakes the eye to sparkle, the pulse to beat more quickly. Itcauses emotions to pass over our being like waves over the far-reaching sea.” (Carl E. Seashore 1938)
The instrument known as the classical guitar gives musicians and listeners something not found in other instruments. While it’s true that every instrument has offerings and peculiarities that separate each from the others, no other instrument can accomplish as much, as well and as simply as the classical guitar. History will be a guide in revealing and examining what those qualities are that draw so many, including myself, to this beautiful instrument.
Although there is a great deal of debate regarding the first historical evidence of a guitar-like instrument, it is widely believed that such a device was used as early as 1900 years before the birth of Jesus Christ, as appearing in drawings on clay plaques in what has been referred to as the “Cradle of Civilization” or Assyria and other nations within that region. The significance of this to me is in the concept that some principles of expression are timeless, indeed eternal.
The beginnings of the guitar usually focus upon the “lute” and other like instruments; lutes of many different kinds being widely used across early European nations, through the Middle East, and also Asia. The true origin of the word “guitar” is based on the Greek work “kithara” which was actually a lyre and did not in any way resemble the lute.
In early Egypt, versions of this instrument developed to include clearly marked frets. This seemingly small change probably increased the playability of the instrument a great deal. For contrast, one could be invited to experiment with the violin, which does not have clearly marked frets and is not nearly as easy to pick up and quickly appreciate. The measurements used in the construction of the guitar give evidence of that fascinating relationship between beautiful sound and mathematics. For example, frets on the guitar are precisely measured and are equal tempered, the ratio of the distances of two consecutive frets to the bridge being approximately 1.059463. So, it is an artful instrument, even by design.
Antonio Torres Jurado, (1817-1892) of AlmerÃa Spain is credited with setting forth the design of the modern classical guitar, giving cause to reference of the instrument as the “Spanish guitar.” Some of the most important progressions in design, technique, and performance occurred during this time period; and several immerging virtuosos hailing from several countries across Europe.
Two of the most notable musicians are Fernando Sor and Dionisio Aguado, both of Spain. These two individuals are often compared, contrasted, and at the very least included in most historical accounts of the development of classical guitar and its music. Interestingly, both Sor and Aguado received instruction on the guitar from religious monks. As far as similarities go, there simply are not many others between these two guitarists. Sor, apparently, was a colorful and masterful performer, touring extensively and increasing the popularity of the instrument. Aguado appears to be more cerebral in nature, but also became exceedingly passionate about his trade, although it took nearly forty years for him to gain significant recognition. Aguado is also known for his invention of the tripodion, which is a stand-like device that the guitar rests on to improve sound quality.
Stylistically, Fernando Sor and Dionisio Aguado were very different. Aguado made use of the right hand fingernails in ways that Sor did not. Particularly of note is the complexity of some advanced music that both composers created; some pieces by Aguado are so complex that only a few individuals since his time have been able to play them (and well). These two masters played duets together; and Sor has written at least one piece, “Les Deux Amis”, that they performed.
Use of emotion, expression, and color while playing were essentially important to Sor and Aguado, and have been noted as true of all excellent guitar music. A higher understanding between what is felt, what is thought, and what is played seems to be characteristic of those two masters, as well all those who have developed great skill on the classical guitar. In his “Emotion and Meaning in Music” Leonard B. Meyer states, “. . . while the trained musician consciously waits for the expected resolution of a dominant seventh chord the untrained, but practiced, listener feels the delay as affect.” In playing the guitar, one is called upon to learn and execute knowledge of music theory in ways that are simply not available in use of other instruments, and therefore offers more opportunity for expression.
While I consider all of these points as building upon each and expanding my education in the world of classical guitar, I have come to a stark understanding that I am so moved by excellent music that the only way I can attempt to be at peace with its affect upon me is if I study and learn to create some of it myself in time. And thus will I endeavor.
