Announcing the 2019-2020 Guitar in the Gallery Season!

MARK YOUR CALENDARS:
Mark Wilson-October 12th and 13th
Scott Kritzer-November 16th and 17th
Tamara and Neil Caulkins-March 21st and 22nd
Jessica Papkoff-April 25th and 26th
Oleg Timofeyev-May 30th and 31st
Saturday performances are at 7:00 p.m. in the Fire on Main Gallery in Soap Lake, WA and Sunday performances are at 2:00 p.m. in Gallery One in Ellensburg, WA.

See below for Artist photos:

Mark Wilson-October 12th and 13th

Mark
Scott Kritzer-November 16th and 17th

Scott
Tamara and Neil Caulkins-March 21st and 22nd

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Jessica Papkoff-April 25th and 26th

Jessica
Oleg Timofeyev-May 30th and 31st
Oleg

Neil Caulkins to Perform in Hong Kong

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What You See, And What You Don’t; Improvised Preludes From Early 19th Century Guitar Methods

Neil Caulkins will be presenting a lecture/recital on the early 19th-century performance practice of improvised preludes.  It will be on July 17th at 9:45 a.m. in the International Guitar Research Centre’s conference as part of the Altamira Hong Kong International Guitar Symposium in Hong Kong, China.

Overview: We see descriptions of composers and performers from the 19th Century being tremendous improvisers.  We also see reference to improvisation in method books from that time.  What we do not see is improvisation on the modern classical music stage.  There were more methods for the guitar written in the early 19th century than for any other instrument. Because the guitar was not yet taught in the conservatories, these methods had to offer detailed instruction about every aspect of music. This makes them a treasure trove of information from which all musicians can benefit.  This lecture/recital focuses upon the early 19th century performance practice of the improvised prelude. A detailed examination of existing written examples of these improvisatory preludes will be beneficial to all musicians who perform music from this period.  Then we will explore how to construct/compose our own “improvisatory” preludes using historic cadence examples as the basis for historically informed introductions.

Sources: Current scholarship, such as by Kenneth Hamilton, has focused upon the piano literature such as by Cherny. This lecture draws upon guitar methods and music from the early 19th century. The foundational methods by Sor and Aguado establish a basic understanding or recognition of improvisation. Then the methods of Batioli, Boccomini, and Opus 100 of Mauro Giuliani, will be examined in detail.  Cadence examples, particularly from the Batioli method, will be presented as grist for construction of our own “improvised” preludes.

For more information, go to:  https://classicalguitarmagazine.com/alatamira-hong-kong-guitar-symposium-and-competition-is-fast-approaching/.

Old Technology to the Rescue!

The problem is that pressing the right forearm into the edge of the guitar can cause injury and exacerbate repetitive overuse of the forearm muscles.  In answer to this problem there have been a couple different products created and marketed.  They each have their own limitations.  These products also have an eye to protecting the guitar’s finish.  I have rediscovered a new use for an older product that is readily available, cheaper than the other options, provides superior protection for the arm, and also can protect the guitar’s finish.

One of the devices marketed to deal with this problem is the guitar arm rest.  Some guitars even have them built on.  It provides a rounded surface to rest the arm against rather than the sharp edge of the instrument. While I will admit that this is an improvement, it still means that you will be putting pressure on your forearm in the same vulnerable, possibly already injured, spot.  You will be putting that pressure on a rounded ½ inch edge rather than a pointy edge.  These items seem to affix to the guitar using either suction cups or a screw/grip mechanism.  I have never had good luck with suction cups-they always come loose.  The screw/grip mechanism on the one I looked at could not accommodate a guitar less than 3 ½ inches deep.  Because I play little 19th-century guitars, that would not work.

The other device I have seen is a padded sleeve to cushion your arm from the edge of the guitar.  Again, while that is an improvement, it merely cushions the pressure a bit.  One will still be putting pressure, though somewhat more diffusely, against the same vulnerable, possibly injured, area of the forearm.

I was sharing my thoughts on the shortcomings of these devices with my wife, Tamara.  I told her that what I wanted was something on my forearm with boning to spread the pressure over a much greater area, rather than just have it against the same spot, albeit more diffusely.  (Boning is the technique of sewing a series of stiff rods into a garment to provide support or stiffness.  Historically, the rod was a piece of whale bone, but it could be metal or plastic as well.) She asked why I didn’t just use my old archery forearm guard?  It has boning and you can wear it under your long sleeve shirt.  This was a great idea, I thought.  I dug out my old arm guard, put it on, pulled the long sleeve shirt over it, and started to play.

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The difference was immediately obvious.  The boning distributes the pressure over a much greater area, reducing injury.  Whereas a sleeve or arm rest would essentially distribute the pressure over an area ½ inch by the width of one’s arm, the boning distributes the pressure over a rectangle that is 2 ½ inches by 6 ½ inches, and runs the length of one’s forearm.  This result in a huge pressure reduction on the forearm.  By having the sleeve of your shirt over it, the top of the guitar is also protected from the guard. Another advantage to the use of a boned archery arm guard is that they are readily available and cheap.  The hunting outfitter Cabelas has them for under $9.00 and they are available in black. Here is a link: https://www.cabelas.com/product/hunting/archery/releases-release-aids/arm-guards-finger-tabs-gloves/pc/104791680/c/104693580/sc/104529780/i/103864680/omp-strap-arm-gurad/2180762.uts?slotId=10.  Be sure to get one with boning, many do not have it and, unfortunately, the product descriptions do not mention boning as present or absent in the design.  You have to look at the picture to see if it is boned like the one pictured in this post or on the included link.

As a guitarist who loves music and instruments that have not changed essentially in a couple hundred years, I find it congruous that the old technology of the boned archery arm guard can be re-purposed to relieve a problem of which we’re now becoming aware.  I also find it heartening that this old solution is readily available for a fraction of the cost of the newer devices. I make no claim of being the first to think of this.  I have just come upon it recently, seen good possibilities, and have tried to spread the word.  Good luck.

Recent Musica Antiqua concert included the Serenade pour Guitarre, Flute, et Cor, Op. 3 by Christian Dickhut (fl. 1812).

2019 Musica Antiqua

Dickhut Serenade was played by Tamara Caulkins (guitar, second from left), Hal Ott (flute, third from left), Jeff Snedeker (horn, furthest right).

Neil Caulkins (guitarist) on far left played Fantaisie by Carulli with Hal Ott (flute), and Trois Nocturnes for cello and guitar by Bürgmuller with John Michel (cello).

Neil and Tamara also played the Allegro Moderato, Op. 21 by Benigne Henry for two guitars.

Photo taken at Central Washington University, Music building.