California State University, Northridge
Oviatt Library

How to Hold the Guitar

By J. W. FREEMAN, Guitarist, Denver, Colo.

from The Cadenza, Vol. 2 No. 5, May-June 1896

How many guitar players are there who have ever given careful thought to the method of holding the instrument? How many guitar players are prepared for the declaration that there is only one artistic method of holding the guitar--that all others detract from the pleasure of both the listener and the performer, and in many instances make it simply impossible for the guitarist to reflect credit upon one of the most effective of all musical instruments? To go a step further, how many lovers of the guitar are aware that the awkward position assumed in playing by 999 performers out of 1,000, and the apparently laborious effort required to render even the simplest melodies, deter many persons from attempting to play upon the guitar?

In the opinion of the writer, the subject is of such importance to the guitarist that it should occupy a prominent place in literature relating to the instrument. Up to the present time, the writer has never read a line, either in the most pretentious guitar instruction book or in any musical periodical, illustrating the correct position of holding the guitar. There may be such publications in existence, but if so, they are not generally known.

So much by way of introduction. Now to the point.

The correct method of holding the guitar is illustrated by the banjo artists of the day. It consists in elevating the instrument at an angle of about 30 degrees in front of the body, the base of the guitar resting on the right thigh, the left arm raised so that the left hand reaches a level with the face of the performer; the right arm resting against the rim of the guitar to assist in supporting the instrument. The position is best shown by a drawing accompanying this article. The ideal position is such that the performer cannot see the frets of the guitar and therefore learns to play without watching his left hand.

Did it ever occur to the reader that a guitar could be played without the eye of the performer being constantly fixed upon his left hand ? Does the accomplished violinist or the pianist look at his hands while rendering a musical composition?

Why should the attention of the guitarist be absorbed and his energies wasted in the attempt to watch the movements of his fingers ?

The ideal position, then, is the one which enables the performer to keep his eye on his audience. Every person acknowledges the power of the human eye. What would you think of the speaker who kept his gaze fixed on the floor? "If I have attained any success," was the recent remark of a great guitarist, "it is due in a great measure to the fact that I am able to look the audience in the face while performing. It is in the power of any guitar player to do this if he will try."

Judging by the words of this living exemplar of grace in guitar playing, the art of holding the instrument is easily acquired. If the beginner starts with the determination to hold the instrument correctly, the remarks of the guitarist may be true. Having once acquired the awkward position usually seen, it is a most difficult task to correct the faults that have been learned and few persons have the perseverance to change to the position which is certain to be adopted by all guitar artists as time progresses. The advantages of the new position are so numerous that they could be named by the score. Its disadvantages can be summed up in one--the pain in the muscles of the left arm occasioned by the elevated position of the arm. Banjoists have conquered this obstacle and why should it not be conquered by the guitar player? The position requires the performer to sit upright and in this respect is in striking contrast with the interrogation point usually seen when a guitar player takes his place on the stage before an audience. How often has the writer felt impelled to close his eyes when confronted by the spectacle! The position shown in the illustration is the only really graceful position for holding the guitar and is the only one which gives the performer the opportunity of developing the capabilities of the instrument. It is especially adapted for the use of ladies.

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