Gut vs. Steel Strings on the Guitar and Banjo: Historical Arguments (and Wartime Context)

TL;DR: Do whatever you want, just don't wreck your instrument.

It should be noted that most music periodicals of the era had editorial policies against endorsing any specific string manufacturer. Thus, all the gut versus steel comments and criticisms were related to the types of strings in general, rather than preferences for specific string brands.

"[…] How beautiful is the ear of the Ass who uses steel strings on a banjo. How refined and transcendent are the whispers of sound produced by these telephone wires. How grand are the muscles which are grown upon the ends of the fingers used to manipulate such tone pictures. Allow one of these strings to rust a little and you have a knife that will cut off a finger as readily as a surgeon's scalpel. The flexibility of a steel wire string on a banjo, is such that few who have used them live many years after."

— S. S. Stewart's Banjo and Guitar Journal, June/July, 1885

"[…] We will state that in all our practice and teaching we have always discountenanced the use of wire strings for the guitar, though we will admit that an occasional selection may be played with pleasing effect, but their continued use proves to be an injury to both instrument and fingers, and the guitar looses its identity and becomes merely an imitation of the zither, and a poor one at that. We recommend the Roman gut strings for the first, second and third, and the silver wound Japanese silk for the remaining."

— Gatcomb's Banjo and Guitar Gazette, January, 1888

"'Banjoist' traveling with Indian Show, writes:

'Enclosed find $1.00, for which send me banjo strings, first and second, etc. Send me your very best as I am playing in the open air every night and, of course, must have strings I can depend upon. I do not want them too light or thin, about medium. I am using one of –––––'s banjos, a $40.00 one, it is a very fine instrument. I must have another one and think of trying yours. Please give me your professional rates on banjos and also banjeaurines.'

Answer. — The very best evidence that this correspondent is not a practical or experienced banjoist is found in his own language and letter. If he were, he would have learned before this that no gut strings can be made that can be depended upon in Summer, in playing in the open air with an Indian Medicine Show, whether he pays 10 cents each or whether they cost him 50 cents each.

We do not make any discount on the Stewart banjos."

— S. S. Stewart's Banjo and Guitar Journal, August, 1888

"Strings - How to Adjust and Care for Them by H. J. Isbell

[…] The prevailing opinion is that wire strings have more volume and carry better than the gut strings, because they sound louder to the player. With a fine American rosewood instrument, however, the result is exactly the opposite, but of course if you play on a three dollar 'box' you may as well use wire strings. All gut strings are made from the intestines of sheep, and not from goat and cat gut, as many suppose. They are finished and polished with olive oil [this varied by manufacturer]. Do not use oil on them after purchased but keep them wrapped in tissue paper and boxed up until ready to use. Do not expose them unnecessarily."

— The Cadenza, May/June, 1895

"[…] And to start the ball I would like to express some opinions on strings for the Guitar, allowing all who wish, to disagree with me believing that a discussion would be profitable and interesting to both Banjo and Guitar players.

In an instructor [book] I once used, the Author after having told how to string the instrument with silk and gut strings, said that some cranks used steel strings, and that a gourd would be an instrument fit for persons of such a depraved taste. In the article on the guitar in the New American Cyclopedia, the writer says: 'In France and England it was once in considerable repute as a solo instrument, but its limited capacity and monotony of tone have brought it into disfavor except as an instrument of accompaniment.'

How to avoid this 'monotony of tone' is the question, granting that said monotony exists, as I do. My cure is the wire string E, B and G. I use silk Bass strings. The E and B the silvered wire. The G is a wrapped wire string. My reasons are: —

First — You can get a louder, softer and cleaner tone than from Gut strings.

Second — The strings are easier to press to the fingerboard and also easier to pick with the right hand.

Third — The strings are affected less by the condition of the atmosphere than are the Gut strings.

Fourth — The strings being capable of producing louder and, I think, softer tones, you have a greater range for giving expression to your music, and avoiding that 'monotony of tone.'

Fifth — You get a better long or sustained note and can make a much better slur.

Sixth — It takes a more accurate ear to tune, so that the chords in the several keys will sound true, thus training the ear.

For accompanying the voice, I concede that the Gut strings are superior, but for solo playing I think the wire strings preferable for the above reasons. By holding the right hand and picking near the twelfth fret, you get as sweet a tone as is possible to get from the instrument, and with wire strings you can get much better harmonics. I think the populatarity of the Mandolin is a proof that wire strings are not an abomination, as some writers would have them. Truly, wire strings are harder on the instrument, but mine tunes to Concert pitch very readily. I have never known an instrument to be injured by their use.

To those using Gut strings and wishing to try wire strings, I would say that wire string should be used several days before it will lose its 'twang' and be satisfactory.

Trusting that this will be interesting to those who even disagree with the opinions here set forth, I will submit the floor.

— S. H. Voyles"

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"We give space to the foregoing communication, from Mr. S. H. Voyles, of Crandall, Indiana, and shall be pleased to admit communications from other correspondents, on this or similar subjects. Although we do not personally agree with the writer on the adaptability of wire strings to the guitar, we believe each player entitled to express his own opinion. It seems to us that a comparison of the stringing of the Mandolin and Guitar is hardly fair — the strings of the former being picked with a very flexible point of tortise shell and the latter being picked with the soft fleshy finger ends.

— Editor"

— S. S. Stewart's Banjo and Guitar Journal, October/November, 1892

"Editor of The Journal: — It is my impression that S. H. Voyles, by his ill-advised communication in your last issue, will draw down such a storm of criticism on his devoted head, that he will be glad to ever hereafter hold his peace. I wouldn't give much for the nice ear he has cultivated by 'tuning his wire strings,' when it discriminates so against gut strings.

The woods are full of users of wire strings, but they 'only play chords" and 'don't know the notes' — to use their own expression. I have convinced dozens of them by playing first on their instruments and then on my own, string with gut, that the gut strings were every way superior to the others, and some of the fellows had been for years cultivating 'accurate ears' by tuning their wire string boxes. I never found any difficulty in tuning the infernal things, and I never used wire in my life. I think the writer of the article in the New American Cyclopedia, from which Mr. Voyles quotes, is not competent to express an authorative opinion. Why was it the guitar found favor with many of the great masters of music? Paganini, the greatest musical genius that ever lived, devoted four years of his life to the exclusive study of the guitar, and was a wonderful performer on the instrument.

[…] Instead of discussing the merits of strings let us stir up the professionals and obtain information really worth having.

— Yours truly, Wolverine"

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"[…] A few words in reply to S. H. Voyles' letter, which appeared in last Journal, No. 72, on stringing the guitar with wire strings.

My idea is quite the reverse. I recommend gut strings, 1st, 2nd, 3rd, and silk wrapped for the 4th, 5th, and 6th string, to be used at all times for solo work. Wire strings may be used occasionally for accompanying Mandolin, etc., on a serenading tour or an all night dance, when the weather is damp. I have the experience of hearing the difference between guitars tuned with wire and gut strings about every day. A good guitar tuned with gut string has a deep, mellow harplike tone, while the same instrument with wire strings will have a shrill, harsh tone, which gives it the sound of a cheaper and inferior one. Because the mandolin is strung with wire strings is no reason the guitar should be, simply from the fact that the mandolin is picked with a piece of tortoise shell and was intended for wire strings.

Let Mr. Voyles take two guitars of the same make, one strung with wire strings and the other with gut and silk strings: Have some one play them separately in a theatre or hall, and he will be convinced that the one with gut strings will be more distinctly heard at a distance. The same rule may be applied to violins: for instance, a violin strung with wire strings, when played in a room alone, will sound quite loud, yet, when played with an orchestra of eight or more instruments, it loses power of tone and cannot be heard.

True, there are some guitars made at present, with metal tail-piece and bridge combined, which are intended for wire strings — however, the tone of these instruments is far inferior to the ordinary guitar.

Wire strings are injurious to any guitar that has not the metal bridge, and it is only a matter of time when the guitar strung with wire strings will begin to warp under such a heavy strain, and then the only remedy will be to have the strings lowered. I have seen some very fine instruments ruined by the use of wire strings, such as violins, banjos and guitars.

I am at times partial to one wire string, and that is the 1st or E string, only when a good gut string cannot be obtained. Have the string very thin; such as is sometimes used on the banjo B or 1st string, answers the purpose very well.

In conclusion I would say that in my opinion the guitar is a very much abused instrument, owing to there being so few who know how to play it properly. The extent of the many (so-called) guitarists reaches to playing a few chords, Spanish Fandango, etc., and what is wanting is some one who will pull it out of the backwoods as S. S. Stewart has the banjo.

— E. H. Frey"

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"I read with interest the article of Mr. S. H. Voyles in regard to the kind of strings used on guitar. I have seen the instruction book referred to, and while I do not go so far as the author of that book in calling anyone a crank who uses steel strings, I do say that steel strings were never made for a guitar.

It is just as absurd and as unmusical to put steel strings on a guitar as to put them on a violin, and I am sure that true lovers of the grand old Spanish instrument will agree with me on this point. Mr. V. speaks of an article in the Cyclopedia in regard to the popularity of the instrument in England and France at one time. Now if the history of the instrument is correct, as I got it, the reason for the guitar going into disrepute was this: It had become so popular that it was hurting the sale of other instruments, and to quell this, some dealers gave away numbers of them to low street singers, and also to low concert hall singers, and in the course of time the nobility and their following dropped the study and pleasure of the instrument, and from that time on it declined in favor. Not that 'monotony of tone,' as Mr. V. put it, was the case of it, for history says not, even as far back as the Sixteenth Century, and that is far enough, surely.

Then Mr. V. sets forth his cure for the monotony of tone — wire strings is the specific prescribed. Now, steel wire strings are all right in their place, but their place is not on a fine guitar, or even a fair one for the purpose of producing true music. Oh no, not in a thousand years. Mr. V. states his reasons for using steel strings, (six in all). His first reason is, a louder, softer and cleaner tone can be produced. I claim such is not a fact, for the gut strings can be manipulated louder, clearer, and by far softer than the steel strings, by one who has cultivated his touch.

In his second reason he says the strings are easier to press to the finger-board, and also easier to pick with his right hand. Again I disagree with him, for by experience I find it just the opposite, and must say I am afraid Mr. V. has not had the proper amount of experience with gut strings.

In his third reason I fully agree with Mr. V., and, in fact, it is the only one out of his six reasons that I do admit that is right; but still the same reason could be set forth about the banjo, and up to date I have not seen such an article as Mr. V's. about the banjo. But still such persons do live in this world that are so devoid of musical taste as to use steel strings on a banjo; for I have seen them and also have heard them play. But they should be classed as fiends and plunkers, not players or artists.

The fourth reason is just the same as the first, with the exception of his (Mr. V's.) getting more expression in the music and avoiding the 'monotony of tone.' Music can be shaded far more artistically with gut strings than with the steel strings, for they are sweeter and require a more trained touch than the steel (broom wires I might rightly call them).

The fifth reason I also find not to be an established fact with 'artists' on the guitar. And the sixth reason is utterly absurd — just as if one would not have to have as correct an ear to get the instrument in perfect tune with gut strings as he would with steel strings.

Mr. V., I can only agree with you as to the third reason, that is all. I am pleased to see that you admit that gut strings are better for accompanying the voice, and I hope in time that you will also say that the gut strings are the only proper strings for the guitar. You also admit that the steel strings are harder on the instrument; such is a fact.

Comparing the mandolin to the guitar is no fit comparison, for no other strings could be used on a mandolin but wire strings. You say you have never known of an instrument being injured badly by the use of steel strings. The neck is always sprung, and the wires cut the frets, if used long enough, for I have seen such cases.

To those using steel strings who should use gut, I would state that a gut string can be used until worn out, without waiting several days for the 'twang to wear away,' as is the case with the steel strings. I will now close my article, hoping to hear from other lovers of the steel strings.

—Very respectfully, J. Earl Rabe"

— S. S. Stewart's Banjo and Guitar Journal, December, 1892/January, 1893

"Steel Strings on the Guitar, by Q. S.

As evidence to prove how the taste of one person will often determine the taste of a community, the use of steel strings on guitars, will serve as an apt illustration. There are many places in the United States where the use of steel strings on a guitar by a gentleman would be considered eccentric, but if used by a lady would be considered evidence of dementia, yet there are a number of places where gut strings are seldom asked for. Kansas City can be numbered among the latter. In fact steel strings are so generally used here by both ladies and gentlemen that visitors are frequently astonished thereat. It certainly is an absurdity to see a woman plucking at a lot of finger destroyed steel strings on a guitar. If she has an ear, she must notice that the quantity, not the quality, of tone is improved by the use of these strings.

Now as to how they have become so much the fad. It is probable that the causes that have led to their use here, to a great extent have led to their use in other places. Kansas City in proportion to its population has as many guitar players as any other city in the country. In answer to a query as to why this was so, a music dealer replied because it was in the 'Kickapoo' belt, which only made the subject more misty to his interrogator. What he meant was that this being the place at which a great many 'Kings of Pain,' 'Indian Medicine Vendors,' etc. recruited their guitar orchestras, (one guitar, one banjo, and one cracked voice) that is necessarily followed that guitar players must be more numerous here than elsewhere. This satirical gentleman was probably suffering from prejudice. There can be no question, however, that to the presence of so many of these players here, most of whom use steel strings, and who usually play popular stuff in a clever manner, the general use of steel strings can be accounted for.

It is asserted by dozens who are in a position to know, that steel strings in so far as this city is concerned, date from the advent of certain gentlemen who without any particular musical education, were brilliant performers; the volume of jangle they got out of steel strings came like a revelation. In an effort to have their instruments heard by all out of doors, they use these strings. Instantly it became the fad, and the merry jangle of boxes of wire have been disturbing the night air of Kansas City ever since."

— The Cadenza, September/October, 1895

Steel Strings on the Guitar, by J. Earl Rabe

This article, as the heading will indicate, is in a response to an article under the same title published in the last number of The Cadenza, the author of which signs Q. S., as a nom de plume. The opening sentence by Q. S. is as follows: 'As evidence to prove how the taste of one person will often determine the taste of a community, the use of steel strings on the guitar will serve as an apt illustration.' Heaven forgive the taste of a community for steel strings! Broom wires, more correctly termed! The writer Q. S. says there are many places in the United States where the use of steel strings on a guitar by a gentleman would be considered eccentric. Yes, dear writer, it ought not only be considered eccentric, but unmusical and devoid of any taste whatever.

So sayeth the musical artist of yore, and also of today. So there are a number of places where gut strings are seldom called for? Well it is too bad that such places have not been musicalized as yet, and Kansas City can be included in this list of cities? I was surprised to learn as much. So visitors are astonished that local players use steel strings? Well they might be! The writer Q. S. drew a picture when he said 'what an absurdity to see a lady plucking at a lot of finger-destroying steel strings (broom wires) on a guitar. If she has an ear she must notice the quantity, not quality of tone is improved by the use of steel strings.' Such is not the fact, however, for there is neither musical quantity nor quality produced by steel strings, but merely a burlesque on both.

Such is the opinion of every artist on the guitar. Did you ever see a violin virtuoso using steel wires on his Cremona or Stradivarius? 'Oh, ye Gods and little fishes!' When are the people to be educated up to tone quality? Shall we see it in this century or the next? Echo answers, 'nix.'

Now as to how steel strings have become a fad not only in Kansas City but all over the country, it is easy to answer. The fact is this: The people in general are not educated up to the possibilities of the guitar. They don't understand the instrument. Take the world over, how many masters of the guitar do you find as compared to the violin? Yet the violin is accounted the 'king of instruments,' the guitar not being considered deep enough musically, and so does not have the close students that the violin does. Hence, the few followers of the guitar.

The cause of the use of steel strings in Kansas City may be the same as in other places, simply this: Ignorance of the instrument in a musical sense. Q. S. States that Kansas City has as many guitar players, in proportion to its size, as any city in the country, and most of them use steel strings. In that case I would suggest that the field is ripe for a Bane or Romero type of teacher to locate there and do a vast amount of work. As Q. S. puts it the city is in the 'Kickaboo Belt' so to speak. Well, too bad for the guitar and the city also if the people have had to put up with hearing the twang of broom wires on boxes because the medicine companies recruited their orchestras and 'cracked voices' there. For all that, the example of using steel strings should not have been followed by the players of Kansas City, just because the medical companies had no taste for music as allied to the guitar.

Surely the good people of Kansas City have never had the extreme pleasure of hearing the great artist Johnson C. Bane play the guitar, or the late Señor [Luis Toribio] Romero, of Boston? Both gilt-edged artists of the first water and fine as silk. A Bane recital in Kansas City would check the fad for steel strings, as according to Q. S. the craze for steel strings dates from the advent of certain gentlemen who visited Kansas City and discoursed a musical jangle (good name for it) on their guitars strung up with cable wires and it fell on the city as a revelation.

What would the effect be now if a real artist would make his debut, and render some of the classics on gut strings? Would it be a revelation or not? I am rather inclined to believe it would.

Now Mr. Editor of the esteemed Cadenza, my article is only intended to air my views on the subject of the proper and only kind of strings for the guitar, and no offense is meant in the least to your fair city. Therefore I trust my effort will be edifying to some and received with good grace by all."

— The Cadenza, November/December, 1895

"The Editor of The Cadenza is unalterably opposed, personally, to the use of steel strings upon either the guitar or banjo, but as two articles have already been published in The Cadenza decrying the use of steel strings upon the guitar, it is but simple justice that the users of steel strings be given an opportunity to present their side of the question. Emma S. Scott takes up their defense in an able and entertaining article published in this issue, and although our views are totally at variance therewith, it is only by discussion of a subject in all its phases that we become enlightened, so we willingly give space to the article mentioned, that our readers may have an opportunity to judge for themselves which should be used, gut or steel strings."

— The Cadenza, January/February, 1896

"Contributors will oblige us by not sending anything further relating to the subject of steel or gut strings for the guitar or banjo. We have already received more communications of this character than we can publish, and unless we close the controversy, we will be obliged to devote our entire space to the discussion. This would neither be interesting or instructive to our subscribers, who naturally prefer a little more variety. Two articles upon the subject appear in this issue and two or three more we are compelled to leave for our May-June number. Therefore, we must respectfully decline any others. All controversies of the kind are worse than useless, in our opinion, and it is but fair to say neither side would gain anything if we should give further space to the discussion. The facts brought to light may be summed up as follows: The great majority of guitarists, amateur and professional, use and recommend steel strings, while all the best artists use and recommend gut strings. These facts should enable any one to choose intelligently, so we are resolved to 'let it go at that.'"

— The Cadenza, March/April, 1896

"Steel vs. Gut for the Guitar by Emma S. Scott – Teacher of Stringed Instruments at Baptist and Central Methodist Female Colleges, and Wentworth Military Academy, Lexington, Mo.

Since so much has been said and written of late in well ment championship of the old fashioned gut strings, I make bold to ask a little space in your impartial and up-to-date magazine that I may say a word in defense of the modern and far superior steel strings.

I do not remember ever reading or hearing a sound or logical argument put forth in favor of the gut string; its valiant defenders for the most part confine themselves to satire, or lengthen out their written articles with sneers, more or less bold, against the users of steel strings.

Who, they ask, ever heard of a violinist putting wire strings on his violin? True, but as well might they ask who ever heard of his using a violin with a round sound hole, or fretted neck, or level bridge, or six strings? Do not these gentlemen know, that there is no analogy between the violin and guitar. One is an instrument of vibration, the other of percussion. Except that they are both musical instruments, they bear no relation at all to each other.

Any violinist will tell you that he can never judge of the tone or tuning of a violin unless he sweeps the strings with a bow; pluck the strings of the finest toned violin you ever saw, and you will hear only a flat tone that except in an occasional pizzicato passage, does not satisfy the ear.

The wire string guitar is unmusical they say? Why should it be less musical than the piano, lute, bandurria, dulcimer, autoharp, zither or mandolin; all of which are instruments of percussion, and all strung with wire?

I have often, too often, heard the sound which your correspondent characterizes as 'the jangle of the boxes of wire;' a most terse expression which 'hits the nail' square and true, and the remedy lies, not in taking off the strings, but in acquiring such a delicacy of execution combined with firmness of touch as will bring out all the purity of tone without that disagreeable accompaniment.

Who has not heard the nerve racking noises that an inartistic performer will draw from any instrument, along the whole list, from a church organ to a jewsharp? Must we for that reason condemn the instrument or find fault with any part of its mechanism? The guitar player who makes steel strings 'jangle,' will also make gut strings jar and 'buzz' and 'slap' against the finger board. I have heard this last mentioned sound even when the guitar was in the hands of those who were considered very fair guitarists.

I do not deny the musical qualities of gut strings, but I do maintain that the artist who gets a pure, brilliant tone from gut strings can get a tone just as pure and more brilliant from the steel strings.

They are hard on fingers! That seems to be the strongest objection, and to a musician the most ridiculous one. Of course they will hurt at first; so do gut strings, the short taut ones of the violin and the long comparatively lax ones of the banjo are no exception to this rule; even the flat keys of the piano will make the fingers of the beginner sore. Every musician who has attained proficiency on his chosen instrument whatever it may be, will bear witness that physical pain was one of the first and most serious difficulties to overcome. The wouldbe player who lets that discourage him will never amount to anything musically.

The following is an extract from a letter I lately received from a teacher friend in Chicago: 'Do you use gut strings? I don't, but there is so much complaining here against the users of steel strings that I will have to put on gut strings to keep in with the music houses.' — Does that throw any light?

I could write on and on, the reasons pro. are fairly bubbling out of my inkstand, but I fear I have already encroached on more space than you can well spare. However, your kind permission I will come again."

— The Cadenza, January/February, 1896

"Steel Strings by Lee Rogers – Teacher Banjo, Mandolin and Guitar, Southern Female College, Petersburg, Va.

I have read many arguments both for and against steel strings, but I think the article by Emma S. Scott in The Cadenza for Jan.-Feb. is the most sound and convincing. The columns of another banjo and guitar journal were open to this discussion some time ago and it was carried at such length and with such equal strength for and against steel strings, that I imagine the publisher grew weary, for the argument was peremptorily closed.

The majority of writers by long odds favored steel strings. However in justice to the other side, I must say those opposing steel were the most noted players, including Romero and others.

Steel strings are the favorites in this part of the country by fifty to one, although I admit Virginia can claim no celebrities in this line.

A certain celebrated guitarist appeared here some months ago. His execution was wonderful; just the grandest thing I ever heard in the way of guitar playing, and he used my guitar with steel strings. He also decries the use of metal. However, while all lovers of guitars in Richmond and Petersburg heard him I know of only one who was induced to use gut strings and he soon returned to his first love.

Like E. S. Scott I say there is no reason for 'clanking' of steel strings — it is the fault of the performer and not of the strings. A guitar so strung can be played as softly and much more musically than with gut strings; Particularly in andante movements does their superiority appear.

The guitarist mentioned admitted it was not possible to get as clear harmonics from gut as from steel strings. They must have some merit, so many players have adopted them.

I was taught on gut strings, but hearing a guitar string with steel I secured another instrument and commenced using them myself. My teacher bitterly opposed this move, but in the course of a few months I found him doing the same. This did not satisfy me, I kept the two instruments strung differently, one with steel and one with gut for several years and would use them alternately for friends whenever an opportunity occurred. The 'Telegraph wire' (?) instrument always proved the favorite. This has convinced me. And I think if any player will give steel strings this fair and impartial test they too will become convinced. Simply because you have never tasted a dish don't say it is impalatable."

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"The Guitar: The Reason Why it Should Be Strung With Gut Strings by Richard M. Tyrrell – Teacher Guitar and Mandolin, New York City

Every now and then an article appears in periodicals devoted to the interests of parlor stringed instruments relative to the stringing of the guitar, and in favor of steel wire.

Sometimes the writers are teachers, and after a perusal of the article in a spirit of languid curiosity, we ask ourselves, 'who is it?' and turning to the list of professional cards we discover that the guitar is only the least thought of; it is merely a sort of side dish to their list of specialties. And those are the people who know all about it! Sor, Legnani, Giuliana, Kuffner and Mertz were all 'old fogies,' and all the great living guitarists are not up to date!

It is certainly very trying to reply to those people in anything like a courteous manner; they cannot bear satire, which is the best weapon for bringing thoughtless people to their senses. But we must be patient with them; oftentimes it is not their fault; they are suffering from a violent type of that dread disease 'cacoethes scribendi' (an itch for scribbling).

And in the way of argument we hear considerable about 'percussion' and 'vibration,' things that have nothing whatever to do with the question, and about the fortunes amassed by music houses from the sale of gut strings, which, by the way, is the very quintessence of absurdity. And they advocate putting steel strings on the guitar because it makes the tone more brilliant! Brilliancy of tone is not and never was supposed or intended to be an attribute of the guitar. You ask why? Because the instrument is tuned in the minor mode (E minor). Hayden, in giving the tone color of the different keys, says: 'E minor — persuasive, soft and tender.' The guitar is the soul of everything that is sentimental, pathetic and tender. In the olden times it was the instrument of the troubadour and of the inspired lover who sang of his passion under the casement of his mistress. Would you destroy this beautiful character, which no other instrument possesses in such a marked degree? Would you play 'persuasive, soft and tender' chords with 'brilliant' steel strings? The cornet is for the warrior, the violin for the votaries of Terpsichore, the organ for the religieuse, the banjo for bright, up-to-date, jolly people who are looking for brilliancy of tone; but for the quiet, thoughtful, retiring, disposition, for those who are sentimental, who have a pathetic side to their nature, who would soothe sorrow or comfort in affection, the quiet, soft-toned guitar."

— The Cadenza, March/April, 1896

"Steel vs. Gut Strings by E. W. Pyne – Teacher Guitar, Mandolin and Banjo, Santa Ana, Cal.

I have read the recent articles in The Cadenza for and against the use of steel strings on the guitar, and since the authors have nearly all been residents of the East, I will give my experience with steel and gut strings, in Denver and on the Pacific coast.

With few exceptions, gut strings are used by all the guitarists in California, and I believe there are more good performers on the guitar on the Pacific coast in proportion to the population, than any other part of the United States.

I have used both the gut and steel strings in teaching and playing, and have found that, although a large percentage of pupils liked wire strings the best, they have universally proven poor pupils and indifferent players, without a good ear for music.

My best pupils and most of the best performers I have ever met have used gut strings. For two years I played upon and recommended steel strings on account of the satisfaction they gave in teaching beginners, but in spite of all the practice I put upon the instrument, I found I could not play difficult music rapidly or in proper time, until at last I put on gut strings and found in a little while I could play anything, no matter how difficult. Positions that were impossible to perform quickly on steel strings were played with ease. Since then, I have used gut strings exclusively. The guitar and harp strung with gut strings are almost the only instruments that do not jar upon or excite the nerves. The piano, violin and other instruments that produce brilliant, loud, or shrill music excite the nerves and enliven the imagination, while the guitar or harp with gut strings, played softly, as only such instruments with gut strings can be played, soothes the nervous, and puts us in a dreamy mood. The gut string guitar is the only instrument that can be played for any one suffering from extreme nervous prostration, with satisfaction to the hearer. Take off the gut strings and you take away that soft, soothing tone, that distinguishes the guitar from all other instruments. If you prefer the brilliant steel strings, play the zither, or some other instrument upon which the steel strings are a necessity."

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"Again, Steel Strings on the Guitar by Mrs. Anna Jacobi – Teacher Guitar, Mandolin and Banjo, Philadelphia, Pa.

We have of late read many articles in The Cadenza about steel strings on the guitar, written by some in a satirical and by another in a well meant way, but we must all admit that the controversy has not been settled in a logical and acceptable manner.

Let us go about the matter with a little more consideration. When I read of cable wires, broom wires and boxes of wire and other horrid things, it makes me shudder and I hasten to embrace my guitar as if to protect my dear instrument from further slander and abuse.

Why do we, and why must we, string the guitar with three gut strings, (g, b, e, high), and three wrapped silk strings, (e, a, d, low)? Because the nature and construction of the guitar demands it. The acoustical properties of the guitar are calculated to bring forth certain and indisputable effects, by aid of gut and silk strings upon it.

What are the beauties of the guitar? We all agree — its tonal qualities. Have you heard an artist perform on the guitar? (I will mention the lamented Romero.) Have you studied Sor, Carulli and Carcassi? I mean have you studied them conscientiously, with an insatiable greed to learn all there is to learn about the guitar, from an aesthetic and artistic standpoint? Have you been an industrious student? Did you, or would you, use steel strings on your guitar? I hear the answer, it is no!

Well, now, why not? Let us retrace our steps. I mentioned before that the nature and construction of the guitar demanded gut and silk for its stringing; for comparison I will mention the harp. Did you ever see or hear a harp strung with steel strings? (Perchance such a ridiculous thing may have been attempted by some.) Both instruments, the guitar and the harp, bear intimate relationship in tonal qualities and that is why we estimate them so valuable.

Emma S. Scott, in her worthy article in defense of steel strings for the guitar, mentions six or seven instruments on which steel strings are used, but I must confess that the nature and construction, also tonal effect, stand in vast difference to the guitar. The piano in the first instance is entirely excluded from any comparison. The lute, that old-fashioned, picturesque and petted ornament of painters, where is it? Who plays it? We get so tired of those long wire strings vibrating forth tranquillo and sentimental sweetness, dolefulness and sadness, weariness and heartrending unhappiness; absolutely no life and animation, no agitation and joyfulness; nothing but aeolian sweetness, which would eventually make musical dyspeptics of us, if we were to adopt steel strings on our guitars. Nay, Nay, I cry, give me my guitar with gut and silk strings, wherein I find life and soul, sentiment and expression! For the next I take the zither. A prime zither has a finger board about fifteen inches in length and is strung with wire strings, quite natural to be so, because it is constructed for this purpose, but the bass material (bass strings) is a combination of gut and over-spun silk strings, again showing the superiority in tonal quality.

Then the mandolin. We cannot compare it with the guitar; its construction and manner of playing is entirely different and steel strings are a necessary requisite of the mandolin. The beauties of steel strings are here in another sphere.

The guitar has a fingerboard about twenty-five inches in length and when strung with wire strings, we get that meaningless and characterless tone, which is contrary to the nature and construction of the instrument. I could make comparisons why gut and silk, or why wire strings should be used, but I think the above examples will suffice.

The only reason I can give further, why some use steel strings on their guitars, is that they are economical; they rarely break and they get so old and twangy that they must be removed and replaced by new ones eventually.

If any of our guitar players would like to try an experiment and convince themselves of the practicability of the one or the other stringing, I would suggest to play the 22 Arpeggio exercises in the Carcassi school on p. 16, 17, 18 of the White Smith Ed. and to use a metronome set at 144 degrees, in which time the arpeggios should be played. You will soon satisfy yourself that the harp-like effect brought forth on the gut and silk strings, will not be found in the continuously vibrating steel strings."

#

"Which? Why? by A. C. Douglass – Teacher Guitar and Mandolin, Ilion, NY.

With many others, I had thought that among cultured musicians, the 'Knights of the Silvered Wire' had become extinct or nearly so, hence my surprise to find in The Cadenza an article from a real live teacher of the guitar who never remembered reading or hearing a sound argument put forth in favor of the old-fashioned gut strings. Where in the literary world of music, I would like to know, has the correspondent been looking or listening for sound argument, and found it not?

In the first place, all will admit that there are several classes of stringed instruments. The piano and dulcimer are instruments of percussion, whose sound waves result from a sharp direct stroke. The mandolin represents another type whose tones are produced by the sudden release of tense string from the point of a hard pick. The methods of operating and the distinctive qualities of tone produced from both of these types of instruments require metal strings, and are best subserved by their use. So far as I am aware, no one pretends to think otherwise. The harp, guitar and banjo get their vibrations by the release of the string from the sensitively trained finger-tips in an effort to produce distinctive qualities of tone only to be obtained from strings of more yielding and elastic nature, as is also required by the violin, the strings of which perform rapid successions of release and recoils as the bow is swept over the. I make these statements knowing that there are exceptions to all general rules. I have heard selections played upon the mandolin, when the fingers were used in place of the 'shell,' I have see the 'pick,' 'thimble' and 'thumb-guard' used on the guitar, (string with wire at that), and only a short time since, heard a 'Musical Wonder' play popular airs by 'picking' the strings of the piano instead of using the keys, but in each case the 'performer' was trying to imitate another instrument. If this is the principal use of the instruments, why not have a universal reform? Put wire strings on the violin and imitate the 'Bow zither;' take the keyboard from the piano, fasten the hammers to the harp and then play the 'improved piano' with a 'carpet beater.' With these few 'suggestions,' I leave this matter in the hands of the musical public, (or the vibratory part of it) which is already in a fair way to success on several of these lines.

Now if steel strings are more effectual in producing quantity and quality of tone, why not use them to improve the modern banjo or increase the sympathetic tones of the harp? The fact that steel strings are not used on the harp, is good authority for saying that they would not improve its tone, and so with the banjo, even the 'thumpers' do not like wire on this instrument, and should the users of the sweet toned guitar be less artistic and rob the old favorite of its individuality of tone?

We might with equal thoughtlessness and propriety, say that the sweetest tones of our song birds should be changed or that all should sing the same tone, as to try to make the guitar a new instrument or an imitation of an autoharp or dulcimer.

We all know that there are people who cannot distinguish the difference between a pure, cultivated voice and the harsh, crude tones of the common 'concert hall star.' It is not strange that these should use the wire strung guitar, but how many real artists use steel strings? Are we at liberty to say that Romero, and other great artists in this class, sacrificed purity, brilliancy and quantity of tone because the steel strings were 'hard on the fingers.' I hardly think so, and, not above being taught, I should accept the experience and knowledge of such masters, though not having personal experience.

If anyone has never tried two guitars, one strung with steel, the other with gut strings, in a large hall, they perhaps do not know that tones clear and full on the gut strings are nearly inaudible and entirely confused when tried on the wire, but they must know that certain beautiful effects cannot be produced from steel strings and that the tone quality, peculiar to the guitar, is entirely lost by their use.

From observation, I am convinced that cheapness, ignorance and lack of musical taste are largely to blame for the use of steel strings. Young people get a guitar because of its popularity, perhaps; their musical talents have never been cultivated, and, not being able to distinguish the difference between two qualities of tone, they use the cheap, durable wire. Then, too, as Mr. Turriff says, 'One player uses them because another does.' They have no doubt heard a 'freak ear player' rattle off a 'hoedown' on one string of a 'simplified method fiend' play on his 'cymbal attachment' with the box behind him, or something of that kind; the result is a 'Kansas City revelation' and the poor proselyte is charmed by the very tone quality that would cause the cultivated musician to abhor the guitar forever afterward.

And now, Mr. Editor, I have given a few of my views on the subject without 'confining myself to satire.' If no 'logical argument' has ever been put forth in favor of gut strings on the guitar, it is high time that some on should try, and to this end are these few thoughts expressed."

— The Cadenza, May/June, 1896

"Your request to stop the argument on the subject of steel strings for the guitar, meets with my approval. I use both in teaching and find that the majority prefer steel strings, but for my own pleasure and pastime I use the gut and silk strings. If the musicians would devote more attention to the correct marking of the tempo on their compositions, using the Metronome as a basis for their figures, players would derive more benefit from playing their compositions and arrangements than they could from a discussion on the subject of strings. Why do not banjo, mandolin and guitar players use the Metronome as pianists do?

Very respectfully yours,

— M. S. Harris"

— The Cadenza, May/June, 1896

"Practical Hints on Modern Guitar Playing by Clarence L. Partee

[…] I am aware that a great many players use and prefer the steel strings, but it is my opinion that they destroy the musical quality of the instrument by so doing, and that any really artistic, high-class solos cannot be successfully performed on the steel strings. The fact that all the greatest guitar soloists of the past and present, of whom we know anything, have used and preferred the gut and silk strings, would seem to bear me out in this opinion.

Another point should be carefully considered by the dilettante before hastily deciding to use the steel strings: No guitar will successfully withstand the strain of steel strings unless it is specially constructed for the purpose. Of the standard, high-grade guitars manufactured by well-known houses, not more than three or four makes are built with a view of standing the strain of steel strings, and those are extra heavily braced, blocked and glued in vulnerable places as a precaution against being pulled apart by the severe strain to which they are subjected. Besides this, heavier material is, and must be, used throughout, to insure exemption from warping.

This is not a criticism on guitar making; with the manufacture or recommendation of any particular guitar, I have nothing to do. I simply make a statement of a fact. Most of the standard makes of American guitars are built for the requirements of gut and silk strings, and, as a natural consequence, that when they are used it should be upon a guitar of light frame. To those who expect to use steel strings I would advise by all means the purchase of a heavier built guitar, constructed especially for the purpose. Personally, I do not approve of the use of steel strings on the guitar under any conditions or circumstances, but even those who differ with me on this point must surely recognize my advice, to purchase a guitar suited to the purpose for which it is to [be] used, as at least the part of common sense."

— The Cadenza, November/December, 1898

"A Glimpse at the Study of the Banjo by G. A. Keeler

[…] it was, as many old banjoists will testify, anything but a pleasure to take the banjo out on a wet day, whatever the degree of manipulative dexterity attained by the particular artist. The unreliability of the old-fashioned gut strings must have disgusted many a would-be artist, and, for aught we know, the banjo fraternity may have lost a goodly number of possible 'stars' in the profession, simply through the at-one-time admitted unreliability of banjo and indifferently manufactured strings."

— BMG, March, 1904

"Answers to Correspondents

E. J. T. — It is difficult to give advice on the subject of strings, because there is a great diversity of opinion in the matter. Perhaps the best way of stringing the ordinary banjo is to use a very thin steel for the 1st string, gut for the 2nd, 3rd, and 5th, and the usual bass string for the 4th.

Properly picked (and very much lies in those two words), the fact of a steel 1st being used should be imperceptible to the auditors. From motives of economy a steel 1st string is desirable, and there is no trouble experienced in getting true notes at the high frets.

We stoutly oppose the steel 2nd, and on no account would sanction a steel 3rd! That is quite impossible. Clifford Essex and Morley use the stringing first mentioned, though Morley did at one time use a steel 2nd, but this was merely because he suffered from hot hands. He has, however, for some time past used a gut 2nd. The loudness of tone that you and others have remarked in these players is partly on account of their strong picking, and partly from the carrying power and loudness of their instruments.

All gut strings is the ideal mode of stringing undoubtedly, but the necessary touch has to be acquired. Time must be spent in testing them to be true, and, of course, their use necessarily entails far more frequent renewals than where steel is used.

Many of the steel strings sold are of too thick a gauge. Only an expert player knows exactly what is required, and the average music-seller is quite ignorant on this and most other points connected with the banjo."

— BMG, October, 1904

"The Present Status of the Guitar by George C. Krick

[…] Is it then any wonder, that the general public will receive with apathy your announcement of a guitar concert, after hearing perhaps a few amateurs make an effort to play an easy accompaniment to banjo or mandolin, on poor guitars, strung with wire strings."

— The Crescendo, November, 1908

"Music in the Dark by Thomas J. Armstrong

[…] The first, second and third strings should be of gut and not wire. A guitar with wire strings is an abomination, and will spoil the good work of any [guitar/mandolin] club. Play such a guitar in the dark, and you will hear nothing but a nasal, tinny snapping of strings, that is far from being musical. When the treble strings are gut, the harmonies are brought out more effectively, giving a beautiful background for the mandolins."

— The Crescendo, July, 1909

"The Banjo in Vaudeville: Music or Art – Versus Dollars by Walter J. Stent

[…] As far as Australia is concerned, vaudeville 'Worlds Champion Banjo Soloists' will never advance the interests of the banjo one iota in any respect, rather the contrary, and as most of them play the banjo with heavy steel strings and a stiff plectrum, their performances indicate that they have reached the point where the gentle muse may be described as retiring abashed to give place to a galloping dray horse. … Like breeds like, and attendance at a Sydney music hall will cause one to sit aghast at the meretricious and worse than meaningless vocal trash and the musical atrocities perpetrated in the name of banjo solo, and which seems to call forth the most emphatic applause. Any element of refinement is conspicuous by its absence. Poor banjo!"

— The Crescendo, October, 1910

"Editorial

[…] The mandolin has so far escaped mutilation at the hands of players and with but few exceptions is played as intended, with the plectrum. Some players, however, deem it necessary to use two picks in playing the guitar — poor guitar — an instrument which never can produce the power of the piano and was never intended to and yet when played with the thumb and fingers produces all the tone that is necessary or is expected to yet some players think they must use a thumb pick on the bass strings and another pick on the first finger to sweep the treble strings which too frequently are wire instead of gut. It is coming to pass that the guitar will in the future by played with drum or tympani sticks that banjo players will take up the mandolin, string it with the gut strings and play with their fingers, and that banjo players of the future will use xylophone sticks or base ball bats, or will the sane ideas of the very leaders of the profession prevail and the three instruments be played as they should be played, the banjo and guitar with the fingers and the mandolin with the plectrum.

If banjo players must use plectrums, why do they not adopt the mandolin? Why try to make an instrument that which it is not? Would the instruments not gain greater favor with musicians in other lines if one and all of the profession did his utmost and used his best influence to have the instruments played as originally intended? We can understand that in cafes where it is noisy, players for the sake of the money received, will play the banjo with the pick, music is not required, in such places, all that is necessary is noise. But at concerts, recitals or anywhere but a noisy cafe why should the banjo be played with the pick? Why should the guitar be string with wire strings and played with two picks?

We heard some years ago a piano player who preformed the melody of a piece on the piano with his nose, in fact this man was a celebrated vaudeville performer. It seems to us just as sensible to take up piano playing with the nose as it is to play the banjo or guitar with a pick. We have heard the late Signor Romero, Geo. Krick, and Wm. Foden, play the guitar with their fingers. We have heard Messrs. Farland, Derwin, Rowden, Bacon, Lansing, Steuber, Glynn and others play the banjo with their fingers, and we have enjoyed the playing. The men and the methods of playing used by these men and others almost as equally well known are what have made the instruments what they are today. Shall we then, club the instruments to death with implements of torture which do, we admit produce noise, sometimes similar to the thunder machine in a theater but which do not produce music."

— The Crescendo, November, 1910

"D. Acker on Banjo Torture

[…] The Vaudeville banjo murderer who plays a banjo with wire strings and a pick don't know what music really is, I'll wager the amount it will cost me to go to Philadelphia next April to hear Bacon play a banjo the way it should be played and I'll walk down 147 miles to hear Wm. Foden, play his guitar, and I'll bet my name and reputation against the greatest convict's that Foden will use gut strings on his guitar, and Bacon will use gut strings on his banjo, and both artists will pick with the fingers, and I will be willing to take the furthest back seat, close either one of my ears with putty, and hear the solos with pleasure and decidedly perfect satisfaction.

[…]

I call a Vaudeville player who uses steel strings and plays with a pick a 'freak,' but not a musical freak. Somewhat bent on softening of his capillary substance, I don't care what he or she calls me, I don't use wire strings or pick my banjo with anything else than the fingers, I'm not a vaudeville player, or a good banjoist but I have played in very large places which seated 2,000 or 2,500, and was called out oftener than any vaudeville-istic player ever was to my knowledge in this city, and this is no advertisement for me. I can't advertise myself, as I have no vaudeville swelled head, but I am ready to sing praises for such as I have heard, and mentioned above. Some say the vaudeville theatre goers want loud playing, they demand the pick, well give them a pick and don't forget to add a shovel, and let them go and dig a hole six feet deep and bury themselves."

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"Brookville, Pa. – H. F. Odell

[…] The abominable wire strings and plectrum combinations is practically causing the banjo a greater injury at the present time than it suffers from any other cause, and if by any remote possibility, it should ever become generally adopted, would alter completely the banjo and its music and would be the means of striking its name forever from the list of the world's civilized musical instruments.

— The Crescendo, January, 1911

"Subjects of the Day by Herbert Forrest Odell

[…] The cheap guitar of the same grade as the mandolin spoken of is generally made in large lots and strung with wire strings by the manufacturer who intends the instrument to always be strung with wire strings, therefore when the teacher tries to restring the instrument with gut strings, the strings immediately break and the poor pupil must either go ahead and learn on wire strings which on the guitar are an abomination or lose the money invested in the cheap guitar and buy a new one."

— The Crescendo, May, 1911

"Banjo Comments by John Douglas (U.S.A.)

[…] Then, again, some economical, but inartistic, souls seek to satisfy themselves by using wire strings, the most criminal of all banjo crimes, for not only do wire strings sound bizarre and soulless, but they are more difficult to manipulate, and their 'pull' is so much greater than silk or gut that the strongest banjo may be warped and ruined by them. Good banjos, silk strings, and modern solos in all grades are plentiful and by no means expensive, and if every backward banjoist will provide himself with them there would be a decidedly material advance in the instrument's popularity among those who are now subjected to the unpleasant ordeal of listening to the inferior article."

— BMG, April, 1912

"[Interview with South African player] Mr. Percy Nava

[…] 'So far as tone is concerned, I consider that gut strings are far preferable. The great drawback to these, however, is their unreliability. When at home, I am quite prepared to throw two false strings away in the hope that the third will be true, but in public work a performer cannot afford the necessary time. A wire string is always true; it can be tuned up immediately; and therefore I feel compelled to sacrifice the superior tone of a gut first string for the more reliable wire.'"

— BMG, October, 1912

"Answers to Queries

C. W. — For plectrum playing on the banjo there is certainly nothing to equal gut strings. Not only do they give a far superior tonal effect, but, apart from the difficulty of getting them true, they are far more reliable than wire for this particular style of playing. A wire string may break a few minutes after it has been fixed on the instrument. A gut string warns the player by its frayed condition. The latter type of string is also more velvety for the pick, and by lowering the string a few inches at a time the whole of it can be used. It is advisable to have a thicker gauge of strings on a banjo for plectrum work; and as it is usually the thinner type of string that is false, the plectrist who uses a stouter gauge is not worried with this annoyance to so great an extent."

— BMG, December, 1912

"The Palladium Minstrels

[…] A point worthy of notice is that the producer placed a ban upon the zither-banjo and wire strings; each of the thirty-four instruments is therefore strung with gut or Tropical strings, and produces a natural banjo tone.

We also understand that plectrum playing is prohibited. This is surely a mistaken policy, because not only would four carefully scored tremolo banjo parts, accompanied by the harps à la Stavordales, prove a welcome innovation, but sustained effects, even in the song accompaniments, could only be a very great improvement where there are so many instruments of one type."

— BMG, January, 1913

"What Every Young Banjoist Should Know by Emile Grimshaw

[…] IV. The best stringing for the banjo is first, second, third, and fifth of gut (or Tropical), and a covered silk fourth of good quality. No American player would dream of using a wire first. One cannot acquire a really good technique on it; the quality of tone is not so good, and the wire is constantly cutting into the bridge. Of course, a wire string can always be relied upon as being true, but so can Tropical strings.

[…]

VII. All spare strings should be kept in an air-tight tin box, as this will to a great extent, prevent deterioration. Gut strings that have become worn through being constantly picked at one place, should have the frayed portion lowered behind the bridge. When a first string becomes too short for use as a D, it should be reserved for further use as an octave G.

VIII. When not in use, a banjo should always be kept in its case with the lid of the latter closed down and securely fastened. Damp is one of the greatest enemies of a good musical instrument, and is directly responsible for broken vellum annoyances."

— BMG, April, 1913

"What Every Guitarist Should Know by Emile Grimshaw

I. First as to the stringing, the first, second, and third strings must be of gut, with the possible exception of the 'E,' which may be a 'Tropical,' in order to ensure it being absolutely true. The fourth, fifth, and sixth strings must be of silk wound with fine wire. Compound strings, that is to say, covered strings containing wire and silk centres, should be strictly avoided. Not only do they produce a wrong quality of tone, but they are very unresponsive to the touch of the fingers, and have a tendency to pull the handle of the instrument out of shape."

— BMG, June, 1913

"Talks About the Tremolo by G. A. Keeler

Now that a considerable number of players have returned to the use of gut strings on their banjos in place of the wire 'firsts' and 'fifths,' the time seems opportune for a few talks on the tremolo, as this very beautiful movement is certainly facilitated by the use of the softer strings. The rigidity of the wire strings, irrespective of other considerations, was all against an effective, or, at any rate, the best form of playing it. I would also mention here at the outset that the tremolo I refer to is the finger tremolo with thumb accompaniment — not the very clever and powerful edition cultivated by Mr. S. E. Turner, nor the plectrum tremolo; and although the tremolo with thumb accompaniment is not so suitable for work in front of the public, yet it is worth while making some effort to attain it, as it affords such an agreeable change from the usual styles of picking, &c., both to onself as well as one's friends."

— BMG, September, 1913

Advertisements from Wm. C. Stahl, Manufacturer and Publisher, Milwaukee, WI.

— The Crescendo, March, 1913 / May, 1915

"German Strings Versus British

In this issue 'Promateur' raises a few queries on the subject of strings, and wonders if we are dependent upon Germany for our supply. I am pleased to be in a position to state that, at any rate, as regards the C. E. Co., the answer is in the negative. Mr. Clifford Essex informs me that although 'Tropical' and gut strings have hitherto been manufactured almost exclusively in Germany, he has now made arrangements with a British firm to supply all present and future requirements.

Although the new strings are a little more expensive, this is found to be compensated for many times over by a greatly increased value in the material. Not only is the tone of the British strings much better, but every Tropical and gut string we have tried have been perfectly true, and their lasting quality has been found to be really wonderful.

During the last few months close comparisons have been made between German and British strings, and the decision arrived at will probably apply to most other articles manufactured in the two countries. The German strings are cheaper and have a better finish; British strings have a better tone, are truer, and are more durable. German strings are made to sell; British strings are made for practical service, and cheapness and appearance are therefore but secondary considerations with manufacturers."

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"My View of Things by 'Promateur'

The War and the Banjo

Here we are approaching spring and still the war drags along wearily at a time when, six months ago, we should have said it would be nearly over. However, it may end almost as suddenly as it began from all accounts, and sooner than some would have us believe. However much we may be troubled about the supply of war material of various kinds, I wager our enemies will be troubled more, and before we are, too.

[…]

What About the Supply of Strings?

I do not claim to have any special knowledge of gut string manufacture — I mean of the banjo kind — but I understand our chief supply comes from Germany, or, rather did. I also learn the gut strings are made of the intestines of lambs, and that they are manufactured mostly in Germany, because the climate there is particularly suitable for string-making. Mr. Albert E. Mullins, who unfortunately lost his life in the 'Empress of Ireland' disaster, once either told me Germany produced the best wire strings also, or he could get them cheaper from there — I forget which. If these are the facts, and they are so far as my knowledge goes, it would appear to be a serious matter if all German goods are to be banned henceforth, as our newspapers would have us believe. In any case, the price of strings will probably be dearer, like most other things. If they are not made at all in England (either gut or wire strings), it is a good opportunity for some enterprising firm or person to take up the manufacture and capture the market. Perhaps, our worthy Editor, after reading this, will ease our minds, if he can, by giving a note as to the source of supply of strings, and if we are dependent on Germany for them, what is the present position. The silk bass strings I understand come from France and also America. Is this so? In any case, perhaps some well-informed reader on the string question can enlighten us all. I must say that in all my life I have never heard of a musical string-maker in England, either of wire or gut — yet, of course, there may be some. I should only be too pleased to hear that Britain can, and does, produce as good strings as other nations."

— BMG, April, 1915

"My View of Things by 'Promateur'

British Strings and True

Those who were interested in my paragraph in last issue about the string supplies and the fears expressed that our present relations with Germany might possibly interfere with same, will welcome the explanation given by our Editor in his 'Notes and Comments.' It appears we shall now be certain of getting British strings of the Tropical and gut kind (from the Clifford Essex Co. at any rate) which will not only be of better material, but perfectly true, and with better lasting qualities. As I expected the British-made strings are a little more expensive than German, but what I was afraid of was that no British ones were being made at all. However, there is nothing like necessity to make the Britisher wake up, and if all the demand now goes the way of the British string-maker, he may not only go one better than the Germans in the way of cheapness, but also in quality by improving his own previous productions. I think our Editor hits the right nail on the head when he says the German strings are made to sell and the British strings for practical service. We are still unenlightened, however, regarding the silk bass strings and wire strings, but presumably, as they were not named, the same remarks apply. In any case, we must all support henceforward the British string-maker, and no doubt the Clifford Essex Co. will submit the latest in British strings if any are required at once by readers."

— BMG, May, 1915

"Gut, Silk or Wire Strings?

Three readers have written me during the past month asking what strings I recommend for the banjo. This is a question that is not easily answered, for the same reply would not do for all. The stringing of the banjo is not only a matter of individual fancy; we must also take into consideration the style of playing, and the peculiar conditions, if any, under which the instrument is to be used.

Now, the very best banjo (the Concert Grand) is sent out by the maker with the following stringing: Wire 1st (silvering), gut 2nd, gut 3rd, copper polished 4th, and tropical 5th. When anyone writes to the C. E. Co. and asks for a set of the best banjo strings,, those are the sort the get; for not only do they give a good balance of tone on the whole of the five strings, but they are considered to be the best for players in general.

American banjoists never use wire strings — a fact which has caused many players in this country to assert that the banjo should be strung with 1st, 2nd, 3rd and 5th strings of gut only. They overlook the fact that different climatic conditions prevail in the two countries. Moreover, American banjos are considerably lighter in build than are those made in this country, and I have often herd it stated that the tone of a thin gut string is a far more brilliant affair in the States than it is here.

Personally, I like the tone of a banjo strung with gut, but an instrument so strung requires such a lot of attention. New strings may be false; if one leaves the instrument in its case for a few days there is the possibility of one or two strings being found broken just when the instrument is required; or, if a player uses the instrument for two or three hours at a stretch, he will often find them break, especially if he uses a plectrum.

It is best for every player to decide for himself which strings are the most likely to give him the best service. He must remember that there are two factors — tone an durability, and he must also remember that experience is still the best teacher.

The following three definite 'don'ts' may help: Don't use a wire 3rd; don't use a wire 5th; and don't use a 4th string with a wire centre."

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"System and the Banjo: A Quick Route to Expert Playing by Frank G. E. Tayler

[…] I presume you are already provided with a banjo: by this I mean the eleven or twelve-inch open-back, strung with gut strings as used by the American players. No self-respecting banjoist would use wire strings on the banjo. Of course, by 'gut' I mean real gut, or any good substitute for the finer strings. The 'Tropical' strings, made by the Clifford Essex Co., are the best for the first, second, and fifth strings. The drawback to very fine real gut is that so many of the are 'false' when placed upon the banjo. No one has ever found a false 'Tropical' string, or ever will; and with the 'New Improved Tropical String' we have a great boon, which will answer all the requirements of the real gut firsts, etc., with many added advantages, viz., cheapness, durability, tone, etc.

For the third string I advise real gut: the proper gauge can be obtained from the Clifford Essex Co. For those who may happen to want a good gut third string for the banjo in a hurry, and are in a town where there is no good banjo firm or agent, I advise them to go to any respectable music shop and ask for a violin 'A' string (double length). This makes an ideal third string for the banjo, and, as such, is used by many noted professionals. The fourth string should be the best quality wound on silk. The Clifford Essex Co. will send you the ideal. Beware of those abominations silk wound on wire, or what are called wire-covered strings. These make very good dog-leads, but are no use for the banjo.

Some dealers will even try to palm you off with a wire third string. These are only suitable for repairing garden fences. For gentlemen, the wire second strings sent out by some firms make very good tobacco pipe-cleaners; while lady banjo players, if asked to accept a free sample of wire strings, should intimate their preference for the special gauge, or fifth wire: this is the best for threading beads upon! There is no possible affinity between wire strings and the banjo, and if you happen upon any, put them to the uses I have named, but never disgrace and spoil your banjo by putting wire upon it."

— BMG, January, 1917

Advertisement for Clifford Essex Co. "Tropical Strings"

— BMG, February, 1918

"Wire Wooers Wiring In

The mention of strings reminds me that there seems every likelihood that in the very near future there will be a serious shortage of wire strings. This owing to the war, and the almost total prohibition of steel manufacture for other than war purposes. Wire music strings, until the recent prohibition, were imported almost entirely from America, and, in spite of the personal opinions and arguments put forth by certain contributors to this magazine, I am afraid we cannot evade the fact that there are in this country more advocates of the banjo first wire string than there are advocates of a first banjo string of any other material. Moreover, the British representative of the National Musical String Company, of American, has just stated that there are ten times more wire banjo strings used in America than are used in this country.

It is possible, of course, that none of the highly skilled American banjoists use a wire first; but then we have to remember that the expert players are only a small minority of the whole. I do know that the majority of our British banjo experts use a wire first string, and I also know that when the right gauge of wire first is rightly vibrated, it is not by any means the clanging horror that some of our contributors have tried to make out. Every writer is of course entitled to express his own opinions, and I take this opportunity of again impressing my readers with the fact that all signed articles which appear in B.M.G. express the opinions of the writers, and not necessarily the opinions of this magazine."

— BMG, September, 1917

"Imported Strings

Users of wire strings are again reminded that the string question continues to get more and more acute. American manufacturers have not only enormously increased their prices, but to this has to be added a duty of 33 1/3 per cent., which must be paid by those fortunate enough to be granted a license to import them. Players must, therefore, be prepared for a rise in price almost immediately, so far as steel and covered silk strings are concerned.

It is worthy of note that the C. E. Co. have made it a practice never to raise the price of any article until the increased price has been actually paid by them; in other words, there is no profiteering. For some time past, however, they have had to decline trade orders for all steel strings, so as to be able to oblige their thousands of retail customers."

— BMG, November, 1917

"Notes and Comments by The Editor

[…] Commencing with strings, owing to the Government having forbidden the use of steel for this purpose, there exists a great shortage in all kinds of steel strings, and considerable economy is absolutely necessary. As a matter of fact, for some time past the C. E. Co. have found it quite impossible to execute large trade orders.

Gut strings are also extremely difficult to obtain at the present time, because, owing to the large requisitions by the Government for surgical gut, added to the great scarcity of raw material through the animal shortage, the manufacturers have been quite unable to execute most of the orders they have received."

— BMG, February, 1918

"My View of Things by 'Promateur'

The Coming String Shortage

By far the most important subject of the moment to readers of B.M.G., is the failure of string supplies for all musical instruments in the immediate future, which our Editor called attention to in the February issue. I had been previously warned of this coming dearth of both gut and wire strings from various sources earlier (particularly by a Manchester firm who deal largely in musical strings — violin ones particularly), and I understand the shortage may also apply to vellums and other banjo, mandolin and guitar fittings and accessories. As Germany catered largely for British musicians, there has been a lack of supplies ever since August, 1914, comparatively speaking, and though British manufacturers have done wonders in stepping into the breach, the gradually declining stocks of cattle the world over is having a natural effect in string supplies of the gut variety, while steel is all needed by the huge armies fighting for the Freedom of Nations.

It therefore behoves every banjoist, mandolinist, or guitarists, to secure a fair stock of strings at once — enough for a year or two at least, while they are to be obtained, and not to mind if the price if double, or over, what was asked in pre-war times. Nothing is more annoying to go to one's drawer, or wherever one keeps one's supply of new strings, and find the last one of the kind required has been used. A good supply of 'seconds' and 'thirds' is useless if bass fourth or 'firsts' or 'fifths' are needed, whole 'fifths' are always available if one has a supply of 'firsts.' Get all kinds, but lay in a good supply of firsts,, fifths, and bass, as seconds and thirds usually last longest.

It should be borne in mind that even the sudden end of the war, this year or in 1919, will not suddenly produce a plentitude of anything there is a shortage of to-day. It may be some years before there is a full supply of anything again, and it is now generally recognized truth that most things brought about by this dreadful war, however bad they may be now, are bound to get worse before they become better. With this warning note, I advise all B.M.G. readers to lay in a good supply of strings, vellums, and anything else they may need at once. Do not delay a single day.

Something About Gut Strings —

It may be asked why Germany was allowed to become the centre of gut musical string manufacture? The reason was merely one of suitable climate. The climate of Germany is more suitable for gut string manufacture than either Great Britain or America. Climatic or atmospheric conditions, such as dampness or dryness, affects manufacture of certain goods or articles the world over. For instance, Belfast is noted for its linen; France for silks — both due to climatic conditions. Finer aluminium castings are possible both in France and American than Great Britain, and many other examples may be quoted. The Quality of water in various centres affects the production of certain commodities, such as Dublin for stout, Burton for beer, while Irish and Scotch whiskies have distinctive flavours. Gut strings are made mostly from the intestines of young lambs, and the German lambs are eminently suitable.

— And Steel and Silk Strings

But there is no reason whatever for steel and silk (fourths) or other kinds of musical strings being monopolised by German manufacturers, and if the war results in British manufacturers paying more attention to fine musical string-making, it will be at least something to the good."

— BMG, April, 1918

"Notes and Comments by The Editor

Unanimity of Stringing

I wonder if we shall ever arrive at a standard method of stringing the banjo in this country? Our American friends use only gut for the 1st, 2nd, 3rd, and 5th strings; or else the 1st and 5th strings of silk. Wire strings in the States are as rare amongst banjoists as there are here amongst violinists, yet our best British players lack unanimity in their method of stringing. It has been authoritatively stated that American climatic conditions are more favourable for strings made of gut, but I cannot vouch for the truth of this statement. I do know that gut 1st strings are apt to be troublesome in this country, but I am sure that players who are desirous of obtaining the best results from an instrument will not mind a little extra trouble. Tropical strings are certainly good, and have become wonderfully popular with banjoists. They are always true, and have the additional advantages in these days of being cheap and readily obtainable."

#

"The Hawaiian Steel Guitar Department – Conducted by A. de Vékey, Bournemouth

Question, N. C. — 'I have read in back numbers of the B.M.G. and elsewhere that steel strings are detrimental to some guitars. I have a valuable old guitar, on which I have used nothing but gut and silk strings. I am very anxious to try the beautiful steel guitar playing, and would like your opinion before putting on the steel strings. Could not gut and silk strings be used? or, if this is not practicable, what do you suggest?'

Answer — While the average guitar is suitable for Hawaiian Steel Guitar playing, there are certainly some instruments on which it would not be advisable to put on the all-steel stringing, owing to their light construction. I could not advise positively without seeing the instrument. If you care to send it to me per passenger train, I will be happy to give my opinion.

Many players only change the first two strings, substituting steel instead of gut, leaving the others as they are; and I think the cases where actual injury to instruments has resulted are few, so far as I can hear. I can say, from my own experience, that we used a steel first on a guitar for some twelve years' public playing, and the neck of the guitar to-day is as straight as ever. I may add we don't use a steel first now for the regular guitar, as the composition strings obtainable for the first give every satisfaction. They are invariably true, give a good tone, and are consistently reliable. The second and third are of best pure gut, and the basses of silk. This, in my opinion, is by far the best stringing for the regular guitar.

Yes, it is possible to use all gut and silk strings for the Hawaiian style of playing, by just slipping an adjuster over the nut to raise the strings; but, of course, the particular ring of the style with steel strings would be lost, the glisso would be comparatively weak, and the telling vibration when the steel is freely oscillated quite absent. However, if you don't want to string throughout with steel strings, I would suggest you trying the gut and silk. Then put on a steel first, and when you hear the style with the steel string I think you will put on a steel second as well, but if you are at all doubtful about the guitar that you value, get another one. Any well-made one will do."

— BMG, December, 1918

"'The Guitarist' – Conducted by Vahdah Olcott-Bickford – Premiere Guitariste

Concerning Strings

There is nothing that is much more closely allied with guitar playing — or, in fact, with the playing of any stringed instrument — than the matter of strings and the kind used, etc. String troubles have been an almost ever present difficulty with guitarists from time immemorial, and even in the old days of many years ago that greatest of banjoists, Mr. Alfred A. Farland, referred to gut strings as 'profanity provokers.' All who have played the guitar know that there is much of truth in the last statement but soloists — those whose work demands the most perfect tone obtainable, as well as an absolutely true string that shall hold up to pitch through a long solo — know only too well from bitter experience what 'string troubles' mean.

The war that is but just closed added to the 'string troubles' of guitarists (as well as of violinists) to the extent that for a long time it seemed there were no true strings to be obtained at any price. If by chance one was found that was true, there was small chance that it would stay up to concert pitch or remain true for an entire concert. Music stores on every hand were besieged by despairing violinists and guitarists for strings that were true and reliable, as well as reasonably durable, but for the most part the dealers were unable to satisfy their music-customers in this regard.

A most interesting article in a recent issue of Etude is one by Jacques Thibaud, the greatest of French violinists and one of the greatest violinists in the world, telling of his many and harrowing troubles with gut strings. When asked by the interviewer to give a message to the violinists of America he said: 'Tell them that their string troubles will be largely over, if they will but conquer their prejudices and use the steel E string in preference to gut or silk.' The Etude writer goes on to say that the violinist then pointed to his violin — a superb Stradivarius valued at from $15,000 to $20,000, on which he had just played an exacting program of violin music which covered every phase of work from numbers requiring tremendous tours de force to dainty bits played with the mute. 'Note how it is strung,' he suggested: 'a steel E string, a gut A, a gut D wound with aluminum wire, and a gut G wound with silver wire. You have heard the tones produced by my Stradivarius when strung in this manner, and you will note the fact that I was not troubled with breaking strings, or with the violin getting out of tune once during my recital program, which was of a character to produce an extremely great strain on the strings of the violin.'

Asked how he came to be converted to the use of the steel E string, the great violinist replied: 'Well, the great war, which has just ended, made it increasingly difficult to get good gut strings, and that fact, coupled with the great range of climate and temperatures which a violinist meets with when on tour, turned my attention to the steel string. Last year, when playing in New Orleans, the air was very moist and the temperature high. At one concert there I broke seven E strings. You can imaging the trouble and inconvenience which this caused, and the difficulty of achieving artistic results under the circumstances. I decided to investigate the merits of the steel E strings and was surprised to find they were equal to every demand required of them for my work.' Asked further, if he intended to go back to gut strings, when the effects of the war are over and it is possible to get first-class gut strings, Thibaud replied: 'No, I shall never go back to the gut E. The manufacture of the steel E strings has reached such perfection that they can safely be used by any violinist, from concert artist to the humblest amateur.'

Questioned as to the objections raised by some players that the E strings are false, that the harmonics are not true, that the tone is metallic and bad in some positions and difficult to tune, etc., Thibaud said: 'I do not find them so. In the case of the best steel E's I do not find that they are false. The harmonics ring clear and true as a bell, as you heard tonight in the compositions I played where harmonics are used. I find that they rarely break and the tone is excellent, otherwise it would be impossible to use them in my work, which requires above all things tone of the finest quality on the E string. The E string which I used tonight was made in your own country, and was one of a half dozen given to me by a friend.'

When the interviewer asked the very interesting question, 'Is the steel E winning its way with other well-known violinists?' the great violinist answered: 'Indeed it is. Among the famous violinists using it, whom I can recall on the spur of the moment, are Yasÿe, Zimbalist, Kreisler, Eddy Brown — and a host of others. I have also heard that Mischa Elman has used the steel E at some of his concerts. The use of the steel E is growing all the time, as fast as violinists conquer their prejudices against it.' 'What of the aluminum D,' further inquired the interviewer. Thibaud replied: 'I have used the gut D, wound with aluminum wire, for about twenty years, and consider it superior to the plain gut D. The tone is wonderfully solid and vibrant, full and rich. This string is especially good in producing harmonics and flageolet tones, which ring out clear and true and of especially fine volume.' In addition to the great names in the violin world which Thibaud mentions as using steel strings, 'The Guitarist' has it on excellent authority that Heifetz uses a steel E much of the time, and that Maud Powell has used the same kind for many years. From this is would seem that all of the very 'top-notchers' in the violin world have come to the steel, which is surely a revolution in stringing the violin, and which bears a lesson which can well be listened to by guitarists.

It is a well-known fact that, while a violinist has much trouble with the strings, it is much more difficult to get a true guitar gut string than a true violin gut string. This is due to the greater length of the string, and also partly because a violinist can to some extent temper the falsity of a string where a guitarist cannot do this on account of the frets. One other reason why the steel strings are of greater benefit to the guitarists than to the violinist is that on the violin a tone can be sustained to any length with the bow, whereas on a guitar a tone begins to die right after it is born, as it were. The reason for this quick 'dying' is that, the strings being plucked by the fingers, there is no means of sustaining its vibrating tone beyond the natural vibration of the string, therefore it is a great gain to have a string with good sustaining power. This sustaining power is greater in a steel string than in one of gut (as can be proved by anyone who give it a fair test), and thus steel strings enable one to do effectively on guitar solos which require more sustained tones than could effectively be played on gut strings — this because of the short length of time a gut string will vibrate on the guitar.

There is no question but what steel strings are more difficult to play — requiring greater strength of the lefthand, greater accuracy of the same hand, with greater study and knowledge of tone production by the right hand. A very ordinary guitarist can play the gut strings and not offend the ear of a musician, while with steel strings it takes an artist in tone production to secure a beautiful, rich, luscious tone — but it can be done. I have often heard someone play with steel strings on the guitar who had not made a thorough study of tone production on the instrument, and the effect was heart-rending. I honestly believe these people are the ones who first caused the strong prejudice to exist against steel strings. It means study and practice to get good results from the guitar, but those who are not willing to study tone production should not condemn the strings because of their own indolence.

#

Mr. Robert Braine, the conductor of the violin department in the Etude and the interviewer of Jacques Thibaud when this great French violinist gave out his startling string information, has a great deal to say regarding this 'string revolution' (for Thibaud predicts that the steel E string has come to stay). He speaks, too, of the prejudice against steel E strings that has long existed, and sums up by saying: 'With many of the greatest violinists using them, it is probably that their use will increase by leaps and bounds. Some violinists will of course never use anything but gut or silk strings, but at the rate at which violinists have been adopting the steel E within the past year they will soon be in a small minority.' Much more of the article by Mr. Braine is so apropos to the guitar and guitarists, and I am so sure it will be of interest and benefit here, that I will quote at greater length from his article on the subject of the steel E string.

'The breaking of an E string by a concert violinist in a violin recital is disagreeable enough, but when he is laying a concerto with orchestral accompaniment it is little short of a calamity, while breaking two or more E strings in one concert spells ruin for that particular concert. A simple piece can often be finished effectively on three strings if the E breaks, but in a concerto or piece of any importance the E is absolutely necessary and the artist is obliged to retire and put on a new length. The new string, if gut, is bound to stretch more or less while the piece is being repeated or completed. The general tuning of the other strings is also affected by the E snapping.

'Not the least injury is the injurious effect on the nerves and composure of the violinist as a result of the breakage. Not a few concert violinists who still use gut strings take two violins to a concert, leaving on in the dressing room ready for playing if a string on the one in use breaks. As a rule the extra violin will be much inferior to the regular violin of the artist, for very few violinists can afford two violins of the first-class, and equal in all respects. Putting the matter in a few words, it is evidently to the interest of the violinist that he come through each performance with unbroken strings. One or more mishaps with E strings will certainly detract from his success, for, while the audience is well aware that violin strings will break, it does not enjoy the delay while new strings are being adjusted, nor does it relish listening to a violin more or less out of tune for the balance of the concert. Even if the E strings does not break it is likely to get more or less out of tune under the influence of sweaty fingers or high temperature.'

Mr. Braine predicts that the universal use of the steel E string for violin will affect the popularity of the instrument to a marked degree, as many amateurs give up the violin entirely, owing to the breakage of E strings or because of their tendency to be out of tune. He makes the statement that: 'Anything which lessens this evil must certainly operate to cause a great increase in the number of students of the violin. One reason of the popularity of the piano is due to the fact that it is always ready, requiring to be tuned only at comparatively long intervals, and that the strings rarely break.'

Mr. Braine further states: 'This silent revolution towards the steel E, although to the non-violinist it might seem a matter of small importance, is nevertheless destined to have an enormous influence on the art of violin playing and of music itself.' In speaking of the many changes the great war has brought to the world, he says: 'Who would have dreamed that the war would have an effect on the way the violin is strung? Yet it has had that very result by making it difficult to get a good supply of gut E strings. Concert violinists turned in despair to the steel E, and now say they will not go back to the slavery of breaking and stretching gut. Their example threatens to be followed by practically the whole fiddle world.'

As I said before, this string matter should be equally interesting to guitarists, if not more so. In regard to the use of the steel E string on the guitar, though the writer would advise strongly against its use with a gut B and G. These strings are too often used at once in chords, thirds, or sixths and the tone quality is too different and not well balanced, but by using the silk G string wound with wire (which compares to the use by Thibaud of the gut D wound with aluminum), and a small wound B string, the instrument is well balanced and the effect is all that could be desired — that is, when the best grades of strings are used and the player knows how to produce a beautiful tone.

When an E string breaks on the violin it sometimes is possible to go on and finish the piece without it. This seldom is possible in a guitar solo, however, for the guitarists often needs all the inner strings for the harmony while the melody is being carried on the E, and to reach the right melody note on the B string would necessitate the leaving out of some of the harmony or important bass notes. In such a difficulty the violinist of course is assisted by the piano accompaniment, while the guitarist (playing his own accompaniment and melody) is ruined by the breaking of an E string. The writer is absolutely convinced that the causes of the great prejudice against steel strings on the guitar are these: the wrong kinds of steel strings used; a lack of knowledge of tonal production with both hands, and often because of never having heard steel strings well played.

A word as to the objection raised by so many that these steel E or treble strings are very injurious to the instrument, causing the bridge to pull off or the neck to become warped. That this premise is a false one is only too evident when many world-renowned violinists — in fact, the very greatest living violinists, who have priceless Stradivarius violins — find there is no injury to these old and delicate instruments, therefore there should be no concern on that score in connection with the more modestly priced guitars. I have even known such inconsistency as a guitar teacher condemning the use of steel treble strings while invariably using either compound basses or steel basses, whose steel centres alone where heavier and coarser than the smaller E string in its entirety, and yet his condemnation of the steel E, was based wholly on the ground that it would pull of the bridge or warp the neck because of the strong tension. Providing a guitar is a good one and well built, if the instrument is properly cared for in all ways and is not allowed to go up above concert pitch, steel strings can be kept on it forever without injury.

The guitarist who is careless of tone production, who places a left-hand finger at almost any spot between two frets and never has studied the manner of properly vibrating the strings with the right hand, will make sounds that will cause the ear of the musical to ache when first starting to play upon steel strings. He should remember, however, that the fault is with himself and not in the strings, then practice faithfully for the things which are lacking in tone production. Gut strings tend to make even a good player careless about certain important features of technic or tone production — points that are never noticed until the player starts playing on steel strings. Then, if he has tonal discrimination, he is suddenly cured of all admiration for his playing, providing he has smugly admired it before. It takes practice on steel strings to be able to secure the velvety tone of which they are capable."

— The Cadenza, April, 1919 / May, 1919

"'The Guitarist' – Conducted by Vahdah Olcott-Bickford – Premiere Guitariste

H. J. B., Bellingham, Wash. —

Q. 1. Have any of the old or modern masters of the guitar used a steel E strings?

A. None of the old masters of the guitar used steel strings, for the reason that the steel strings are a comparatively new invention and were not known at the time they lived — in fact, were not manufactured. In the time of the old guitar masters gut strings were used exclusively on even the mandolin, this because there were no steel strings at that time for even this instrument, and Berlioz speaks of it in one of his books. Modern masters of the guitar are so very few that they cannot compare with the list of world-famous violinists who are touring the United States at the present time. So far as the writer knows, there are less than a half-dozen actual guitar soloists of the first rank at present in the world — that is, not before the public. Some of them are in Spain, and as a reader of the musical magazines you know how few guitar performances are given in America, hence they cannot be compared with the violinists. Most of the famous violinists in the world use the steel E string. The list includes Ysaÿe, Thibaud, Zimbalist, Heifetz, Kreisler, Eddy Brown, Maud Powell, Elman and a host of others.

Q. 2. Are there any guitarists of good reputation using them at present?

A. From the list of letters the writer has received since her article on strings running in this magazine, she would venture to say that there are a lot of well-known players using them at present, and many who have used them for many years, but like the majority of violinists they have not had the courage to say much about it, knowing the general prejudice against the steel strings among guitarists and violinists. One man wrote that he has been playing the guitar for fifty years and has used steel E strings for thirty years. Maud Powell has used a steel, violin E string for twenty years, and was one of the first to use a steel E. This speaks well for her progressiveness, now that most of the other famous violinists have come to what she decided upon twenty years ago.

As to 'reputation,' that has nothing whatever to do with what strings a guitarist uses, whether they be steel or gut, but the decision between the two kinds of strings is made wholly on the preferences of the player whether he or she prefers to have a false E strong, or to break from one to ten at one performance as so often happens with gut, or whether he prefers to practice harder, use more strength, gain a higher standard of accuracy and accustom himself to the tone of the steel E string, which is invariably true and which practically never breaks. The writer had an artist pupil who played at a wedding a couple weeks ago. She was using gut strings at the rehearsal for the wedding (she was to play during the ceremony) she broke six E strings in succession. The nervous bride-to-be began to shudder at what was likely to happen at the wedding, and said: 'If you break a string at the wedding I simply will collapse in my husband's arms in a dead swoon.' The pupil came to me the next time with a steel E string, saying that she couldn't run the risk of playing on gut strings at such an important function after her experience, and asked me if I object to her using the steel string. I gave her some special work in tone production and told her to go ahead with it. I also told her there was no reason why she should not use the steel providing she could get a beautiful tone on them, but of course she discovered that it was much more difficult to do than on the gut strings. She played at the wedding, made a great hit, and is so well satisfied with the steel strings that she is going to keep her guitar strung that way."

— The Cadenza, October, 1919

"'The Guitarist' – Conducted by Vahdah Olcott-Bickford – Premiere Guitariste

Again the Problem of Strings

No doubt owing partly to the unusually hot and humid weather of the past summer in the Eastern and Middle-western states, and partly to the problem ever present since the war (and not yet satisfactorily solved) of securing true good gut strings, 'The Guitarist' lately has been besieged with letters from many guitarists (amateurs and teachers alike) asking how to solve the string problem. Some write that, no matter how much they pay for it, they are unable to get any E string which will last for more than one day; others tell of breaking three or four in a day. Some write that none of these strings will go up to pitch without breaking, while others say they have tried them by the dozen and no longer can find a true strings.

'The Guitarist' knows how to sympathize with these complaints as of late she has been breaking a good many gut strings herself (some breaking before they go up to pitch), and finding many untrue — even as far off as a half tone at the twelfth fret. She always has one guitar strung with steel strings, however, so she never need stop playing when gut strings start what Mr. Farland has so aptly called their 'profanity provoking' stunts.

[…]

The steel strings undoubtedly have several disadvantages, the chief one of these being that they are far more difficult to play upon — this because they not only require a great deal more strength to press down to secure a clear tone, but also that with the right hand they are more difficult to move and do not respond as readily to the touch. It therefore requires a far greater degree of strength and muscular development on the part of the performer to play successfully on a steel E strings, and in addition to a far greater degree of accuracy in playing as the fingers must be placed directly against the fret in order to get a pure tone. The latter rule of course also holds good with gut strings, if a player is to obtain the best quality of tone from them, although in this regard tonal variation in purity is not nearly as apparent or so offensive with gut strings as with steel. It also requires far more skill to secure a good tone from steel strings than it does from those of gut, with the result that all too often the strings are given blame for poor tonal quality that should be credited to the performer. It undoubtedly is a strain to practice all the time on steel strings."

— The Cadenza, December, 1921