2007 Annual Conference
The 2007 EGTA annual conference took place in Derby in late July. As always, the food and tranquilty of the establishment we use offered a welcome template upon which to build solid days of immersion in the classical guitar.
John Compton meticulously prepared some music from the EGTA library which “broke the ice” for the delegates. Welcome additions by Ray Love and John himself were played and enjoyed. The humble disposition of these gentlemen hides the fact that they are actually pretty good at writing music!
James Westbrook brought along some early editions of tutor books, among them a beautiful early edition of an Aguado 
Tutor Book for his Analysis of Guitar Technique with Reference to 19th and 20th Century Guitar Books. It is illuminating and humbling to realise these early pioneers had a thorough grasp of their subject and were all working to write the best and most idiomatic music, and develop the most appropriate techniques for that music’s execution. Parallels with the work of EGTA today are obvious. James told us some fascinating facts: the footstool was 1st introduced in 1825, the earliest 6 string tutor dates back to 1802 and that "free to move" left thumbs had become the norm in playing as early as 1799.
Jorgen Skogmo gave us a thrilling recital of brilliance and sophistication. It is rare to hear Henze’s Drei Tentos at all, let alone so well performed as it was at Morley.
Jorgen can conjure the most dazzeling technical wizardry and produce the most sublime pianissimo; here is a guitar player destined for greatness.
Most Annual General Meetings are necessary but tedious affairs; this one was enlivened by Peter Batchelar talking to us about the fanstastic progress the ABRSM are making with the new syllabus and the core efforts being made on EGTA's behalf by the steering group responsible for the design of what will be used as guitar tests for the next decade and beyond.
After the annual General Meeting the 2nd day focused on contemporary makers; Peter Barton, Tony Johnson and Earl Marsh brought along really beautiful examples of the luthier’s craft for us to play and admire. Tony Johnson made the interesting point about the difference between efficiency and imperfection. It was, in his view, perfectly possible to make extremely powerful wind pumps by adopting a lattice structure, but in so doing the character of the guitar as we know it is changed and it becomes an altogether different instrument. It was the imperfections in efficiency which gave us the unique guitar sound we all love, he thought.
Luke Dunlea tried to get us to perform rounds on guitar and with voice. It is a challenge to 
persuade the brain to concentrate on two activities and the multi tasking required would need more practise than this session allowed – but Luke made it look very easy with an endearing and infectious charm. When working with solfa, Luke is clearly in an extremely comfortable zone. The advantages of introducing singing, as a tool for getting inside the music studied, is of course obvious to most. What is harder is to deliver this in a relaxed and appealing manner which will seduce students to follow our examples. If Luke was the Pied Piper, then scores more of young guitarists would be singing as they play.
Stuart McCoy brought along many early instruments as he tried to unravel the mysteries of early tablature for us, and compared 
French and Italian Renaissance writings. The authoritative delivery, a culmination of years of specialised study, enabled those less familiar with Renaissance music to begin to understand how to read the symbols on the paper. Some of the letterings on early tablature would be impossible to decipher without the work of such people as Stuart. In French tablature, for example, the letter "a" denotes an open string, "b" fret one, "c" fret two, and so on. In Italian tablature the notation is reversed so that the bottom string lies at the top of the page. But simple observations seemed obvious on reflection; for example – a tablature with no gaps in chords, (played on every string,) would indicate the music was for bowed viol rather than a lute.
Antonis Hatzinikolaou played a recital of gargantuan ambition, the highlight of which was the Sonata in C major by Bach. Most delegates marvelled not least at the feat of memory, to be able to get through such a piece without notation.
Steve Gordon had prepared a seminar on figured bass, and in so doing he removed the areas of self-doubt which some possess in this field; for others it was more a welcome return to A level disciplines and an opportunity to actually play and realise a score. Steve made the point that Baroque players would improvise the upper parts; if another instrument had the 4th in a suspension, then the theorbo player could omit it. Thus, a good ear and an ability to listen beyond one’s own playing were needed to execute a successful performance of a figured bass piece.
Eileen Guppy from the RNCM had some ideas on how to engage young students in theory and she offered a personal touch which contrasted starkly with the Sibelius software presentation by Richard Payne. Both approaches are well thought-through and it is for the teacher to decide which will work best for his students.
Once again, Ginette Eady had delivered us a conference which was stimulating, educational and hugely enjoyable and EGTA extends its gratitude to her for all her hard work. The 2008 conference is already booked at Morley from Monday 28th July - Wednesday 30th July.