THE CLASSICAL GUITAR EXPERIENCE

Roger Allen Cope,Director

Island Classical Guitar

 661-378-0791

Easily one of the most laborious tasks in guitar playing is the change of strings. Early on we try to do it ourselves, it requires 2.5 hours and we didn't get six fresh strings on because we cut one too short after a wrong turn. Later we simply accept the process as a necessary burden that comes with the territory. At some point after we've done it enough times we actually begin to learn a few tricks and short cuts. Eventually we learn to do the work at the end of a practice session; that ensures a fresh sound when we play next time. Fresh strings need time to run-in, so sitting for a while at full tension is a good thing.

Obviously the classical guitar has a few quirks that make string changes - shall we say, special. First, we don't have the balled ends like you see on steel string acoustic guitars - you know, where you pull the pin out of the bridge, run the balled end down the hole then jam the pin back in and pull the string taut. That only leaves fixing up at the tuning pegs on the head stock, and there's even enough time left over to make some of those doodley thing-a-ma-bobs with the surplus string length.

Here's the set-up for a classical guitar. Take a good look at this picture.

Here you see the basic tie method of securing the string at the bridge. There are two different perspectives to consider; the basses, and the trebles. First lets talk about the bass strings, the three on the left and easiest to secure.

If you follow the path of the string end you'll see it's basically an elementary overhand knot where the bridge end of the string was pulled through the tie block then directed back toward the neck. It went under the long portion of string then directed back toward the bridge now traveling under the loop that's created by the slack. Here there's just a little bit of the free string end to work with; at this point it travels under the loop with the end laying on the back side or aft side of the tie block. By back side I'm referring to the plane with the holes. As you draw the string taut the free end needs to be laying on that surface so tension, created by the string being tightened, will be uniformly distributed to hold the end secure. If you look at the photo long enough you'll see exactly how all this works. The best part is how the string locks down the free end; because the bass strings are finished with a winding, the channels of those windings act as a locking mechanism. Once tight it won't slip on the bridge - ever.

Now comes the hard part, the trebles. This is important.

The big issue here is the fact these nylon strings have a smooth surface, much the same as monofilament fishing line. When you try to make the same kind of knot as was done with the basses the treble string likely will not hold. In fact, the end will progressively creep along while you're tightening the string and when the pressure reaches a certain point it will slip free of that bond. It will make an ugly sound, and while zipping along its path to freedom it will cycle through the tie block hole with momentum sending the string end to contact the soundboard at high speed. This will leave an unrepairable divot in the top just aft of the bridge. In fact, take a look at every classical guitar from now on and look to see if there is a tiny punch imprint aligned with the string hole in the top. It's remarkable how often this happens, but it mostly happens to people who haven't done the job enough times to realize you need to put two turns into the knot.

Here: notice the knot; it's the same knot as on the base string only the free end of string has made two turns before being fixed to the aft plane of bridge. 

As you begin tightening the string you'll need to keep an eye on this area for a short time to ensure the free end is holding and not creeping toward disaster. Slow & steady is the plan here. In fact, you can see in this photo how the first string, far right, started to slip until it finally locked in place. The second string took less time, and the large diameter third string held right away.

AT THE HEADSTOCK

The rule up on the head stock is to simply pull the slack end of string through the hole and then begin turning the tuning key. As the free end of the string comes around completing one half revolution simply tuck that free end under the taut part of string rolling onto the barrel. It locks in place after just a few more turns and that part is done. Now you just tune the string up to pitch.

Of course you can always double up securing the free end of the string. It all depends on how secure you want to feel. But usually there isn't much danger of slippage at this end. 

STRING ELASTICIY AND TUNING

All guitar strings have a certain amount of built-in elasticity. You put the new string on, tune it to the correct pitch and five minutes later it's out of tune. The string is designed to sound a certain pitch when at a certain length, but fresh strings need to stretch a little bit before they settle down and stay at one pitch.

The best thing you can do too speed up the process of running in your strings is the following: when the new strings are on and the job is finished it wouldn't hurt to play a little bit. Granted, you'll be chasing the tunning but this actually helps the string seat in it's new world.

Then, right before you put the guitar away, in the case or on the wall, put a one-half turn into each peg thus raising the pitch of each string a little above its specified pitch. This will help burn off some of that inherent elasticity. If you do that at the end of playing the process speeds up and in two or three days the string will have used up all that slack and they're ready to go when you open the case. The more times you do that the sooner the string settle down.

Also, use good tuners: These are Rodgers tuning machines.

Granted, they're pretty special and pricey to boot, but there are many designs to appeal to nearly all tastes.

While design and visual appeal are certainly characteristics to keep in mind, the priority needs to be on the ratio of turn-to-string movement. When you turn the key more than normal to get the pitch to move that should tell you right away you stand a better chance of getting the string exactly in tune with a high degree of precision. Practice with guitars at a friends house or local music store. How far does the pitch move with a 1/4 turn of the key? The key should turn quietly and smooth, and move the string pitch very gradually. Of course all that precision will cost you. I've known some sets of tuning machines to cost as much as guitars I played early in my career.

At ICGS we devote time in every session to some aspect of tuning and usually spend one entire meeting working on the string change process. It's a good skill to know well, and the more you do it the better you become. Consider: when playing a lot I changed trebles every 15 to 21 days, and basses every ten days. I watched one concert guitarist changed his basses at intermission! 

Practice helps. Repetition is the mother of all skill.