Classical Guitar Chair Height and Balance

When discussing classical guitar seating position, the conversation continually turns to understanding which apparatus should be used. Do you use a footstool? Doesn’t that make your back hurt? Have you considered the ErgoPlay, Dynarette, or GUITARLIFT? However, few consider the classical guitar chair height as an element to consider in creating the ideal position for successful playing.

Seating Position Balance

On a recent reading of Piano Forte School (Vol. 1) by Charles Czerny, I was struck by how in-depth he discussed the proper sitting position.

“The movements of the body have so great an influence on piano-forte playing, that a good and graceful position must be the first thing to which the pupil’s attention should be drawn; and the rules on this head must be incessantly repeated, till the exact observance of them shall have grown into a settled habit. In playing, all unnecessary movements must be avoided, for every obliquity of position, every grimace, and every useless gesture, have a disadvantageous influence on the hands and fingers.”^[1]Czerny, C. (1839). Piano Forte School (Vol. 1). London: R. Cocks & Co

Czerny makes allowances for younger players by placing stools under their feet for support when their feet cannot reach the floor. The piano bench must be raised to a maximum for younger students to have correct arm/hand technique but balance of the body is equally important. This balance allows for greater efficiency in learning and in musical expression. As Christopher Berg puts it, “The more sensitive we are to movement, the more sensitive we can become to music.”^[2]Berg, C. (2008) Mastering Guitar Technique: Process & Essence (Missouri): Mel Bay Publications, Inc. Sensitivity begins with how we sit before ever holding an instrument in our hands.

Classical Guitar Chair Methods Survey

When surveying the guitar methods and schools, very few mention anything about the chair itself. Most take the chair for granted and accept that chairs are chairs and your adjustment should be with your footstool or accompanying device. Hector Quine mentions chair height but remains vague about the height and draws attention to the height of the footstool.

“A chair without arms and of normal height should be used, and a footstool for the left foot. It is impossible to specify the height of the footstool, as this must depend on the player’s physique and, of course, the height of the chair. As a guide, it is useful to remember that the left thigh should slope slightly upwards towards the knee, and the right thigh should be parallel to the floor.

One should sit squarely, and as far forward on the chair as possible. The back must be straight, but the whole trunk may lean forward slightly from the waist. A comfortable posture is of the utmost importance, and unnecessary tension in any part of the body must be avoided. The calves of both legs should be perpendicular to the floor from every viewpoint, and the feet should rest firmly with both heel and toe on the floor (right foot), and footstool (left foot).”^[3]Quine, Hector. (). Introduction to the Guitar. London: Oxford University Press.

As with all methods, Quine encourages a “comfortable posture” as of “utmost importance.” Quine does not take a very scientific approach to his analysis of the sitting position. Ricardo Iznaola, on the other hand, seems to enjoy delving into the anthropometrics of the sitting position.

“The proper height of the chair can be determined by measuring the distance between the edge of the seat and the hollow of the knee joint when the player stands by the chair. The distance should be somewhere between two and five finger-widths.

Footstool Height and Starting Point

The foot-stool height depends on the length of the player’s torso. It should bring the guitar (its upper bass-side arch) to about the mid-point of the sternum. In cases when the chair is higher or lower than ideal, the footstool height has to accommodate this difference, but the right foot will probably end up tip-toeing if the chair is too high; or, if it is too low, the right leg will have to open up excessively.”^[4]Iznaola, R. (2000). The Physiology of Guitar Playing. Reading: International Centre for Research in Music Education.

I believe Iznaola gives us a basic starting point for chair height. If you read the rest of his work quoted here, you will find it is much more scientific than most others quoted here (except for Christopher Berg). Iznaola, contrary to Berg, is not sold on the value of devices other than the footstool, save Dionisio Aguado’s tripod or tripodison, for good positioning. He also disagrees with modern thought on keeping the back straight while playing. However, I have not read his reference material Senso-Motor Study And Its Application To Violín Playing ^[5]Polnauer, F. and Marks, M. (1964) Senso-Motor Study And Its Application To Violín Playing. Urbana (Illinois): American String Teachers Assoc. to make a better informed decision on this point. However, from my experimentation sitting overly erect during playing does tire the back muscles significantly.

From my experimentation, Iznaola’s finger measurement seems a little too imprecise. I think a better diagnostic tool for my playing is having my thighs parallel to the floor. With this criteria, the chair always falls within Iznaola’s finger measurements. It allows for the development of a “stable equilibrium” as noted by Abel Carlevaro.

Solving the Body Balance with a Footstool

“The basic problem faced by the beginner is always linked to the balance of the instrument in relation to his body. He and the guitar must create a stimulating and anatomical complex that not only avoids a strenuous posture but also facilitates instrumental technique. Holding and stabilizing the guitar without hindering body and left arm movements must be the starting point for developing a guitaristic school.” ^[6]Carlevaro, A. (1984). School of Guitar: Exposition of Instrumental Theory = Escuela de la Guitarra. Boosey & Hawkes.A balanced instrument may only be found on a balanced body.

Carlevaro suggests sitting in the proper chair, with thighs parallel to the floor to achieve balance. This is sitting at equilibrium. As one puts their left foot on a footstool, the body is out of equilibrium and wants to fall backward. To counter this, Carlevaro moves the right foot backward in the opposite direction from the footstool. One may need to sit closer to the corner of the chair to achieve this movement. This counters the backward movement and allows the body to find equilibrium again. The first time I tried this technique, it opened my eyes to how unbalanced my body was during playing. I was using my back muscles to keep myself forward and wasting energy. The balance of the body is dependent on having the thighs parallel to the floor by having the correct height of the chair.

Classical Guitar Chair Footstool Alternatives and Notes

How does this apply to those using ErgoPlay, Dynarette, and GUITARLIFT? Achieving stable equilibrium in seating is necessary for good guitar playing. Those using these devices might choose to have the thighs slightly angled with their hips lower to keep the guitar on a solid platform for performance. I have personally returned to the footstool for three reasons. First, the guitar feels much more stable on shifting than with other devices. Second, I play a French polished guitar, and adding a flat surface is always necessary for the suction cups. Finally, every suction cup I’ve ever owned wears out causing the device to fall during playing. The replacements are never as good as the originals.

Before closing, I’d like to make a special note about adjustable stools and chairs. The option to adjust the height has many advantages as long as the chair sits low enough when placed in the lowest position. This can be achieved with a too high chair that has wooden legs by cutting them to achieve the correct height. Another issue I’ve seen is using a chair or stool that swivels. This should not be an option for the classical guitarist unless the swivel locks. Your body will need to work while playing to keep the chair from moving creating another challenge to playing.

Conclusion

Regardless of how you raise the guitar for playing, your chair height matters. To quote Carlevaro again, “The guitar must accommodate itself to the body, not the body to the guitar.” The body must remain stationary and in balance to give place for the guitar to remain balanced and static. Due to different body types, our positions while holding the guitar may more or less differ, but the chair and general guidelines for its height should remain consistent.

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Chadwick Becks

I have two degrees in guitar performance and was privileged to study under Aaron Shearer, Tom Kikta, David Skantar, Ken Karsh, Tim Bedner, and currently Christopher Berg. Outside my editorial work on this blog, I teach full-time across many genres including classical, jazz, blues, rock, funk, and metal.