David, Thank you. Regarding bass strings on these 'English' guitars, some 25yrs ago I closely inspected a number of these instruments in York Castle Museum (and glued a failing one together again). My notes are, unfortunately, not as clear as if I were I to do this today, but I recall at least two of these had overwound onto red silk for the lowest. Of course, these might have been put on at anytime from date of manufacture usage to 20thC - I merely mention the feature. Onto slots in the head etc: slots do not, of course, need to be the width of a string but just sufficient recess to ensure the string remains in place when at tension. In short, won't the measurements of slots give a lower limit but not a clear indication of an upper limit. I do take yr point about the keyboard attachments: have you ever used one (I haven't). Is it reasonably easy to play most of the published repertoire with them or do you think they may have been simply used to play arpeggios to accompany songs etc (rather like the guitar?). Also see my latest response to Stuart about how so much of the music is written - very suitable for a plectrum - hence my, perhaps facetious, comment about strumming. rgds, Martyn
David Kilpatrick <[EMAIL PROTECTED]> wrote: Martyn Hodgson wrote: > Stuart, > > I'd be grateful to know yr evidence fr 'light' tension strings on the > 'English' guitar. In particular, have you measured actual strings which can > be reasonably dated to the 18thC or you aware of anyone else doing so? I had > previously, perhaps on insufficient evidence, thought the contrary: that > stringing tension was relatively high compared to, say, the earlier cittern. > Further, the instruments I'd inspected and handled (quite some years ago) all > seemed fairly robust and well placed to withstand such higher tensions. Do we > know anything of the stringing tension of contemporary 18thC German > instruments (eg Waldzithers)? > > Regarding playing technique on the 'English' guitar, I had also thought the > use of some form of plectrum was the usual, if not exclusive, practice. > Certainly much of the music I recall looking at seemed set down for plectrum > play eg generally single lines, thirds or with close (ie on adjacent > strings/courses) chords. For example Zuckert's 'Six Sonatas Opera seconda' > (London 1769) which I have before me. About Ann Ford's instructions: which > Ann Ford is this? Have you her dates? > > Finally, thank you for rekindling my interest in the instrument: I'll dig out > some stuff and have a strum................. > If I can jump in here: The travel available on the Preston mechanism doesn't permit very high tension, especially with either brass or copper wire. The size of the nut slots on my guittar, and the historic marks on the original bridge, the catch slots on the tuning head, and indeed the ivory string pins in the back, all indicate wires within a range which would be equivalent to around 11 to 18 gauge in modern guitar strings. In iron or steel wires, anything less than 11 produces too low a tension for the high g, and any single string heavier than 18 in copper or brass produces a very poor sound. Twisted paired brass works well; copper I have so far found unusable with the Preston mechanism, it stretches too much and the entire travel is taken up before a playing tension can be reached. The choice of string material is critical. You can not, for example, bring a standard classical bass (silk core with silver winding) up to tension on a Preston tuner, but you can bring a silver wound iron core traditional mandolin string up to pitch easily. Twisted brass basses are JUST within range. You must be sure to make the string the minimum possible length before tuning. It sounds pretty good played with a plectrum of a small and light tortoiseshell plastic type, or a soft bone or ivory pick. From Bremner's book it sounds as if pick playing was common to the mid-18th century and fingerstyle playing from aroun 1760. The keyboard mechanisms used mainly by young ladies to permit lap-style playing existed possibly to save fingernails (on both hands, the left hand nails being less of hindrance when playing in this manner). Had plectrum playing been universal, there would have little need for keyboards to 'imitate' fingerstyle playing. The single basses and double coursed means and trebles are ideal for thumb and to finger playing and not so great for pick playing. Instruments with octaved double wire courses for basses are so much more suited to that. DK Send instant messages to your online friends http://uk.messenger.yahoo.com -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
