Chris,
I don't know if you read Spanish, but are you familiar with the
books written about the reconstruction of the Portico de la Gloria
instruments and all manner of topics surrounding them? In it, Luciano
Perez of Lugo's CADG discusses some of the very interesting topics
that went into the whole process--in even more detail than in Rault's
organistrum book. Let me know if you;d like some info from them.
Vlad
Wolodymyr Smishkewych
wolodymyrsmishkewych.com
[EMAIL PROTECTED]
On Feb 03 2008, at 10:36, Chris Nogy wrote:
OK, the 5" thick plank of black walnut has finally satbilized at
around 9%, so I can start cutting.
This is my "build a gurdy that COULD have been built at the time of
the first trompettes" project, and by various iconographic evidence
that was somewhere in the 1300's to 1400's. I have borrowed from
what I know of instrument design in the period for shape, size, all
that other rot, but I have only 1 question left. I have asked this
before, but I got so many answers I am hoping this time around the
responses will be simpler.
I am not looking to build a modern instrument that looks like a
period piece. I am looking to build a period piece to learn what
it might have sounded like, and to play with a gregorian group that
is local to our area. (Yes, I know, my sinphone should be what I
use for that, or an organistrum, but I want to try this thing).
The instrument will be a carved body, not rib-built. Is there any
evidence from this early that curved soundboards were common (not
carved yet, but simply curved), or should I stick to a flat top
which I KNOW I can document to the period, at least on a whole lot
of other stringed instruments.
Again, I am not trying to build a modern instrument in disguise, I
am trying to build a really first-class period instrument. But one
that is significantly pre-Bosch, an instrument with a trompette
that could be set down in any great hall of the time and a local
builder would not have any reason to question if it is proper.
Chris Nogy
