That's the wonderous benefit of building. If you see a change that suits you, and the instrument will be for you, then make the change. The position of the tangent when it hits the string is the important part, if you need to thin down slips to squeeze them in, to make funny bent sticks to accomodate the spacing, heck even create a 3rd row of holes for a few keyslips to get the notes you think you need to play, and you are comfortable you can play them where you put them, then grab a saw and a file and hack away.
Instruments evolve because people make subtle or not-so-subtle changes to the status quo. If those changes are beneficial and workable, they often in short order become part of the new 'status quo'. If they are a bad idea, they don't see the light of day for long. I know that I was able to put 2 octaves in my sinphone, all the keys on the right 'layers'. I had to use purpleheart for the slips at the top, because it is very strong and stable even when thin, but I squeezed them in there. Just took some judicious filework, holding the tongue just right, and a few moments of prayers, but in the end, it worked out for me, and that is who I built the instrument for. So be creative in finding solutions that satisfy your need as a player, if you are building. After all, I am assuming that one of the reasons you are building is to create 'your' instrument. Chris *********** REPLY SEPARATOR *********** On 4/22/2008 at 1:54 PM John Tappan wrote: To All If this posts twice, please ignore one or the other. In studying the keybox layout on the plans from Michel Pignols book, the F5 key is located on the upper (accidental) row of keys. I know that space is tight toward the wheel end of the keybox, and Im guessing that its moved up for that reason. Im also guessing thats why theres no F5 (F5#) key in sightjust not enough space to get it in. I gather by reading this list that those really high notes may not be used all that often. Is this a standard/traditional key arrangement, or something that Mssr Pignol just opted for? It seems a bit quirky, but that would be in keeping with the character of the hurdy-gurdy itselfits all pretty quirky. Some builders refer to a full two octave range, which should include that last accidental note. Is it primarily a matter of narrowing the key blanks and making smaller holes to make room (assuming the tangent can still be adjusted properly)? And even so, is it worth the effort to make those changes? Thanks for responses in advance. John T
