Hello all,
I have recently joined this list and it is great. I am gearing up to build my
first baroque guitar and am getting more and more excited by the day waiting
for the plan (Ashmolean 1642 Rene Voboam). I have built instruments before so I
am no stranger to working with wood (and a
Welcome! I can't really answer the first part of your question as I am not
an instrument maker.
In order to answer the second part we need to know what you mean by the
Spanish tuning as this is not a recognised definition of any particlar
tuning/stringing. And also which part of the Spanish
Hi Harlan... Some comments from an amateur...
I believe I have seen some references to graduating the fret gut as you
move up the neck, but I can't remember where. Nonetheless, my guitar
uses the same size gut for all the frets, and it was made by a very
reputable person who not
Well said, Monica. There's no doubt that it's easy to change the
stringing, and many, if not most, contemporary baroque guitarists do
just that. It has no effect one way or the other on the construction
of the instrument, indeed.
I just wanted to point out that there's no
Harlan,
I have built and re-fretted a bunch of period instruments (romantic and
renaissance guitars, and lutes) and it is likely you will need a few gauges of
gut for the frets (gamut strings is the easiest place to get them). If the
action is low the first three/four frets will need to be
Thank you both for you speedy and detailed replies!
I guess I am wondering what the most universally useful stringing would be
(bourdons on 4 5, bourdon on 4 only, no bourdons). I do understand that there
is no silver bullet stringing that will be perfect for everything and that I
will have
I just wanted to point out that there's no intrinsic limit to the
musicality you can pull out of the instrument if you do opt for a full
re-entrant tuning.
I couldn't agree more! I am a dedicated re-entrant tuner myself. To
my delight someone in Italy has just sent me a
I'd follow that overthinking line of thought... Pick one, and
plunge. Than after a while, pick another and plunge. Don't stick on
any one unless you are getting special inspiration from it. Or, if you
want to strive for historical accuracy, then you do have to let the
composer
As far as I am concerned a bourdon on the 4th course but not on the 5th is
the answer to every maiden's prayer. It is compromise, and in the real
world compromises are what work best. And I think we should re-christen it
the English tuning because it is the tuning Corbetta intended for his
Well - it is a serious mis-nomer to call the re-entrant tuning Spanish.
The Spanish would turn in their graves.
What dear old Sanz says is
In stringing there is variety, because in Rome musicians string the guitar
only with thin strings, without a bourdon on either the fourth or fifth
course.
Did you see the guitar tablature Toshiaki linked us to?
BSB Mus.ms.1522:
Alfabeto/mixed guitar tablature (Bavarian provenance): Tabulaturbuch
fuer Guitarre [ex-libris:] H. M. Adelaide di Sauoia, Ellettria di Bauaria
http://daten.digitale-sammlungen.de/0005/bsb00050861/images/
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