Sorry, two corrections:

1. The guitar is from mid-18th not 17th century - at least according to the
catalogue
2. I do know how to spell anonymous!

Rob

2008/4/25 Rob MacKillop <[EMAIL PROTECTED]>:

> Hi Martyn,
>
> A 'deliterious effect in the bass', maybe, but there is no bass below the
> g, at least in Sanz's specified tuning. So, no, Martyn, I did not use modern
> bass strings. Another important factor is that Sanz does not mention pitch
> - we have no idea what pitch he used. Some argue that Roman pitch was around
> 392, others say it was nearer 460. We don't know his string length. We don't
> know if he used different sizes and pitches of guitars. We cannot assume
> that all his works are for the same instrument. All we have to go on is the
> music, and what we can read into it.
> The recording with the high octave g was done 5 years or so ago on an
> original anonimous guitar from mid-17thC France (it is thought) with a short
> string length (can't recall the exact length). It was entirely strung in
> gut, tuned to around 392, no bourdons, therefore no bass. The high g did not
> break, and although unplayed is still, I believe, on the instrument. It is
> housed in the collection of Edinburgh University.
>
> So, at a lower pitch and no bass register, it might well be possible to
> have a high octave on the third. How long it would last when regularly
> played has not been tested by me.
>
> However, I don't want to be seen to be advocating the tuning as I am not
> one who thinks that Sanz only makes sense with it. I repeat that I am happy
> playing works which leap up and down octaves, and see it as part of the
> charm and uniqueness of the instrument. But it is worth mentioning that a)
> the tuning with a high ''g'' is possible (nominal g, of course), and b) that
> the particular piece 'fuga 1' seems to be 'happiest' (if you will allow me
> that term) with this tuning. But mainly my stance is that 'I don't know'.
>
> Rob
>

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