We've been over the gut/string-length issue rather too many times here,
   for me at least, but feel free to hack it out again if you so wish,
   gentlemen. I'm more interested in WHY anyone would go to the trouble of
   adding all those extra strings at the upper octave? There is only one
   bar in the two Granata pieces I have (one needs, obviously, to look at
   the entire publication) where a ninth course D is followed by an E on
   the fourth course, second fret. Such leaps are not unfamilar in other
   scores of the period. I say 'leap' assuming the ninth course at the
   lower pitch. If it is at the higher octave, why not play the E also as
   an open course - if you did a rest-stroke thumb stroke from the 9th
   course onto the 8th, you are already there, so why leap up to the
   fourth course? The following bass note is the 6th course.

   I think the shape of the Grammatica instrument tells us something about
   its role - it looks like an archlute (might even be one) whose prime
   function is probably accompaniment. That would imply lower octave
   basses. Strad The Lad might have had the figure-of-eight guitar shape
   in mind, which might have been a completely different instrument to the
   one in the painting. And who knows what Granata had in mind? Or Gallot?

   I'm enjoying playing it. Wolfgang is a good luthier. The thing works
   (albeit with nylgut strings). Trying not to get emotionally attached to
   it. On Sunday it will be back in Germany, and on sale from




   1. http://www.zupfinstrumente-emmerich.de/English/index.htm

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