I don't own one, but they are kinda cool. There is still a living folk
tradition for chitarra battente in places Italian. Much of what is the modern
mandolin was borrowed from chitarra battente: canted soundboard, floating
bridge, strings fixed to hitch pins in the tail block, etc. I don't kn
Hello all,
a call to the no doubt numerous (just kidding) owners of chitarras
battentes. I am building one based on the concept (sloped belly, bottom
rim string attachment, metal frets) adapted to a preexisting baroque
guitar design, but lack specifics (tension, string materials, ra
Sauvage Valéry wrote:
Yes, nice book, I like very much the Playford pieces, and the
arrangement upon The Three Ravens (I recorded it on YT...
http://www.youtube.com/watch?v=PG5yp7jFL0c with a few others)
Val
I recorded a video response to your recording of 'The Three Ravens' -
just using a
On Sun, Jul 19, 2009 at 5:51 PM, Martyn
Hodgson wrote:
> Has anyone actually played one of these
> instruments in with a basses of length only around 90cm (as seems to be
> depicted) and with plain gut (and no octave doubling as on the liuto
> attiorbato
Not a guitar.
I have a smallish 440
As I understand it, five courses are much better if you want to strum
'open'
(alfabeto) chords in first position. With a 6th string for example the
important harmonies of G minor, D major and minor need a barré.
That doesn't explain why people like Guerau, or for that matter Sanz, and
Murcia
Well - as has been pointed out on a different list, we shouldn't attach too
much importance to such illustrations. Artists have their own agenda - to
make things look pretty, well balenced, symetrical etc. etc..
Gary did point out that it looks as if Granata's image - which is fainter
th
As I understand it, five courses are much better if you want to strum 'open'
(alfabeto) chords in first position. With a 6th string for example the
important harmonies of G minor, D major and minor need a barré.
To me the basses of the tiorbata on the portrait of Granata look
considerably lo
Why ' bitter'? A bit out of the blue and unecessary surely for a civil
discussion...
I agree that nothing can be proved: but on the usual English civil law
basis of proof, the balance of probabilities favours the extended
basses at the upper octave. Has anyone actually
I don't wish to get into a bitter argument over this. However there are
just a few comments.
Lex said
Perhaps the wish to have a complete instrument was as much something of
the 17th century. An imperfect instrument improved.
The obvious thing to do would have been to add a 6th course to
The volume of the sound of the plucked string of the five course
guitar is low. To balance with that bass strings should better not be
too powerful. How long the extension should be would depend on the
acoustic properties of the instrument. Continuo instruments like the
theorbo neede
The whole point about extended basses is that they produce a stronger
(louder) sound than shorter strings - hence why they were invented (by
Picinnini?).
I know of no study which has identified theorbo usage in the 17th
century between 'amateur' and 'professional' (ie paid to perf
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