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Posts: 1609
Joined: Dec. 24 2007
From: Siegburg, Alemania
RE: Building a reconstruction of a R... (in reply to estebanana)
quote:
Once again Stephen, you seem to be forgetting that it was you who started this thread, not "edguerin".
That is only true in that Stephen started the thread about his vihuela project. But it was I who sort of "hijacked" it and started it going on another track. As far as having nothing to do with flamenco, I find it most interesting (if, agreed, academic) to find out about the background of the flamenco guitar.
RE: Building a reconstruction of a R... (in reply to C. Vega)
quote:
Once again Stephen, you seem to be forgetting that it was you who started this thread, not "edguerin".
You've backed yourself into an intellectual corner with no clear answers or any concrete evidence to support your claims so you're bailing out. 'nuf said.
No, wrong. I think it is you who are in a corner, it's called no imagination. You've also clearly not studied the vihuela texts carefully enough.
I'll leave it your you to give the bad news to artists like Frank Wallace and Satoh who order seven course vihuelas ....by the way I finished the vihuela, but I'll never show it here in this shark tank.
RE: Building a reconstruction of a R... (in reply to estebanana)
quote:
ORIGINAL: estebanana
I'll leave it your you to give the bad news to artists like Frank Wallace and Satoh who order seven course vihuelas ....by the way I finished the vihuela, but I'll never show it here in this shark tank.
Nuf said.
"Shark tank"? Really? Good grief. Come on, Stephen. Grow up. This is nothing more than a little difference of opinion on an internet forum about an instrument that may or may not have existed 450-500 years ago. It's hardly worth getting yourself all worked up into a childish snit over it.
I'm sure that there are many people here, myself included, who would like to see your vihuela but I'll tell ya what.... if it will make you feel any better go ahead and post photos (We all know that you really want to!) and I promise that I won't look at them.
RE: Building a reconstruction of a R... (in reply to edguerin)
I know nothing about the building or the history of Vihuelas, so I´m not going to say anything about that. I like the sound of them and also some of the music I´ve heard. Also, I dont know much about sharks either, so nothing about that. BUT, I like seing photos of instruments being build and mostly I also like reading about it. So I hope that Stephen will post some photos of his Vihuela and also if he builds some other weird instrument. being japanese banjos, hurdy gurdys or whatever.
I dont like when its being discussed if something is welcome or not in the lutherie section if its not directly about flamenco guitars. The section is called Lutherie and not flamenco guitar construction and I have a feeling that the huge majority likes to to know about the building of other stringed instruments. After all, the different stringed instruments are pretty close to each other. A box with a stick and strings and when building one kind, you learn something that you can use building something else. If someone does not like that other instruments than flamenco guitars are being discussed, he/she can just stop reading.
RE: Building a reconstruction of a R... (in reply to edguerin)
Good stuff Stephen, I know I don't comment much but that's cus I really have nothing of value to add but I love these posts. They're endlessly fascinating to me as someone who works with wood on a semi regular basis. Love the geta sculpture, been thinking of getting into carving myself........we'll see. I've got lots of wild ideas. Anyways, nice hair!
RE: Building a reconstruction of a R... (in reply to edguerin)
You're so right Anders, this is the lutherie section, and we find this stuff interesting. Everyone is welcome to stop in and ask questions; telling us what we should or shouldn't post, not so much. Merry Christmas, and to all a good night.
RE: Building a reconstruction of a R... (in reply to Leñador)
quote:
Anyways, nice hair!
Rod Stewart's hairdresser was busy, so I got hair cut down the road at Jet Hair Salon- She sowed me some pictures of some Japanese guys with funky hairdo's and I just pointed at one. I thought OK here we go, I'll look like The Police in 1976- Next video I'll put product in my hair and dress in spandex.
RE: Building a reconstruction of a R... (in reply to edguerin)
quote:
Rod Stewart's hairdresser was busy
Oh, I wish I could have a haircut like Rod Stewart. And a voice like his would be good as well. I´m looking forward to that Viola. I have woods for a couple of them myself. Did you ever finish that Cello? I personally dont like having unfinished instruments lying around. Stuff happens and I dont like warped soundboards and cracks. But maybe thats just me being paranoid. Well aged wood and controled humidity should tecnically mean that things like that dont happen, but I dont trust them.
Posts: 15821
Joined: Dec. 14 2004
From: Washington DC
RE: Building a reconstruction of a R... (in reply to C. Vega)
quote:
The existing Spanish solo vihuela literature cannot be played on an instrument with fewer than six courses and there is no existing music originally written for the vihuela, at least that I'm aware of, that requires seven courses. So, six courses it is.
...I'm well aware that the seven-course vihuela existed in theory and I'll agree that music for a seven-course lute would be fully playable on a seven-course vihuela if one actually existed but none of the "well known published anthologies" you mention or any existing collections of music for vihuela from the period that I'm aware of contain any music for it. I may very well be mistaken but it seems to me that if such an instrument existed that at least one of the 16th century Spanish vihuela composers would have written for it but this does not appear to be the case.
...What's transpired here is that a bunch of pseudo-academic blather has been tossed around to say nothing more than that the existence of a seven-course vihuela in 16th century Spain is, thus far, simply a matter of conjecture. Perhaps it did exist but the research is totally inconclusive....
You've backed yourself into an intellectual corner with no clear answers or any concrete evidence to support your claims so you're bailing out. 'nuf said
...Come on, Stephen. Grow up. This is nothing more than a little difference of opinion on an internet forum about an instrument that may or may not have existed 450-500 years ago.
Sorry for this necro post but I was searching for the capo thing and came across this. What a button pusher LOL. This argument could have been shut down with a simple screen shot. However, I don't recommend anyone try this tuning, you would need different type of strings in order to realize these intervals practically on a modern 7 string guitar.
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RE: Building a reconstruction of a R... (in reply to Ricardo)
quote:
ORIGINAL: Ricardo
quote:
The existing Spanish solo vihuela literature cannot be played on an instrument with fewer than six courses and there is no existing music originally written for the vihuela, at least that I'm aware of, that requires seven courses. So, six courses it is.
Sorry for this necro post but I was searching for the capo thing and came across this. This argument could have been shut down with a simple screen shot. However, I don't recommend anyone try this tuning, you would need different type of strings in order to realize these intervals practically on a modern 7 string guitar.
Who were you quoting Vega? I glanced at this thread, I had forgotten he tried to vihuela splain to me that the instrument and the music didn’t exist.
I can find some evidence of the Renaissance era cejilla I think, I have to email a lute builder I know.
From the 1520’s to 1620’s string making changed all the time. It got better and better and eventually they started making gut cores wound with fine silver wire to make bass strings. The guy who’s an expert on that is a baroque violinist and string maker. There’s quite a bit written now about early string making and what was available in different years, but it’s esoteric and you have to work to find the information.
There’s a book called The Baroque Cello with a lot of information and some essays written by people in early music who’ve researched it. What comes out of it is that you see that better strings lead to higher performance and better designed instruments. String development is a big thing that drives instrument development.
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Anyways, nice hair! 
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