Renaissance Guitar & Vihuela - Early Guitars and Vihuela2024-03-28T11:30:23Zhttp://earlyguitar.ning.com/forum/categories/renaissance-guitar-vihuela/listForCategory?categoryId=2111060%3ACategory%3A26800&feed=yes&xn_auth=noKapsberger score for vihuelatag:earlyguitar.ning.com,2023-02-14:2111060:Topic:1717342023-02-14T16:55:04.137ZKim Heinleinhttp://earlyguitar.ning.com/profile/KimHeinleinb
<p>I am looking for a tab score for Kapsberger's Canario.</p>
<p>I am looking for a tab score for Kapsberger's Canario.</p> Vihuela tuning on 5th and 6th Coursestag:earlyguitar.ning.com,2022-04-25:2111060:Topic:1705042022-04-25T15:39:46.651ZKim Heinleinhttp://earlyguitar.ning.com/profile/KimHeinleinb
<p>I have seen vihuelas strung both octave and unison on the 5th and 6th courses. I have read several articles on this and there does not seem to be a firm conclusion. Is this a matter personal choice? String choice?</p>
<p></p>
<p>Thank you</p>
<p>I have seen vihuelas strung both octave and unison on the 5th and 6th courses. I have read several articles on this and there does not seem to be a firm conclusion. Is this a matter personal choice? String choice?</p>
<p></p>
<p>Thank you</p> Chambure Vihuela measurementstag:earlyguitar.ning.com,2022-01-03:2111060:Topic:1704392022-01-03T17:29:04.203ZDr. Henner Kahlerthttp://earlyguitar.ning.com/profile/DrHennerKahlert
<p></p>
<p>I am building my second Chambure Vihuela according to a set of plans by the Musée de la Musique, Paris. After a very long time looking for a method to bend the fluted ribs of the back I found this article by Richard Coleman, Sixteenth Century Rib Bending:</p>
<p><a href="https://www.fomrhi.org/uploads/bulletins/Fomrhi-103.pdf">https://www.fomrhi.org/uploads/bulletins/Fomrhi-103.pdf</a></p>
<p>p. 1753 whose method I aplied. I used pear wood, which should behave best according to…</p>
<p></p>
<p>I am building my second Chambure Vihuela according to a set of plans by the Musée de la Musique, Paris. After a very long time looking for a method to bend the fluted ribs of the back I found this article by Richard Coleman, Sixteenth Century Rib Bending:</p>
<p><a href="https://www.fomrhi.org/uploads/bulletins/Fomrhi-103.pdf">https://www.fomrhi.org/uploads/bulletins/Fomrhi-103.pdf</a></p>
<p>p. 1753 whose method I aplied. I used pear wood, which should behave best according to Coleman. Now I tried experimentally to bend one rib in1,2 mm maple, which stayed stable after bending. I hope the other ribs will do just as well.</p>
<p>I was not very happy with the sound of the first instrument with pear ribs and sides (see picture of the back). Perhaps I should not oly use maple ribs and sides but alter the measures of the soundboard and soundboard bars (only two bars over and under the soundhole). The thicknessing of the soundboard in the plans appears rather irregular, from 1,9 – 2,3 mm at the edges up to 3,6 mm al the bass side near the bridge</p>
<p>Now my questions: I would appreciate very much if someone would recommend me the ideal measurements/thicknessing of the soundboard and soundboard bars</p> new vihuelatag:earlyguitar.ning.com,2021-01-12:2111060:Topic:1499872021-01-12T22:08:51.782Zstephen linderhttp://earlyguitar.ning.com/profile/stephenlinder
<p>I've just acquired a vihuela built in 1978 by Yairi Guitar. It's made of cypress and is beautifully constructed. As a guitar player the vihuela is new to me and my recent efforts to find strings for it have failed. I've tried Strings by Mail and other common suppliers familiar to me to no avail. Can anyone suggest where I might find strings for it?</p>
<p>I've just acquired a vihuela built in 1978 by Yairi Guitar. It's made of cypress and is beautifully constructed. As a guitar player the vihuela is new to me and my recent efforts to find strings for it have failed. I've tried Strings by Mail and other common suppliers familiar to me to no avail. Can anyone suggest where I might find strings for it?</p> Si d'amor pena sentis vihuela accompanimenttag:earlyguitar.ning.com,2019-01-28:2111060:Topic:787372019-01-28T14:03:08.908ZDaniel Shoskeshttp://earlyguitar.ning.com/profile/DanielShoskes
<p>Does anyone have a vihueala setting of the accompaniment for this anonymous song? I have a very basic verison. Listening to performances online, at first I thought they were playing improvised divisions, but I've heard at least two that are the same, suggesting there might be a published version.</p>
<p></p>
<p>Thanks in advance</p>
<p></p>
<p>Danny</p>
<p>Does anyone have a vihueala setting of the accompaniment for this anonymous song? I have a very basic verison. Listening to performances online, at first I thought they were playing improvised divisions, but I've heard at least two that are the same, suggesting there might be a published version.</p>
<p></p>
<p>Thanks in advance</p>
<p></p>
<p>Danny</p> Baroque Guitar Roses on Vihuelastag:earlyguitar.ning.com,2018-05-14:2111060:Topic:759602018-05-14T16:32:27.482ZEdward C. Yonghttp://earlyguitar.ning.com/profile/EdwardCYong
<p>Hi!</p>
<p></p>
<p>How do people feel about baroque guitar roses from the 1600s being used on vihuelas supposedly built in the style of the 1500s?</p>
<p>Hi!</p>
<p></p>
<p>How do people feel about baroque guitar roses from the 1600s being used on vihuelas supposedly built in the style of the 1500s?</p> renaissance guitar plans ?tag:earlyguitar.ning.com,2017-11-30:2111060:Topic:749312017-11-30T13:18:52.598Zgilles Thttp://earlyguitar.ning.com/profile/gillesT
<p>Hello dear fellow members,</p>
<p></p>
<p>Does anyone know where to find plans for a renaissance guitar and/or shed some lights about timber choice, internal bracing, and current dimensions ?</p>
<p></p>
<p>Since there's no extant historical instrument, I assume modern luthiers build renaissance guitars as a "lighter" baroque guitar, but I may be wrong...</p>
<p></p>
<p>Any inputs and tips would be the most welcomed.</p>
<p>Thanks in advance,</p>
<p></p>
<p>Gilles</p>
<p>Hello dear fellow members,</p>
<p></p>
<p>Does anyone know where to find plans for a renaissance guitar and/or shed some lights about timber choice, internal bracing, and current dimensions ?</p>
<p></p>
<p>Since there's no extant historical instrument, I assume modern luthiers build renaissance guitars as a "lighter" baroque guitar, but I may be wrong...</p>
<p></p>
<p>Any inputs and tips would be the most welcomed.</p>
<p>Thanks in advance,</p>
<p></p>
<p>Gilles</p> Vihuela planstag:earlyguitar.ning.com,2017-10-08:2111060:Topic:731502017-10-08T18:26:10.447ZMichel Uhlmannhttp://earlyguitar.ning.com/profile/MichelUhlmann
<p>I wonder If anybody knows where one can buy blueprints of vihuelas or/and renaissance guitars. The Paris Museum is changing his politics about selling plans of instruments, so noone can order it.</p>
<p>If by chance anybody of you has especially the chambure model, I would be delited to have a copy.</p>
<p></p>
<p>tx</p>
<p>michel</p>
<p></p>
<p>I wonder If anybody knows where one can buy blueprints of vihuelas or/and renaissance guitars. The Paris Museum is changing his politics about selling plans of instruments, so noone can order it.</p>
<p>If by chance anybody of you has especially the chambure model, I would be delited to have a copy.</p>
<p></p>
<p>tx</p>
<p>michel</p>
<p></p> Stringing of the early four course guitar (again......)tag:earlyguitar.ning.com,2017-08-18:2111060:Topic:726722017-08-18T14:34:41.822ZMartyn Hodgsonhttp://earlyguitar.ning.com/profile/MartynHodgson
<p></p>
<div dir="ltr" id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796">Looking, yet again, at early four course guitar stringing I'd be grateful for any additional perspectives especially on the stringing of the third course, bearing in mind the Phalese (1570) directions.</div>
<div dir="ltr"></div>
<div dir="ltr" id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796">Bermudo in his 1555 work describes two principle tunings for the four course guitar: Temple Nuevos and Temple Viejos.…</div>
<p></p>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796" dir="ltr">Looking, yet again, at early four course guitar stringing I'd be grateful for any additional perspectives especially on the stringing of the third course, bearing in mind the Phalese (1570) directions.</div>
<div dir="ltr"></div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796" dir="ltr">Bermudo in his 1555 work describes two principle tunings for the four course guitar: Temple Nuevos and Temple Viejos. The highest three courses are understood to be in unison and the doubled fourth course with a bass and an octave high string.</div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796">Cerreto's 1601 tuning has the same intervals as Bermudo's Temple Viejos but with both strings of the fourth course at the higher octave.</div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796">Praetorius (1619) gives nominal pitches which have the same intervals as Bermudo's Temple Nuevos but just the lower octave single fourth course depicted and with no description of detailed stringing of any doubled courses.</div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796"></div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796" dir="ltr">Phalese's Selectissima of 1570 (Rostock University Library Musica XVI-58) contains latin text describing, amongst other things, the detailed stringing of the four courses. Heartz's translation (Galpin Soc 1963) clearly shows that Phalese describes an instrument with an octave on both the fourth AND third courses. The article by Dobson, Segerman and Tyler in LSJ 1974 questions some of Heartz's conclusions: in particular that Phalese indicates third and fourth basses an octave <span style="text-decoration: underline;">lower</span> than nominal rather than the small basses being an octave high. The article's conclusions are nowadays generally accepted but this still leaves Phalese requiring a high octave on the third course as well as the fourth.</div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796" dir="ltr"></div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796" dir="ltr">All this is not just an academic query: I've just rebuilt a small four course made in the 1980s and am now uncertain how to string it. The high octave on the third course certainly makes a noticeable difference (with numerous unexpected inversions - shades of the five course guitar controversy!). I'd also be grateful for personal experiences of employing a high octave on the third course of the early four course instrument and its suitability in the contemporary non-Phalese repertoire. Do people use this tuning for the other sources or do they bother to re-string? Also any relevant papers I may have overlooked.</div>
<div dir="ltr"></div>
<div dir="ltr">MH</div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796" dir="ltr"></div>
<div id="yiv9087286280yui_3_16_0_ym19_1_1503043069334_40796" dir="ltr"></div> Vihuela tuningtag:earlyguitar.ning.com,2017-06-24:2111060:Topic:709982017-06-24T04:21:18.990ZIsidro alcantarhttp://earlyguitar.ning.com/profile/Isidroalcantar
<p>I am trying to understand how a vihuela is to be tuned. </p>
<p>Is it literaly tuned like the guitar with the exception of the third string (E,A,D,F#,B,E)?</p>
<p>What does it mean when a vihuela is tuned to a A, of tuned to G (etc.)? Does that mean that I can only play music in that key? If so, in what key should I seek in a vihuela in order to learn its more popular and traditional music?</p>
<p>Is there a standard tuning (like in guitar)?</p>
<p>Thank you so much for your…</p>
<p>I am trying to understand how a vihuela is to be tuned. </p>
<p>Is it literaly tuned like the guitar with the exception of the third string (E,A,D,F#,B,E)?</p>
<p>What does it mean when a vihuela is tuned to a A, of tuned to G (etc.)? Does that mean that I can only play music in that key? If so, in what key should I seek in a vihuela in order to learn its more popular and traditional music?</p>
<p>Is there a standard tuning (like in guitar)?</p>
<p>Thank you so much for your help!</p>
<p>What tuning shoul </p>