Thanks for finding time to prove this! :-D
Well, OUP doesn't seem to be immune from publishing 'joke' books like that once in a while; only proving again and again that paper can withstand all the rigors of the turbulent nature of the human mind :)
Thank you, Markus, for all these photographs. Oh dear, what a naughty person that I.B.Fritzsch was :) ... His taste is so infallible though, so much in the spirit of time and, in a way, he saved the lute! Which museum does it belong to? And what's...
Alexander, Great to see you! I have not had any news from you in recent weeks. I hope everything is fine. Just let me know which arrangement suits you best. Best wishes, Bernhard
Hello! just came from a vihuela lesson with Tommy Andersson; I'm working on 4 narvaez fantasias and a milan 'consonancias y redobles'. We wondered about placement of the frets and your views on tunning? Also how would you recommend stringing it? the bass courses? thinnest top course?
Thanks you for your web page and articles. The idea to make these vihuela started in a "Cursos Manuel de Falla" in Granada, in a conversation with John Griffiths who encourage me to make a Quito copy better than a Jaquemart copy (in these days the only two vihuelas well-known).
No, the central inlay is silver, like the original. I did this inlay thwelve years ago and finished the instrument last week. I started the copy follow Egberto Bermudez information and finished helped with Ariel's pictures in your web. Thank you.
Hi Alexander,
I just read your page on historical rosettes. Well done!
I am curious if you have noticed a distinctive difference in sound and volume between the three types of roses?
I have come to my own concussions with lute rose designs, but as you pointed out, the entire soundboard, rose, and barring relationship on a guitar or vehuela are completely different.
Best,
Mike
Is the second guitar are you web page (66cm) an example of an unveneered Bubinga neck? If it is, It looks nice with the dark Cocabolo body. Is it stable over time as an unveneered neck wood?
The Bubinga that I have access to is very red/orange and would have to be veneered if using a maple body, but I like this idea. I agree that solid heavy woods are better for sustain.
Best,
Mike
Thank you! That is interesting that corner blocks were not used. I guess I'm looking for the dimensions of the body. I was planning on building it to be tuned as a 6-course lute in "g". Somewhere I saw a scale length of 56cm, but I'm not sure if that is correct. As long as I get the scale length correct, and am fairly close to the correct the body dimensions I'll be happy. It's for my own personal use. I'll probably draw up my own plans as well. Did you use a mold or free-air build?
I might also build a steel-string guitar of the same basic shape in the future. I'm curious about the sound of the viola de mano comapared to vihuelas of the more "guitarish" shape. Thanks again Alexander!
Mr. Batov,
I'm interested in building a Viola da mano something like the one on your site ("dai Libri" model Viola da mano in G (SL 56cm)). I'm a novice luthier currently working on a lute from David Van Edwards "Build your own Renaissance lute" course. I'm a lefty with an interest in building my own instruments. I was wondering if you drew your own plans for this instrument or if they are available somewhere. If you drew your own, what dimensions did you use? Thank you,