Early Guitars and Vihuela

A network for historic guitars and vihuelas

Martyn Hodgson
  • 59, Male
  • United Kingdom
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  • Monica Hall
 

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Martyn Hodgson posted a discussion

Six course Spanish guitar and Salvador Castro de Gistua

Castro de Gistua seems a shadowy figure active in the late eighteenth century. Much of his work was published in Paris contained in the series 'Journal de Musique Etrangere' but there are other Paris publications too. I've also seen title pages of a few works published in Spain (presumably earlier?).Much of these published works reflect a strong Spanish idiom (includes Fandango etc) and I'm now presuming he played the six course Spanish guitar rather than the single string Italian inspired…See More
Tuesday
Martyn Hodgson replied to Bill Brettschneider's discussion History of Rasgueado
"I agree absolutely - I was merely trying to think round the issue of practical ways of tackling other harmonies, rather than just the major and minor chords covered by simple alfabeto,  since this is what I thought Bill was also asking…"
Sunday
Martyn Hodgson replied to Bill Brettschneider's discussion History of Rasgueado
"Dear Bill, To answer your question directly, I really can't think of any similar instrument which has such a reasonably full chordal shorthand (other than just possibly the lirone).  Although, of course, guitar alfabeto (and similar…"
Sunday
Martyn Hodgson replied to Martyn Hodgson's discussion String tension on late 18thC Spanish six course guitars
"Dear James, I posted the following on  the General Discussion forum so you may not read it. But I'd be interested to know what strings you employ on the bass courses of your six course guitars.  As I say below, I think modern lute…"
Aug 12
Martyn Hodgson posted a discussion

Stringing of bass courses on the late 18th century six course Spanish Guitar.

 Further to the previous recent discussions (in the Early Romantic Guitar forum) around the string tensions and the fretting (ie fixed metal or gut loops) of these particular instruments, I'd be grateful for any views on suitable readily available modern strings for the basses: ie the fourth, fifth and sixth courses. The string length is 644mm and the pitch at modern A440.I'm supposing that at this period (the 1760/70s onwards) the fourth and fifth courses of these instruments are now overwound…See More
Aug 11
Ken Hartdegen replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"The six course guitar is still a subject we know very little about. We need anything we can find, iconography, literature, whatever. I simply suggested that we should not disregard extant instruments when they are of the quality of the Romanillos…"
Jun 23
Martyn Hodgson replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"Thank you for this. However, I think you may have misunderstood my question: I'm not making a case either for or against fixed metal frets vis a vis tied frets on late eighteenth century Spanish six course guitars;  clearly both type of…"
Jun 23
Ken Hartdegen replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"The trouble with iconography is that it usually represents just one instance, perhaps using staging with an out of date instrument making it arguably equally unreliable. Why would it matter if Sanguino used frets in the late 1750s and beyond on big…"
Jun 23
Martyn Hodgson replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"Further to this,  the picture is now again up on the museum's website and can be studied in more detail. Unfortunately with the better digital copy it is evident that the marks on the rear of the neck might just as well be Goya's…"
Jun 22
Martyn Hodgson replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"Many thanks Ken, How do we know that the c.1768 Sanguino is in an 'unaltered pristine' condition?   Since if, as I suggest, a late eighteenth century six course guitar originally with tied frets was refretted with metal in the early…"
Jun 20
Martyn Hodgson replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"Dear Jelma. Excellent - many thanks. This certainly seems to depict a six course guitar (or at least a guitar with twelve pegs) with tied frets.  The date seems to be given at between 1797 - 1799. So this does, indeed, suggest that tied frets…"
Jun 20
Ken Hartdegen replied to Martyn Hodgson's discussion String tension on late 18thC Spanish six course guitars
"Hi Martyn, I would love to... would you like to email first?"
Jun 18
Ken Hartdegen replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"I think we need to consider the Jose Luis Romanillos Sanguino c. 1768 guitar to be hard evidence for the use of graduated frets since it is, by my understanding, in an unaltered pristine condition. The other 1759 Sanguino seem to have the same fret…"
Jun 18
Jelma van Amersfoort replied to Martyn Hodgson's discussion Types of frets on the eighteenth century Spanish six course guitar
"Goya. There is a high res version of this on the Rijksmuseum website. "
Jun 17
Martyn Hodgson posted a discussion

Types of frets on the eighteenth century Spanish six course guitar

All the comments I've read about the frets of these instruments assume that they had metal inset frets from the start (ie c. 1750-60).However, since in Spain we know that these instruments continued being played well into the nineteenth century (1830-40s), it is quite possible that the earliest of these instruments originally possessed tied frets (like the contemporary gallichon/mandora) and may then have generally been refretted with inset metal frets in the early nineteenth century (as common…See More
Jun 16
Martyn Hodgson replied to Martyn Hodgson's discussion String tension on late 18thC Spanish six course guitars
"Thank you for this. Re. the Sanguino in the Museu de la Música, Barcelona, please see my earlier reply about this instrument. However, your comment about the Spanish Catholic chruch's response to the exlusion of harps by the…"
Jun 16

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At 19:28 on March 19, 2015, Monica Hall said…

Martyn - I sent you a couple of e-mails which you haven't replied to.  One was sent back by your SP - unable to deliver.   Do you know what the problem is?

 
 
 

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