Multi-string classical guitar
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A Multi-string classical guitar is a musical instrument with more than 6 strings, usually between 7, 8, and 10.
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[edit] Players and Makers
[edit] Makers:
- René Lacôte
[edit] Players:
- Johann Kaspar Mertz (1806-1856)
- Napoléon Coste (1805-1883), French guitarist and composer.
- Narciso Yepes (1927-1997)
- Göran Söllscher (born 1955)
[edit] Seven-string classical guitar
Its invention is attributed to Andrei Sychra, who also wrote a method for the guitar, as well as over one thousand compositions, seventy-five of which were republished in the 1840s by Stellovsky, then again in the 1880s by Gutheil. Some of these were published again in the Soviet Union in 1926.
[edit] Eight-string classical guitar
Eight-string classical guitar are generally tuned with two extra basses ([BD]EADGBE) that vary in pitch depending on the piece being played. Another common variation is to add an extra bass and treble string. The extra treble is almost always tuned to A, while the added bass string usually falls on A,B, or C.
Paul Galbraith and Alexander Vynograd are two of the most notable 8 string players who use the extra high and low string tuning. Galbraith generally tunes (B)EADGBEA which puts standard 6 string guitar chord voicings and scale shapes within the neck and allows him to read directly off of lute tablature (a whole step higher). Vynograd chooses to tune AEADGCEA (notice the b string is tuned up a half step) which allows him to play the top 6 strings like a guitar a 4th higher. Vynograd writes his music on a grand staff in a different key and plays as if the guitar was tuned EBEADGBE. This is a less confusing approach than Galbraith for a 6 string transitioning to 8 because the fingerings and sheet music are more familiar.
- Raphaëlla Smits
[edit] Modern/Yepes Ten-String Guitar
Tuning
The correct standard tuning of the modern/Yepes ten-string guitar is:
- e' - b - g - d - A - E - C - Bb - Ab - Gb
Or, written enharmonically:
- e' - b - g - d - A - E - C - A# - G# - F#
(i.e. 7 or C is the string with the lowest pitch. This is sometimes lowered to B1 or A1, particularly for transcriptions of baroque lute music.)
Reasons for the Invention of the Instrument
After Narciso Yepes had already achieved international fame, he reached the point where the 6-string guitar no longer sufficed for his needs. He was disturbed by the irregularity of acoustic resonance produced by the overtones of its bass strings, vibrating in sympathy with notes played on the fingerboard. Some notes (E, A, D, B) sounded full, enriched by this sympathetic vibration, while others were without the same lustre and sustain. Yepes's idea to correct this imbalance - a guitar with fully chromatic string resonators created in 1963 in collaboration with José Ramirez - followed a strict musical and scientific logic.
Upon adding four bass string tuned a very specific way - C, B-flat, A-flat, G-flat - the same resonance is obtained from each of the notes that make up the fingerboard's sonorous catalogue, by taking advantage of the natural harmonics (the octaves and the dominant fifths) of the bass strings, which produce unison, sympathetic vibrations with notes played on the fingerboard. In other words, the additional strings act as string resonators (though they can be, and are also, played on). The result is termed chromatic string resonance since the bass strings now resonate in sympathy with any of the twelve notes of the chromatic scale, similar to the piano's sustain when the pedal is used. And just as a pianist has the option of whether or not to employ the pedal, the competent 10-string guitarist is able to execute complete control, sustaining or stopping notes at will. This, most important aspect of the Yepes 10-string guitar, in fact, is the crux of his invention and is inseparable from the correct tuning of his instrument.
Furthermore, it now becomes possible for the guitarist to play repertoire written for the Baroque lute without deleterious transposition of the bass notes, by employing scordatura (lowering the tuning of the 7th string - the lowest-sounding string - to B1 or A1) and fingering the bass-line on the lowest strings. (A common misconception, even amongst some 10-string guitarists, is that these basses are intended to make it easier and simpler to play bass notes by playing as many of them as possible on open strings. This approach very much goes against the methodology employed by Narciso Yepes himself.) The instrument also opens up possibilities for more faithful transcription of music originally written for keyboard, and opens up new possibilities for original composition, as exemplified in the solo guitar works of Maurice Ohana and Bruno Maderna.
"This does not mean a break from nor lack of respect for the admirable instrument of tradition. My new guitar is not basically different in sound colour, timbre, nor technical approach from the 6-string guitar. Imagine a piano without a pedal which suddenly acquired one - what new possibilities in the enrichment of sound this means is self-evident." (Narciso Yepes)
Note: Prior to 1963, a number of different types of guitars with ten strings were played by, among others, Johann Kaspar Mertz and Ferdinando Carulli. The first played an instrument with four additional free-floating basses tuned diatonically from D to A1. The latter called his instrument the Decacorde, which was tuned e'-b-g-d-A-G-F-E-D-C. None of these guitars, however, was a precursor of the Yepes ten-string guitar, since the tunings of these instruments were not intended to resolve - and do not resolve - the problems of resonance discussed above.
[edit] Players:
- Narciso Yepes, Stephan Schmidt, Ishmael Barambio, Jonathan Leathwood, Godelieve Monden, Viktor van Niekerk, Simon Wynberg
[edit] Composers:
- Maurice Ohana
- Bruno Maderna
- Leonardo Balada
- Narciso Yepes
- Antonio Ruiz-Pipó
- Philippe Drogoz
- Jorge Labrouve
- José Ramón Encinar
- Michèle Reverdy
- Robert Keeley
- Martin Derungs
- Stephen Goss
- T.E. Flemming
- Chris Malloy
- Ignacio Yepes
[edit] Harp classical guitar
The harp (classical) guitar is a guitar combining features found in the guitar and the harp. The Harp style strings are used as Bass or Drone strings, and add to the harmonic texture.
[edit] See also
[edit] Bibliography
- [1] The State of the 7-String Guitar in 2006 by Stephen Rekas.
- [2] Creating the DeCava Ten-String Classical Guitar by James R. DeCava
[edit] External links
- [3] Cathedralguitar.com, home of the Multi-String Guitar
- [4] The Lacôte Harp Guitars by Gregg Miner
- [5] Harpguitars.net
- [6] George Montalvo
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