267:
addition in sonority are far from having exhausted the natural resources of the instrument." However, the validity of
Segovia's criticism can be called into question: First, Segovia seems to have been ignorant of the predominance of 'multi-string' guitars in the 19th century, including the 21-stringed harpolyre for which Fernando Sor composed, as is evidenced in his claim that "Sor....did not feel a need for additional strings". Second, Segovia incorrectly claims that Yepes "added four thick tongues" to the guitar. In fact, Yepes added one "thick" (seventh) string only. As Yepes pointed out, the first criticism from Segovia already came "before he had seen or even heard the instrument, soon after RamĂrez made the ten-string guitar." Lastly, the questionable nature of Segovia's criticisms of the Yepes ten-string guitar is revealed by the fact that Segovia wrote "frequent letters" to JosĂ© RamĂrez III in which his unhappiness with weak "notes were always mentioned." Segovia complained that he "had to substitute or cancel a specific musical piece from one of his programs because the note that he had to emphasize coincided with one of the mortifying notes". Before the Yepes ten-string guitar was designed to address exactly this problem, Segovia had already complained to RamĂrez III about how certain notes on the first string of his six-string guitar did "not have the same intensity as the others."
224:
45:
255:. However, unlike earlier 6- or 10-stringed guitars, the normal tuning of the strings Yepes added "also incorporates all the natural resonance that the instrument lacked in eight of twelve notes of the equal tempered scale". As Yepes explains, the tuning of the Romantic ten-stringed guitars is "not exactly the same, because the tuning that I use is also for the resonance")
266:
Segovia, though, was highly critical of Yepes's innovation, writing in 1974 that, "I absolutely do not believe that the guitar requires additional strings, neither at the right nor at the left of its fingerboard ... the six it traditionally possesses are quite sufficient. The inventors of this futile
258:
Yepes recalled that after receiving his first ten-string guitar in 1964, he held a private concert for "friends, musicians, conductors and composers to listen to my instruments and then let them decide which is the better instrument for my concert. I can honestly say that during the concert I played
373:
RamĂrez misidentifies
Segovia's complaint as a "wolf" note; however, it is clear from RamĂrez' own description that Segovia complained about weak notes that could not be adequately emphasized when the musical context so required, as opposed to wolf notes in the scientific
263:. After playing the ten-string guitar for her, Yepes recalled that, "She noticed that my playing on my new guitar had more resonance, and this is important, she noticed that I could stop the resonance with my hands if I wanted to. She also preferred my ten-string guitar."
247:"). After some "initial protest" that the 10-string guitar envisioned by Yepes was "impossible" to construct, RamĂrez agreed to the commission and completed the first of these instruments in March 1964. Yepes hastens to point out that he invented nothing (
251:) by adding four strings to the guitar, noting the constantly changing number of strings on the guitar during its history, including 10-stringed guitars of the 18th and 19th centuries. Like earlier 10-stringed guitars, his instrument has an augmented
1143:
259:
the same compositions once on the six-string guitar and once on the ten-string guitar. They all preferred the ten-string guitar." Yepes then sought the opinion of his former teacher,
1155:
1138:
860:
312:
to differentiate string sets intended for Yepes' standard tuning and another string set that the company produces, called "Romantic". (See LaBella's
941:
308:
There is no record of Yepes himself using the adjective "modern" in relation to his guitar or its standard tuning. However, it is used by the
720:
189:. This instrument is sometimes referred to as the "modern" 10-string guitar (or the "Yepes guitar") to differentiate it from ten-stringed
223:
906:
59:
1160:
1150:
901:
805:
200:, and similar instruments in a variety of designs are available both from the RamĂrez Company and other luthiers, notably from
853:
323:'s tuning, from which the LaBella Company has derived its "Romantic" tuning string sets, is indicated (among other sources)
220:
and
Narciso Yepes, both of them players of RamĂrez six-string guitars. Eventually, they came up with a ten-string guitar.
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además incorporan toda la resonancia natural que le faltaba al instrumento en ocho de las doce notas de escala temperada
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Letter in Answer to
Vladimir Bobri's Query About the Value of Multi-String Instruments in the Twentieth Century
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Kazandjian, Fred (1995). "An
Interview with Narciso Yepes in Cabo-Roig, Alicante - Spain on 7 July 1987".
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17:
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30:"Ten-string classical guitar" redirects here. For the romantic ten-string harp guitar or decacorde, see
69:
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to the classical guitar. He sought advice from the leading classical guitarists of the time, notably
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821:] (in Spanish). Speech of Ingression into the Real Academia de Bellas Artes de San Fernando.
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31:
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Snitzler, Larry (1978). "The 10-string guitar: overcoming the limitations of six strings".
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The
Concept and Development of the Yepes Ten-String Guitar: a Preliminary Investigation
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Today, ten-string instruments to RamĂrez' original design remain available from
77:
794:
A Brief
History of Multi-String Guitars from the Renaissance to the Present Day
760:
688:
Kozinn, Allan (22 November 1981). "Narciso Yepes and his 10-string guitar".
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252:
81:
235:, Yepes mentions that the reasons that led him to carry out the "design" (
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327:, in a period document (Rischel 30 mu 6611.1784 U48) housed at
212:
In the early 1960s, luthier JosĂ© RamĂrez III considered adding
573:"Marche Funebre (Andante lento)", reproduced as Appendix A in
415:
413:
768:
Schneider, John (1983). "Conversation with
Narciso Yepes".
170:
The ten string extended-range classical guitar, with fully
309:
347:
ten-string is as designed by JosĂ© RamĂrez III, while the
299:
The first compositions for this instrument date from 1963
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ten-string is a later design by his son JosĂ© RamĂrez IV.
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747:(1975). "Narciso Yepes and the ten-string guitar".
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58:
51:
642:, p. 199, "Andrés Segovia, the guitar and I".
32:Ten-string guitar § Ten-stringed harp guitars
630:, p. 208, "Andrés Segovia, the guitar and I"
239:), of his instrument were acoustical/physical ("
227:Yepes' standard tuning for the 10-string guitar
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8:
433:, pp. 137–140, "The ten-string guitar".
343:in the current RamĂrez Guitars catalog. The
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18:Ten-string extended-range classical guitar
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703:. Paris: GĂ©rard Billaudot. nos. 1-7.
38:Ten-string classical guitar of Yepes
730:Segovia, Andrés (29 January 1974).
1139:Composers for the classical guitar
25:
43:
806:University of the Witwatersrand
70:Hornbostel–Sachs classification
329:The Royal Library of Denmark.)
1:
736:Reproduced as Appendix D in
537:, Appendix C; reproduced as
813:Yepes, N. (30 April 1989).
319:. The Romantic 10-stringed
1198:
1156:International competitions
29:
876:
656:Kazandjian, Fred (1992).
181:was conceived in 1963 by
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126:
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42:
834:www.tenstringguitar.info
277:String resonance (music)
1151:Compositions for guitar
1047:Modern classical guitar
792:Wynberg, Simon (1977).
713:Things About the Guitar
699:Ohana, Maurice (1963).
668:University of Cape Town
228:
202:Paulino Bernabe Senior
156:Paulino Bernabe Senior
96:in collaboration with
226:
193:of the 19th century.
185:, and constructed by
1134:Classical guitarists
341:Professional guitars
316:, p. 10, as well as
1025:Related instruments
819:To be an instrument
740:, pp. 246–249.
701:Si le jour paraît..
577:, pp. 224–226.
552:, pp. 246–249.
345:Traditional Classic
214:sympathetic strings
198:the RamĂrez Company
109:Related instruments
39:
942:Additional strings
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176:sympathetic string
161:David 'Jose' Rubio
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1168:
738:Kazandjian (1992)
722:978-84-87969-40-9
715:. Bold Strummer.
611:Kazandjian (1992)
575:Kazandjian (1992)
539:Kazandjian (1995)
535:Kazandjian (1992)
498:, pp. 16–17.
404:Yepes, quoted by
243:") and musical ("
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116:Ten-string guitar
53:String instrument
16:(Redirected from
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640:RamĂrez (1994)
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628:RamĂrez (1994)
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613:, p. 234.
603:
601:, p. 249.
599:Segovia (1974)
591:
589:, p. 247.
587:Segovia (1974)
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562:Wynberg (1977)
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60:Classification
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484:Kozinn (1981)
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649:Bibliography
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511:Yepes (1989)
496:Yepes (1989)
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191:harp guitars
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82:bare fingers
1042:Lyre-guitar
1037:Harp guitar
804:) thesis).
709:RamĂrez, J.
683:(2): 11–18.
321:harp guitar
78:chordophone
76:(composite
917:Repertoire
770:Soundboard
381:References
325:here (p.3)
208:Background
1016:25-string
1011:14-string
1006:13-string
1001:12-string
996:11-string
984:10-string
912:Technique
772:(Spring).
761:0301-7214
755:(9): 27.
666:thesis).
314:catalogue
253:tessitura
245:musicales
179:resonance
172:chromatic
122:Musicians
100:from the
89:Developed
74:321.322-5
1176:Category
1052:Requinto
979:9-string
967:8-string
955:armĂłnico
950:7-string
932:Pedagogy
787:(3): 26.
711:(1994).
271:See also
143:Builders
92:1963 by
1118:Vihuela
1093:Gittern
1083:Cittern
960:Russian
922:Strings
902:History
886:Luthier
677:Musicus
241:fĂsicas
1078:Citole
989:Yepes'
972:Brahms
927:Making
881:Guitar
798:B.Mus.
759:
749:Guitar
719:
374:sense.
237:diseño
64:string
1127:Lists
817:[
802:Hons.
288:Notes
1108:LaĂşd
757:ISSN
717:ISBN
664:M.M.
339:See
231:In
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