Most early renaissance lutes join the neck to the body at about the 8th - 9th fret so it looks to me like that's what Papazian may have been thinking (I'm just guessing at his thoughts). For the vihuela and early renaissance 6 course lute repertoire, I don't think it would be a problem at all to have the join at the 8th. My main renaissance lute joins neck to body at the 8th fret and for 90% of the entire renaissance lute repertoire including the vihuela, I don't even have a hint of any issue. For some of the later material which appears to have been intended for the longer string length, F or F# tuned lute and joins at the 10th fret, there may be a bit of an awkward left hand movement when fretting the higher notes on the shorter neck instrument but one is probably not going to be playing that repertoire on the vihuela anyways.Stephen Faulk wrote:It joins at the 8th fret instead of the 11th, that is a big problem for many reasons.
Ok, now I understand Stephen. I was thinking from a players point of view (and with the fixed frets), where the neck joins the body is not much of an issue IMO. From a makers point of view, I totally agree.Stephen Faulk wrote:I've built few vihuelas myself and it is big problem if the they join at the 10th because it's difficult to tie the 10th fret. Joining at the 11th make more sense. In Juan Bermudo's On playing the Vihuela written in 1550 it shows the vihuela joining at the 11th fret with ten frets clear on the neck.
Hmmm, that brings up a problem too. It seems to be pretty clear from recent research sources that the vihuela was not played with the thumb under lute technique but more of a later baroque lute or more modern guitar thumb out technique. If that is indeed the case then some of our assumptions concerning the instruments may have been inaccurate (ie. string spacings....).Stephen Faulk wrote:...started making more accurate reconstructions that could be played with lute technique.
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