"Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

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kertsopoulos
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Location: Athens, Greece

Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Mon Aug 07, 2017 5:23 pm

marusanek52 wrote:
Mon Aug 07, 2017 12:03 pm
Hello Yorgos,
These strings look (And sound brilliant)
Will they be available in mass production?
And where could we buy these strings?
Hello marusanek52,

thank you for your kind comment and interest in my work.

The strings are invented and constructed by myself and one can obtain them communicating
directly with me at my email writng one's needs. They are not produced in mass production.

As is understandable, I cannot quote prices of each set in our hospitable forum's post, apart from informing
of the materials used, the tuning possibilities and what has been achieved and is available
to the guitarist.

If someone is interested for more info. I will be happy to personally inform her/him
of more details concerning each set, the prices if needed and cover as best as I can the needs of the
guitarist. My email is: gkertsopoulos@yahoo.gr

Best regards,
Yorgos

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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Fri Aug 11, 2017 2:19 pm

SAMPLE BELOW ON THE VIDEO: 0 fret tuning=third fret tuning, where the guitar is tuned a minor third higher than normal

Youtube

Flamenco arrangement of Asturias-Leyenda by Isaac Albeniz written and performed live in concert by Yorgos Kertsopoulos at the Muzart Festival, Helexpo Palace, Athens 20 April 2008.High tuned guitar strings constructed by Yorgos give the guitar a minor third higher pitched tuning making it possible to preserve the original G minor key carefully chosen by the composer, while not changing the usual E minor fingering.

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Cloth Ears
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by Cloth Ears » Fri Aug 11, 2017 4:00 pm

While I did enjoy your unique arrangement of Asturias, I would point out that it bears absolutely no relationship with flamenco. The use rasguedo alone does not make this arrangement flamenco. However enjoyable all the same, nice to hear it in its original key on guitar.

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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Fri Aug 11, 2017 7:56 pm

Cloth Ears wrote:
Fri Aug 11, 2017 4:00 pm
While I did enjoy your unique arrangement of Asturias, I would point out that it bears absolutely no relationship with flamenco. The use rasguedo alone does not make this arrangement flamenco. However enjoyable all the same, nice to hear it in its original key on guitar.
Thank you Cloth Ears for your kind comment. You are absolutely correct in regard to your comment ...The use rasguedo alone does not make this arrangement flamenco... the reference to flamenco, however, on the title of the video is not because of the rasgueado.

Isaac Albeniz, took the basic elements of the melody of the work from the flamenco of "Media Granadina" and made a more elaborated and rich version of the melody giving it a classical form, played on the piano , of course, subtracting in a very talented and unique synthetic idiom most of the qualities that were included in the original "Media Granadina", which included Moorish elements within the Phrygian mode (ancient Dorian, of course).

I have added in my arrangement according to my conception some elements (apart from rasgueados), that in my musical comprehension are hiding within the work, adding to it the lost "Media Granadina" idiom. Of course, I could not exaggerate in the arrangement and give it a full flamenco version of "Media Granadina" because in that case I would have subtracted a lot from the original work of the classical style as composed by Albeniz. An arrangement of such a venture has to respect both sides, the flamenco origin of the melody and the classical idiom of the composer. Thanks a lot for your kind comment, best regards,

Yorgos

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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Fri Aug 11, 2017 11:18 pm

Recorded in October of 2001 at the recording studios of ERT featuring the soloists: Smaro Gregoriadou playing a double-course guitar, Dionysia Blazaki playing a guitar with mixed tuning and metalonylon strings and Yorgos Kertsopoulos playing a guitar tuned an octave higher than normal tuning, all guitars and strings being a construction of "Kertsopoulos aesthetics".Maestro George Despotidis conducts the Orchestra of Contemporary Music of ERT (National radio-television) in the first world performance of the work "Love changes destiny" by Yorgos Kertsopoulos, comprising the introduction and the theme. The theme of the work is entirely based upon the work Asturias of Isaac Albeniz. So, this new work is an autonomous work but however is a re-arrangement of the Asturias performed in a new instrumental medium and also includes many other new and original motives and harmonies, based though entirely on the structure of Asturias.

Youtube

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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Sat Aug 12, 2017 5:55 pm

0 fret tuning=ninth fret tuning, where the guitar is tuned a major sixth higher than normal.
The Allemande from the lute suite 1 BWV996 of J.S.Bach, interpreted by Y.Kertsopoulos on a high tuned guitar and strings, constructed by him.


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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Sat Aug 12, 2017 10:47 pm

0 fret tuning=ninth fret tuning, where the guitar is tuned a major sixth higher than normal.
The etude 1 by Heitor Villa Lobos interpreted by Y.Kertsopoulos on a high tuned guitar.

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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Sun Aug 13, 2017 7:51 am

0 fret tuning=ninth fret tuning, where the guitar is tuned a major sixth higher than normal.
The fantasia X by Alonso de Mudarra interpreted by Y.Kertsopoulos on high tuned guitar.

Youtube
9th Fret-6-FRONT TUNING.JPG
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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Sun Aug 13, 2017 12:46 pm

Smaro Gregoriadou transcribed and interprets Air Variations ("The Harmonious Blacksmith") from Harpsichord Sonata V by G.F.Haendel. The work is played on a high-pitched pedal guitar with scalloped frets and movable back, tuned 4 semitones higher than ordinary.
The above tuning on the fourth fret is accomplished with the following full set:
0 fret tuning=fifth fret tuning, where the guitar is tuned a perfect fourth higher than normal (however, with the same set one can tune one semitone or one tone lower successfully).

Youtube
5th Fret-6-FRONT TUNING.JPG
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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Mon Aug 14, 2017 7:46 am

Smaro Gregoriadou interprets in first world performance the guitar work Crucifixion from St. John's Gospel by Yorgos Kertsopoulos. The work has three parts:1)trial 2)passions 3)crucifixion.
0 fret tuning=fifth fret tuning, where the guitar is tuned a perfect fourth higher than normal.

Youtube

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kertsopoulos
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Re: "Kertsopoulos Aesthetics" strings in normal & high tuning-The how and the why

Post by kertsopoulos » Tue Aug 15, 2017 9:58 pm

0 fret tuning=ninth fret tuning, where the guitar is tuned a major sixth higher than normal.
Smaro Gregoriadou transcribed and interprets Harpsichord Sonata L23 by D. Scarlatti. The work is played on a high-pitched pedal guitar with scalloped frets and movable back, tuned 9 semitones higher than ordinary and it is also included in the issued cd "Smaro Gregoriadou reinventing guitar!" released by DELOS INTERNATIONAL. It features Kertsopoulos Aesthetics (www.kertsopoulosaesthetics.blogspot.com ), an internationally acclaimed platform of original inventions in the fields of classical guitar construction, history and tradition. It is engaged to revive older sounds and forms of guitar and strings, as well as tuning practices of early instruments, using totally novel, prototype, original materials and technologies conceived by George Kertsopoulos.

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