Steve Ganz wrote:Good playing. You seem to enjoy it and your vision is pretty unique. Who influenced that vision?
Thank you Steve for your kind comment and important question.
Many wonderful people influenced my vision, teachers that taught me and students of mine that taught me also with their energetic feedback.
Also, all the interpreters and composers that live and lived and worked and gave us all these beautiful works over the centuries that were played on double course, triple course, higher tuned guitars, including all the luthiers that constructed these instruments and also the string constructors that provided the first productive unit of sound: the strings.
All these humans that have built the tradition of the many different forms of guitar and string construction for interpreting all these works (written in the near and far past times) have been my influences that ignite my vision. A triple vision of a) guitar interpretation b) guitar construction c) string construction. All these make up the total phrase: “what are guitars, strings and works made of” and in category mathematics the total phrase becomes: “what are guitars and strings and works made to do”. Finding the correct balance between the two phrases and making my constructions possible to be available to the guitarists, is the nucleus of my vision.
In short as an example: “Can we construct a guitar with six double courses, with octave differences between the strings and play a renaissance work written for the renaissance guitar?”
We need to take into account (at least) that the renaissance guitar had double courses, of course, but had four courses, not six and also it was tuned a perfect fourth higher in regard to the modern guitar and also it had a usual 55 cm string length, 10-12 cm shorter than the modern guitar. Also, we have to take into account all other constructional factors of the renaissance guitar and also of the –“made of” and the “made to do”- of the strings of the period.
Then, since we possess modern methods of construction we have two options:
1) construct according to the standards of the period conforming strictly to the renaissance practices and
2) construct according to all our new methods of construction in guitar construction (fan strutting, modern string length 65-67 cm, etc.) and also with new methods of string construction with new materials.
I am working on both options and the second most difficult option has been very successful due to the fact that my string construction satisfies all tunings even higher tunings tuned higher as high as an octave, satisfying the renaissance 55 cm string length but also the modern string lengths of 65-67 cm. This was the greatest of the challenges to construct strings that can be tuned in all ranges from 0 to 3d to 5th to 7th to 9th fret as high as an octave 12 fret tuning, for the modern guitar’s string lengths of usually 65-67 cm.
So, the special needs of each person that would like a specific tuning, a specific guitar timbre or a specific constructed fully by me instrument or upgrade a guitar by re-construction whether it will be single string or double course or triple course influenced my past and also present capabilities and vision. Many guitarists have two/three/four etc. guitars in their possession, so they do not need to have all of them in the normal tuning. They have the possibility of wearing different sets of strings and they can have their guitars tuned higher either to the 3d, or 5th, or 7th, or 9th or 12 fret tuning. Some would want one of the two/three/four etc. guitars to have been a double course guitar and this can be accomplished with great success and the guitar can be upgraded acoustically, obtain a right hand pedal also and be modified to a very successful double course guitar, with a low cost, in regard to ordering an original double course guitar.
The whole vision leads to the absolute satisfaction of the special needs of each guitarist, where however, these special needs are unique for each case. Whether one would want a set of strings or a fully constructed instrument from the beginning or a re-construction of an instrument, the target is obtaining the highest quality of sound excellence in the “what is it made of” so that it will provide the best performance to the person that will use it and pass the quality test of “what is it made to do”.
The special “demands/goal” of each work to be interpreted as close to the époque as possible and the special needs of each person/interpreter/guitarist to succeed in this goal has influenced my vision to make me participate in this wonderful adventure and offer the best I can when asked. Whether this vision is “pretty unique” as you describe it, I thank you for your kindness, however, I cannot be a judge of that, you and each respectable participant in the topic are the objective eyes and ears of what are in question here.
Thank you very much Steve, wishing you the best,