Can I ask how you have that Decacorde tuned?
Mark Clifton-Gaultier wrote:Pitch set at 415, standard guitar tuning as far down as string five, then descending diatonically: G, F, E, D, C.
It's not as flexible or useful as Rob's 10-string tuning having been designed for a very specific purpose i.e. to facilitate the performance by amateurs of very easy pieces, without the need to fret those pesky bass notes. Nothing more than a curious novelty today.
Conall wrote:I don't agree that it's only useful for amateurs ... Freeing up an extra left hand finger would be very "handy" for professionals too!
I didn't say that it was only useful for amateurs - I said that it was designed with that purpose in mind.
Conall wrote:Hey that tuning / set up looks perfect for the Bach cello suites - played at original pitch / original keys (except maybe the suite in E flat - but I guess you could tune the E down to E flat if you wanted to).
I have played Bach's cello suites on baroque lute, alto-guitar (tuned in the renaissance manner), mandocello, six, seven, eight and 10-string guitars and yes, noting the sixth string G on the décacorde I immediately thought of the violin partias.
My wife - not a guitarist - responded to the sound of Bach on the décacorde saying that it was the best she'd ever heard.
2lost2find wrote:You don't feel that the ability to get the bass notes you want from any position on the neck is an advantage for any player, amateur or otherwise?
Indeed I do - hence all the instruments - the question is how best to achieve it. Having played so many variants I have come to the conclusion (and I am sure that Rob will agree) that there is no single answer.
The thrust of this thread is not about extended range or accessibility but rather consistent harmonic resonance and texture - their manipulation and control - which Rob has explained very well.
2lost2find wrote:... sympathetic resonances. Meh... I just don't care about that. At all. My basic approach to sympathetic resonance is mostly "kill it with fire".
I know where you're coming from (I performed rock for many years too) but I suggest a slight broadening of your thinking. The repertoire we're dealing with here is completely different and often devised specifically
to exploit the resonances of a particlar instrument, be it a guitar, a lute or a cello.
Lutes alone, in their many varieties, have generated such different styles of writing that the work of one composer barely transcribes adequately and with all idiomatic textures intact
to the instrument of another. For instance - try playing some of the work of Lawes or Mesangeau on a baroque Dm lute.
As an aside - how do you deal with performing in a particularly resonant hall? I think of the room as an extension of the instrument and will alter my technique to take advantage of the extended possibilities.
RobMacKillop wrote:... as for sympathetic resonances, they are part of what I think should fall within your term of musical options.
Agree 100% and good example Rob.