They sound beautiful and I absolutely believe that this is exactly what I have been looking for. It would be so helpful to know several things like: May 26, at 1: I got mine from these guys http: I dont know of any other maker who might do something similar, and maybe Rodriguez no longer make them. If you are willing to pay, they will make one for you. Just drop them an email. January 2, at 8: The specs listed include mahogany body, mahogany neck, rosewood fingerboard, It is a little surprising to see they did not scale down the nut, as so many makers do with shorter scale guitars.
I am quite tempted myself, being of small hand and only recently realizing that. Hello, Rob — I found your site via the Delcamp forum, and see that you were at one time a regular there. I just wanted to express my appreciation for your video on your technique, your outlook, demeanor, and opinions on smaller scale guitars and playing without nails. I too play with flesh, and although one reason is that I find it harder to control the string action with nails, I genuinely prefer the mellower tone of flesh. It is a joy to watch and listen.
I realize many other factors are at play — flexibility, practice stretching, etc. I realize that many serious players can, with a great deal of practice stretching, obtain sufficient reach in their LH to play effectively on mm scale guitars even with quite small hands.
I am merely a hobbyist, however, and after a couple years of work in CG method books and Delcamp, I have a span of only Based on what I can find in the D. So as a middle-aged hobbyist I am unlikely to devote the time to the rigors of great hand stretches. This — as well as interest in travel guitars — led me to your posts advocating shorter-scale guitars.
I would appreciate any suggestions you have that might help me choose an appropriate scale that would foster my interest in CG rather than put up speed bumps. January 2, at Nails were developed as a way to increase volume and projection by concert guitarists. For a hobbyist, there is no need for them. Likewise there is no need for a guitar built principally for volume. Therefore the big 65cms or even larger guitars, played with nails, is difficult to maintain if you do not have the time to devote to it.
But it is also unnecessary.
We hobbyists are lucky. We can buy guitars built for tone, not volume, and we can cultivate the beautiful touch of the flesh of the fingertip. Below that length, I feel I can pick up the guitar anytime, and get straight to the music. The guitar is not in the way. January 3, at Thank you for your quick reply!
Funny you should consider yourself a hobbyist … thus clearly demonstrating the different levels of hobbyist! My projection needs are limited to a foot or so. It has a 48mm nut and a But the pear-shaped body is quite small — upper bout of 13cm, lower 21 cm, and a depth of only 4. So it can be hard to stabilize, though a strap helps. Still, I occasionally use it for Delcamp recordings esp.
If and when you travel, how do you handle practicing in hotel rooms with thin walls? Do you use a string mute of some sort, or do you have any kind of a silent guitar? Perhaps as a more accomplished hobbyist, you are far less likely to annoy people with your practicing.
Mutes are OK but I have heard they can lead to excessively aggressive plucking so as to hear the muted note adequately and a potentially concomitant hand injury. My audience is two robots and a small bear. But they can be critical! I teach privately for a living, and love doing so. January 3, at 9: Quick note — I discovered something perhaps quite relevant.
Having a small span pinky to index, or to thumb does not necessarily imply small hands. It could mean your hands are inflexible, laterally. I did some measurements and my hands are overall average-sized.
But my span is the smallest of all of us. But for someone on a budget, or someone with a laminate top guitar who does not want to worry about what a solid top might do in really low humidity conditions, might a capo on the first fret be a good solution? It would reduce the scale from to Capos can be a bit bothersome for first position fretting e.
But it would preserve the comfortable body size and string spacing. Is there a reason not to do it longer-term? January 4, at 4: Hi Rob, I love what you do. I used to play the cello, but it was too big of a voice for me. My teacher said I chose the cello because I thought I could hide behind it.
I played for a long time without looking at my right hand, just listening to the sound of my guitar, and I found a sound that I really like. Then I discovered your website and low and behold my right hand position is the same as yours! Perhaps this is a good omen. Thank you for all of your amazing videos.
January 4, at 8: January 31, at From the late 18th century the guitar achieved considerable general popularity though, as Ruggero Chiesa stated, subsequent scholars have largely ignored its place in classical music.
In addition several well-known composers not generally linked with the guitar played or wrote for it: The first known guitar built to be strung with single strings rather than pairs of strings was built in by Ferdinando Gagliano in Naples. This guitar, which was displayed in the Heyer Museum, Cologne before that museum was dispersed, showed some important differences from the modern classical guitar. It had 5 single strings, inlaid brass frets, a long neck relative to string length the fretboard meeting the body at the 11th fret , a pegged bridge and a characteristic figure-8 shaped tuning head.
It lacked only a sixth string to make it identical with the early romantic guitar. The earliest extant six-string guitar was built in by Gaetano Vinaccia — after   in Naples, Italy.
The early romantic guitar, the guitar of the Classical and Romantic period, shows remarkable consistency from to Guitars had six or more single. Early Romantic Guitar is a non-profit web site dedicated to providing links and information about classical-romantic guitar from the late 's to mid-late 's .
The Vinaccia family of luthiers is also known for developing the mandolin. This guitar shows no sign of modification from a double-course guitar. Moretti's 6-string method appeared in Around the same time France also began to produce guitars with six single courses and Spain soon followed. Italian, French, and Spanish six-string guitars differed from the baroque guitar in similar ways.
In addition to the advances already mentioned the guitar was gradually given more pronounced curves and a larger body while ornamentation was more restrained, remaining mostly around the edges of the body and the sound hole, which lacked a decorative rose to allow more volume.
Frets were no longer of tied gut but fixed strips of some harder material, first ebony or ivory then metal. Wooden pegs were later replaced by metal tuning machines. The many instructional books of the time show no standard playing technique but rather a reliance upon earlier traditions. For example, they often recommend that the right hand be supported on the guitar's table although the Spanish guitarist Nicario Juaralde took the modern view, warning against a loss of right-hand freedom. The thumb and first two fingers were mainly used for plucking with, in the 19th century, a free stroke tirando more commonly than the rest stroke apoyando that was favoured in the 20th century.
Unlike most classical guitarists today, players were divided as to whether or not use fingernails. Fernando Sor, for example, did not use them while his compatriot Dionisio Aguado did. The narrower fretboard of the romantic guitar allowed the left-hand thumb to be used by some guitarists to fret the sixth string although Fernando Sor deprecates this in his method , recommending that the left-hand thumb remain at the rear centre of the neck and noting that the "high" thumb position aids neither bass-string fingering nor support of the guitar.
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