Posted on January 14, 2010May 28, 2025 by Dale Phillips Review: The Vihuela de Mano and The Spanish Guitar: A Dictionary of the Makers of Plucked and Bowed Musical Instruments of Spain by José L. Romanillos and Marian Harris Winspear Review: The Vihuela de Mano and The Spanish Guitar: A Dictionary of the Makers of Plucked and Bowed Musical Instruments of Spain by José L. Romanillos and Marian Harris Winspear Reviewed by Bryan Johanson Originally published in American Lutherie #80, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 The Vihuela de Mano and The Spanish Guitar: A Dictionary of the Makers of Plucked and Bowed Musical Instruments of Spain (1200-2002) José L. Romanillos and Marian Harris Winspear ISBN 84-607-6141-XGuijosa, Spain: Sanguino Press, 585 pp., 2002 In the world of players and makers of fine classical guitars, the name José Romanillos stands tall. For decades he built some of the finest classical guitars ever made. His work with Julian Bream is legendary. With the 1987 publication of his first major book, Antonio de Torres: Guitar Maker — His Life and Work (with an extensive revision published in 1997), we were introduced to another side of this impressive artist, that of author, scholar, and fact-sleuth extraordinaire. We now have his latest contribution to the realm of fact: his amazing new book on Spanish luthiers, The Vihuela de Mano and The Spanish Guitar; a Dictionary of the Makers of Plucked and Bowed Musical Instruments of Spain (1200–2002). It is a rare thing these days to find an author (in this case coauthors, Romanillos and his wife Marian Winspear) tackle the concept of writing a dictionary. The result of this ambitious undertaking is a highly readable reference book that includes much information not ordinarily included in a dictionary proper. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 14, 2010May 28, 2025 by Dale Phillips Review: The Bouzouki Book, by Graham McDonald Review: The Bouzouki Book by Graham McDonald Reviewed by John Calkin Originally published in American Lutherie #80, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 The Bouzouki Book Graham McDonald ISBN 0-646-43602-3 Graham McDonald Stringed Instruments, 117 pp., 2004 Totally new instruments don’t appear very often. When they do the results can be pretty exciting, both musically and socially, though it’s not easy to establish a pattern to the events. When the 5-string banjo was born in America in the early-to-mid 19th century it took a couple decades for many of the details to become standardized, after which the popularity of the banjo began to grow rapidly. Small builders furnished most of the early instruments, but as the banjo boom spread, larger factories became the important players. Banjo production mirrored the industrialization of the country at large. However, it takes a lot of money to drive an industry, and as the 20th century demand for banjos began to wane, the big companies backed off and there was once again room for the small builder. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 14, 2010May 28, 2025 by Dale Phillips Review: El Tiple Puertorrqueño: Historia, Manual y Método by José Reyes-Zamora Review: El Tiple Puertorrqueño: Historia, Manual y Método by José Reyes-Zamora Reviewed by Fred Casey Originally published in American Lutherie #81, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 El Tiple Puertorriqueño: Historia, Manual y Método José Reyes-Zamora ISBN: 0-942347-55-2 Ediciones Puerto, Inc., 211pp., 2002 www.edicionespuerto.com The tiple. Oh, yeah, that’s that South American instrument, like a guitar but triple-strung. I remember repairing one that had a soundbox made from an armadillo shell, like a charango. Then there was the adaptation that Martin came up with, putting tiple-type stringing onto a ukulele (see article and plan by Jorge Gonzalez in AL #39, BRBAL4). And one time I came across an old bowl-back mandolin that had twelve strings, arranged tiple-fashion. Yeah... the tiple. Forget all that. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 13, 2010May 20, 2025 by Dale Phillips Letter: Hardingfele Letter: Hardingfele by Loretta Kelley Originally published in American Lutherie #8, 1986 Dear Editor: In connection with Hardingfele: People who are interested in this instrument might want to become members of the Hardanger Fiddle Association of America (126 S. Thayer Avenue, Sparta, WI 54656) Members receive a quarterly newsletter containing not only informative articles, but sources for instruments and supplies. The book on making this instrument is “Vi Byggjer Hardingfeler”, by Sverre Sandvik, published by Tiden Norsk Forlag, Oslo, 1983, ISBN 82-10-02357-8 (in Norwegian). Irving Sloan writes about making a hardingfele in “Making Musical Instruments”, Dutton, 1978, ISBN 0-87690-293-X. He is interesting, although his guess that the f-holes are bent instead of carved is wrong, and some of his other assertions are just assertions. Some additions to Mr. Peters’ articles: neither of my fiddles have purfling, and I’m not sure I’ve ever seen one with purfling, except converted violins. The traditional carving on the top is usually described as a dragon or perhaps a lion. And many hardingfeles have five sympathetic strings instead of four.
Posted on January 11, 2010May 13, 2025 by Dale Phillips In Memoriam: Robbie Robinson In Memoriam: Robbie Robinson Passed on June 7, 1993 by Betty Truitt, and Ray Mooers Originally published in American Lutherie #35, 1993 and Big Red Book of American Lutherie Volume Three, 2004 Roland Robinson died June 7, 1993, in a traffic accident near his home and shop in Mt. Laguna, California. He founded the International Society of Folk Harpers and Craftsmen one day with these words: “I decree that there shall be a folk harp society, and that the Folk Harp Journal shall be it’s voice.” That was how it happened. Details followed. Rob was my friend, my mentor, my “second father,” my next-door neighbor. He influenced my work and my life with his hard-working, dedicated example. Rob was a renaissance man, a poet, a mover of ideas, a facilitator and educator, a warm human being. One news article aptly described him as an “irascible curmudgeon.” He was as likely to give you a lecture on proper use of time for production as he was to expound on his knowledge and experiences for hours on end. He constantly searched for understanding of our world. He delved deeply into history and concerned himself with daily news of world events. He wrote his customers many personal messages, sent along with their filled orders. He encouraged us all. He was a prime mover in the resurgence of the folk harp. He shared, never taking “ownership” of ideas or inventions. His genius was always turned outward to better his (and our) world. — Betty Truitt Robbie Robinson at the 1980 GAL Convention in San Francisco. Photo by Dale Korsmo. I founded Dusty Strings in the late 1970s, crafting hammered dulcimers. I became fascinated by folk harps in the early ’80s and devoured back issues of the Folk Harp Journal, which I ordered from Robinson’s Harp Shop. I became aware that in addition to building harps, Robbie also supplied those mysterious bits of steel, brass, and nylon that go into making harps. Robbie was bigger than life to me, a storehouse of knowledge of a little-understood craft. He could have guarded that knowledge for personal gain. God only knows how hard he worked for it, but he was a man of vision and knew that he could not supply harps to all that would like to own one. He had experienced first hand what the harp had done for his life and Phyllis’, and wanted to share that feeling with the world. I had an insatiable hunger for inspiration, so I timidly called to see if I might possibly stop by for a quick visit while on a trip to California. When he graciously agreed to see me I was thrilled. I had talked to Robbie Robinson on the phone and I was going to visit him! I felt like a pilgrim on a journey to Mecca. Robbie and Phyllis welcomed me into their home and shared the inner workings of Robinson’s Harp Shop. He showed me how tuning pins and sharping levers are made, critiqued my harp, and complimented several of my design features. Day faded into evening and I found myself at their dinner table. I excitedly accepted an offer to stay overnight and really was in harp heaven as I lay on the living room couch. I tried to sleep, but my head was spinning with all I had learned. The next day was business as usual: up at 6:30, a quick breakfast, then downstairs to the shop. There were pegs to be made, strings to be wound, supplies to order. Phyllis had the arduous, though exciting, task of opening the stacks of mail that came each day. And Robbie, with all he had going, took time to show me how to wind strings. He ordered me to try my hand at it so I wouldn’t forget how, and invited me to take lots of pictures so I could construct my own winding machine. As I drove away from Mount Laguna, I had to pull off the road somewhere down the mountain. The late afternoon sun was casting long shadows behind the pines, and the colors of the mountains, trees, and countryside were magnificent. I was so excited I thought I might burst. To you, Robbie, I was just another of the many who sought out your influence and knowledge. You graciously opened your door to many, I’m certain. But it was as if I had been taken briefly under your wing and offered the greatest gifts of all: knowledge, and encouragement to go on. The sun grew into an enormous fireball as it reached for the horizon, changing the colors of the landscape and sky from yellows, to oranges, to pinks, to lavenders, to purples. As the sun slipped away I continued down the mountain with your voice ringing in my ears, “You can do it Ray. The world needs more harp makers.” Robbie, that visit with you and Phyllis, and other visits since, are times I will never forget. Times that helped shape a career and a business that will contribute to your goal of making the world a better place to live by enriching people’s lives with harp music. You are a great man, Robbie, and though we all will sincerely miss you, you will always be with us in our hearts. You will have a special place in mine for the remainder of my days. — Ray Mooers