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Making a Weissenborn-Style Guitar

Making a Weissenborn-style Guitar

by John Calkin

previously published in American Lutherie #102, 2010



“You shouldn’t write a Weissenborn story,” said Lamar Scomp, “’cuz I don’t want to build one.” Lamar tends to take everything personally, and the rest of humanity be damned.

“You didn’t want to build a dulcimer either, until I twisted your arm. But you had fun with it, didn’t you?” I said.

“Yup.”

“And didn’t you tell me that playing dulcimer was making you a better guitar player?”

“Yeah,” said Lamar suspiciously, like he could see the trap in front of him and knew he was going to step in it anyway.

“Well, a Weissenborn is sort of the ultimate dulcimer on its way to becoming a guitar. The plates are flat, but braced like a guitar. My version has no taper to the sides, just like a dulcimer. Since it’s meant to be played with a slide, there are no frets to mess with, and setting the high action is a breeze. And it’s fun to play. I think you should check out some ace players on YouTube. You’ll be impressed.”

“I don’t believe nothin’ I see online. It’s all computerized trickery,” he said.

“OK, Lamar. But the Weissenborn is your next step on the way to making guitars. I think you need to build one.”

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Vihuela, Mystery Instrument

Vihuela, Mystery Instrument

by Wally Eubanks

Originally published in Guild of American Luthiers Quarterly, Volume 8, #3, 1980



Vihuela is an unusual name for an instrument. It is known today only to a few musicians, some luthiers and not at all to the average person. Pronounced vee-whey-la, it is the Spanish name for a stringed instrument of the Renaissance age.

This guitar-like instrument was used in the Iberian peninsula, in Italy and to a small extent in western Europe during the period of the late 1400s to the early 1600s. It was the virtuoso instrument of its type to Spain as the lute was to the rest of Europe in the same period. Spanish nobles cultivated their favorite maestros. Individual musicians vied for attention and favors from the ruling class and developed tablature and special music for the instrument. Several of these composers wrote and published books of instruction and music in tablature.

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Guilds of the Middle Ages

Guilds of the Middle Ages

by Gregory Smith

Originally published in Guild of American Luthiers Quarterly, Volume 9, #4, 1981



The Guilds of the Middle Ages in western Europe were the outgrowth of religious, economic, political, social and legal needs of the working class people of the period. The collective power and influence of a large group of craftsmen or businessmen could wield enough force to effectively combat the oppression of the feudal lords. The guilds influenced them in various ways ranging from petitioning their grievances, leading revolts against the nobles in the case of the Flemish weaving guilds, or the wealthier guilds simply paid the lords to issue ordinances that were advantageous to their trade. Guilds were established so the workers could gain control of the different trades and professions by setting standards of workmanship and prices of goods and through prohibiting poorly trained workmen from carrying on a trade, and by setting up a hierarchy of status within the system. They even had pension funds and gave money to journeymen and masters that were ill.

In London, a guild came into existence by an ordinance of the mayor and aldermen of the city which granted them the power to control their trade. This was usually followed by a Royal Charter of Incorporation granted by the king.1 Throughout most of Europe, guilds were chartered and named either according to the materials used by the craftsman or by the item produced. The Joiners, who were incorporated in England in 1307, joined wood together and this group included cabinetmakers, makers of virginals, harpsichords and other wooden instruments such as lutes and viols. The Brasiers and Stringers were granted a charter in 1416. The Brasiers of brass workers made various items including trumpets and other brass instruments. The Stringers made strings for archery bows and it seems likely that they also made gut strings required by the many types of stringed instruments of the Renaissance. In 1603, the king granted a charter to the Musicians and also to the Turners, who turned wooden articles, including recorders and other wind instruments on their lathes. The instrument makers, or luthiers, of France were united into one guild in 1599 by a statute issued by Henry IV. Before that time they were ordinarily grouped by the materials with which they worked. The trumpet makers around 1300, for example, were members of the iron and copper pot makers.2 As early as 1270 a small guild of wire drawers existed in Paris.3

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Questions: Charango Plans

Questions: Charango Plans

by C.F. Casey

Originally published in American Lutherie #104, 2010

 

Gerald Mercer from Angels Camp, California asks:

I am looking for plans for a South American charango. These are often 10-string, 5-course instruments and made using the shells of armadillos.


C.F. Casey from Winnipeg Beach, Canada
answers:

The website below will get you going on building a charango. The title calls it a ronroco, but it’s the same thing. They even use the two terms interchangeably in the site.

http://jlfeijooi.en.eresmas.com/Construccion_de_un_ronroco.htm

Here we’re dealing with a charango that’s carved out of solid wood, rather than using an armadillo shell for the bowl. Most charangos I’ve seen lately have been the carved variety, and the last few times I’ve visited my friendly neighborhood wood-pusher, they’ve been fresh out of armadillos. The site is in Spanish, but Google’s translation is no more horrible than such things usually are. In any case, the sketches have the main dimensions, which is the most important thing. ◆

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Questions: Martin Style 5-18

Questions: Martin Style 5-18

by R.J. Klimpert

Originally published in American Lutherie #103, 2010

 

Larry Crozier from the Internet asks:

A customer wants a Martin-style 5-18 guitar built. I was wondering if GAL Plan #8 for the Martin 1-18 is the same or close enough. If not, could you recommend somewhere to get a 5-18 plan?


R.J. Klimpert of Barrington, Rhode Island
responds:

The chief reason that the 1-18 pattern won’t work to build a 5-18 is that the Martin 5-18 is a “terz” guitar, meaning that the neck and scale length are considerably shorter than that of a regular Martin, allowing for the higher-than-standard tuning that terz guitars are known for. The 1-18’s body, while narrow and seemingly similar in size to a 5-18, is too long to allow for a terz short-scale neck. The 5-18 is actually closer to a Martin Style 51 baritone uke in body size and scale. In fact, Martin reportedly reused an old terz guitar pattern when they started producing the 10-string tiple in the late ’teens. As for finding a pattern that would work for building a 5-18, it might be possible to reduce the dimensions of a 000-18 — all except the width of the neck — to approximate the correct size and shape. Or conversely, scale UP the dimensions of a Martin tiple (GAL Plan #37), since the 5-18 terz guitar lies somewhere between the two. ◆