Rob & Rohan
In the image above, you can see Rohan Lowe, my esteemed partner, just after he handed me a 10-string guitar. Rohan provides detailed insights into the construction of these instruments on his website. Here, I aim to delve into the practical advantages a 10 String Guitar offers, particularly concerning its vast repertoire.
The tuning of a 10 string guitar mirrors that of a 10-course lute. This opens up an enormous library of music, allowing you to play the entire Renaissance lute repertoire, along with compositions from early baroque lute masters like Kapsberger, without altering a single note. For those seeking even further historical depth, the 13-string guitar extends this capability to encompass the entire baroque-lute repertoire, from the French school to the works of Weiss. This represents a wealth of musical material, far exceeding what any individual could master in a lifetime.
My intention was never to precisely replicate the unique sound of the lute. However, due to their lightweight construction, these instruments produce a tone that resides beautifully in the sonic space between a traditional guitar and a lute. Tuning is straightforward, and thankfully, there are no tied-on frets to cause any concern. Stringing is also uncomplicated, and for the right hand, managing single strings is much simpler. As I approach 65, these conveniences have become increasingly significant.
Let’s explore some videos to illustrate the capabilities of the 10-string guitar. First, consider the 10-string tuned with Aquila Ambra 800 strings for the initial six courses, progressing from treble to bass in EBF#DAE. Then, Aquila Type D copper-wound nylgut basses complete the lower register: D C Bb A.
Previously, I owned a 10-string classical guitar crafted by Juan Hernandez in Valencia, a truly exceptional instrument. I tuned it following the innovative approach of Narciso Yepes, who pioneered this configuration. From treble to bass, the tuning was E, B, G, D, A, E, and then descending to low C, Bb (equivalent to the 5th string at the first fret), Ab (like the 6th string at the fourth fret), and Gb (similar to the 6th string at the second fret).
This unconventional tuning scheme is designed to amplify sympathetic resonance, particularly for notes that typically lack such resonance on a standard six-string guitar. Yepes’s ingenious idea was to ensure every note benefits from sympathetic resonance. This contributes to a more balanced and even sound. However, it necessitates refined damping techniques with the right-hand palm to manage the increased resonance, somewhat analogous to using the damping pedal on a piano.
Latest News in the 10 String Guitar World
Excitingly, Gilbert Isbin has released two volumes of new compositions specifically for the 10-string guitar in Yepes’ Tuning:
Gilbert Isbin 12 Easy Studies for 10 String Guitar in Yepes Tuning Book Cover
Gilbert Isbin 12 Compositions for 10 String Guitar in Yepes Tuning Book Cover
These significant publications are now available, and I’ve had the pleasure of recording some pieces from them. I wholeheartedly recommend these collections, which are exclusively available through Amazon:
Here is a performance of “Tombeau For Narciso Yepes” from the “12 Compositions” book:
This next video was my first recording with the instrument, made the morning after it arrived. At that point, I was still experimenting with string choices to find the optimal setup.
The composer, Gilbert Isbin, has generously composed twelve new pieces for me, all in Yepes’ tuning. Here is the initial video, a performance of “Tombeau for Erik Satie”:
First Week Impressions of the 10 String Guitar
My Juan Hernandez 10-string guitar features a 664mm string length, a specification I requested. This extended length is beneficial in providing clarity to the low C of the 7th string. In comparison, my Juan Hernandez 6-string guitar has a 650mm string length. Both instruments are personally signed by Alberto Hernandez. The 6-string is the “Luthier” model, while the 10-string is the “Maestro Especial” model. Both exhibit exceptional quality and masterful craftsmanship.
Initially, I approached the 10-string guitar by playing my existing 6-string repertoire. This transition proved surprisingly smooth, with the primary adjustment being the slightly longer string length rather than the presence of the additional four strings. The string spacing from the first to sixth string is almost identical on both instruments, with the 10-string being merely one millimeter wider. This dispels the misconception that the strings are more compressed on a 10-string guitar.
When I started exploring the lower bass strings, I turned to Gilbert Isbin’s new compositions, specifically written for Yepes’ Tuning, sometimes referred to as Modern tuning. This tuning designates the additional bass strings as follows: 7th string = Low C, 8th string = Bb (same as 5th string 1st fret), 9th string = Ab (same as 6th string 4th fret), 10th string = Gb (same as 6th string 2nd fret).
The 7th string’s lower pitch compared to the other bass strings categorizes this as a re-entrant tuning, a common feature in baroque guitars, for example. As someone with a background in lute playing, I initially wished for tablature notation in the scores. However, within half an hour, standard notation became perfectly comfortable. It’s worth noting that strings 8 through 10 can also be named A#, G#, and F# respectively, alongside Bb, Ab, and Gb. While this initially caused slight hesitation, the brain quickly adapts, and within a couple of days, these alternative notations became second nature.
In essence, orientation is not a significant hurdle for an experienced player. However, for players less familiar with multi-string guitars, starting with simpler pieces might be advisable. This led me to request Gilbert to compose some elementary yet musically engaging studies, which resulted in the collections mentioned earlier.
I will set aside a detailed discussion on string research, tensions, and pitches, as this is a niche area. Furthermore, string preferences can be quite subjective; what suits a player using flesh pads might not be ideal for a nail player.
So, what repertoire is available for the 10-string guitar? There’s a substantial body of contemporary music for the 10-string in Yepes tuning, but much of it is technically demanding and aurally challenging. While this isn’t a deterrent for me, it might be for some players. Additionally, some compositions by non-professional composers tend to lean towards guitar clichés and techniques rather than purely musical ideas. To be diplomatic, much of it strikes me as self-indulgent noodling, which I personally find uninteresting.
This is why I asked Gilbert Isbin to create some intermediate-level pieces for me. Expecting just a few pieces, I was delighted when he delivered twelve! They are compositionally rigorous, modern, and melodically appealing. Again, these are the editions I mentioned previously. I am uncertain if alternative versions will be available for different tunings. Gilbert did own a 10-string guitar years ago in “baroque” tuning (DCBA for the basses) but found it creatively limiting. It was only after I encouraged him to explore Yepes’ tuning that the instrument truly resonated with him. He now appreciates it immensely!
This experience has led me to believe that modern composition and baroque tuning may not be the most harmonious pairing. Baroque tuning tends to steer one towards tonal harmonies or simply playing bass notes an octave lower. In contrast, Yepes’ tuning imparts a different character to the instrument. The lower strings become more integrated, opening up musical avenues not typically explored on a standard guitar. While this might seem daunting to some, for Gilbert, myself, and many others, it is incredibly refreshing. Therefore, I cannot guarantee ossia bars for baroque tuning will be included in the publications – that decision rests with Gilbert.
Yepes conceived his tuning primarily to enhance sympathetic resonance. If you play an open first string and then mute it, you’ll hear sympathetic resonances, mainly octaves and fifths, from the other strings. This observation prompted Julian Bream to famously ponder why atonal music on the guitar often sounds like it’s in E minor! However, if you perform the same test with the note F, sympathetic resonance is minimal. This highlights the guitar’s inherent bias towards keys that utilize open strings. Yepes’ innovation was to add four strings that would generate sympathetic resonance where it was previously absent, ensuring the entire chromatic scale benefits from this phenomenon.
Initially, Yepes didn’t extensively utilize these extra strings. To my knowledge, his debut LP with the 10-string featured vihuela music – using only six strings. His subsequent recording focused on Sor studies. It was possibly Maurice Ohana’s piece written for him (Tiento) that gradually inspired him to see the potential of these additional strings. In retrospect, this seems astonishing, but apparently, he was so preoccupied with the sympathetic resonance aspect that he initially overlooked the full potential of the extra strings. He certainly compensated for this later, creating remarkable arrangements and commissions.
One potential drawback of this chromatic resonance is over-resonance – an excess of sustained sound in the background. Consequently, the player must learn to manage it. I am discovering that this is a subtle art, quite similar to mastering the sustain/damper pedal on a piano. Your ears are the ultimate guide, demanding attentive listening while playing. I often use the palm of my hand to damp the bass strings when necessary. The degree of damping varies from a gentle touch, allowing a hint of resonance, to a firm mute, and everything in between. As I mentioned, it’s an art form that requires dedicated study, akin to a pianist’s pedal technique.
10-string Guitar with Theorbo Tuning
The theorbo is a large lute from the early Italian baroque era, known for its distinctive tuning. The first two courses are tuned an octave lower than expected, making the third course the highest in open pitch. Typically, theorbos have 14 courses, but Kapsberger, a leading composer for the instrument, published his first book for a 10-course theorbo.
So, how can we adapt theorbo tuning to a 10-string guitar? The first step is to lower the third string by a semitone, a common practice in Renaissance-period lutes. Then, we need to find strings to replace the first two, tuned an octave lower. Finding suitable D and B strings in the mid-range can be challenging. Options include raising an A string to B and a D string to E, or tuning down from a D and a G string – neither solution is entirely satisfactory. Furthermore, achieving this often results in an overall pitch that’s too low and muddy, which isn’t ideal.
My approach is to use a combination of standard strings and Aquila’s Russian 7-string guitar set. The goal is to tune to a pitch where the first string is G – a minor third higher than standard tuning. This raises the overall pitch, reducing muddiness. Some theorbos were tuned to G, others to A. I found that using a capo at the second fret can enhance clarity, but it diminishes resonance, a key characteristic of the theorbo.
The resulting tuning, from bass to treble, is:
C D E F G c f a’ D G
This tuning allows for exploration of theorbo repertoire on the 10-string guitar.
For those interested in exploring this tuning on their 10-string, I have created a Custom Set at Strings Direct: https://www.stringsdirect.co.uk/strings-c1/sets-c865/custom-gauge-sets-c889/folk-world-c894/rob-mackillop-10-string-classical-guitar-custom-gauge-p13666
It’s crucial to emphasize that this adaptation isn’t intended to replace the theorbo itself – nothing truly replicates its unique sound. However, for guitarists, it provides a valuable gateway to explore this otherwise underplayed repertoire.
Discovering the Russian 7-String Guitar Repertoire
If there’s a significant gap in the classical guitar repertoire, it undoubtedly lies in the unjustly neglected 19th and early 20th-century Russian school.
The surviving repertoire from this era is of exceptional quality, often matching or surpassing the compositions we are more familiar with. It is high time we examined this treasure trove, much of which is legally available for free download online.
My introduction to the Russian guitar occurred nearly thirty years ago at a guitar conference in Michaelstein, Germany. I was invited to present an academic paper on the guitar in Scotland. In my room, I was captivated by the beautiful guitar music emanating from next door. Upon introducing myself, I discovered my neighbor was Oleg Timofeyev, a leading authority on the Russian guitar.
Oleg explained that the Russian guitar’s tuning is related to the 18th-century wire-strung guitar, which I was familiar with, albeit at a different pitch and with an additional bass string.
Please visit Oleg’s website for further information: http://www.russian-guitar.com
He suggested I acquire a Russian guitar and explore this extensive repertoire. I was very tempted, and multiple times since that meeting, I considered taking the plunge. However, I always have numerous projects underway, and finding a quality Russian guitar proved challenging. Consequently, due to various reasons, including cost, I kept postponing it.
Recently, my friend Mårten Falk, a superb musician and Russian guitar expert, informed me about an affordable guitar suitable for initial exploration. I purchased one for just £300. The company is D’OFF, based in Saint Petersburg. Here is their website. I own the RGV model – when ordering, specify nylon strings instead of metal.
Here is my first performance of a Russian 7-string guitar piece (a beautiful melody from Morkov’s method), along with a review of the Doff RGV:
These explorations into multi-string guitars, including the 10-string and Russian 7-string, reveal a rich and diverse world of musical possibilities for guitarists.
