• Deutsch
  • English
  • Welcome
  • Team
  • Contact
  • Imprint
  • DSGVO
liuto-forte.de
  • Models & Sound
    • Lutes with angled pegbox
    • Liuto forte in g (Alto Lute)
    • Liuto forte in e (Tenor Lute)
    • Swan Neck Lute
    • Liuto forte in d (German baroque lute)
    • Liuto forte in d (“Bach-Lute”)
    • Liuto forte in e , Swan Neck (Guitar tuning)
    • Archlutes
    • Arciliuto forte in g (Italian baroque lute / Archlute)
    • Theorbos
    • Tiorba forte in a (Roman Theorbo or “Chitarrone”)
  • Selection & Purchase
    • Selecting your personal liuto forte
    • Seven reasons to play a Liuto forte
    • Frequently Asked Questions
    • Demonstrations, Seminars and Trying it out
    • Prices
    • Bargains
    • Ordering, delivery times, shipping
    • Guarantee
    • Legal protection
  • Musicians’ responses
  • Details
  • Strings & accessories
  • Sheet Music & Tablatures
  • About the Liuto forte
Select Page

About the Liuto forte

  • Liuto forte – A Lute for the 21st Century
  • “Guitar-Lute“ or “Authentic“ Lute
  • Historical Liuti forti
  • Research
  • Single or double strings?
  • Sound
  • Stringing on the Liuto forte
  • Fingertips or nails?
  • The Belly
  • Fine Tuning
  • The Rose
  • Fixed or tied-on Frets?
  • Traditional and geared pegs
  • The Nut
  • The Fingerboard
  • The Bridge
  • Playing Position
  • Playing Technique
  • About the New Lute, or Liuto forte
  • Prospects

Early History

  • Lute and Guitar – a Dilemma?
  • Lute and Guitar in the Twentieth Century
  • Why the lute died out
  • Original instruments – original sound?
  • The stringing of historical lutes
  • Can the Rift between Spanish Guitar and Lute still be bridged?
  • Distinction in the Sound of the Lute, the Early Romantic Guitar and the Spanish Guitar
  • Methods of Construction of Lute and Guitar compared
  • The Guitar’s limited Bass Range
  • Less is More – the limits and horizons of the classical guitar
  • Franz Bathioli
  • Eduardo Fernández

Fine Tuning

For many plucked stringed instrument makers their work on the sound of the instrument is complete once they have attached the top to the body. With Liuti forti it is then that the work really begins.

An undisputed master in this nearly lost art of imparting a final influence on an instrument’s sound was Benno Streu in Freiburg. His methods, tested constantly over many years, have been passed on to our instrument makers and are applied to every Liuto forte that leaves the workshop.