When selecting the woods, their acoustic properties play the most important role.<\/strong> A special measuring procedure is used to determine specific properties which, in our opinion, are decisive for the optimal pairing of body and top woods.<\/p>\n The surfaces of our instruments are sealed with a thin shellac polish.<\/strong> This ensures that the woods are adequately protected without the instrument’s ability to vibrate being hindered by excessively thick layers of varnish. For maple and yew corpora we use a gold-coloured varnish which brings out the natural beauty of these woods.<\/p>\n The three kinds of wood used in the bodies of the Liuto forte are rosewood<\/strong>, maple<\/strong> and yew<\/strong>. They make for different timbres, which one might characterise as follows: rosewood sounds \u201cmasculine\u201c, yew sounds \u201cfeminine\u201c, while maple has a more neutral but versatile sound.<\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”2120,2119,2122,3790″ posts_number=”10″ orientation=”portrait” show_pagination=”off” zoom_icon_color=”#470a00″ hover_overlay_color=”rgba(174,145,142,0.9)” hover_icon=”P||divi||400″ _builder_version=”4.16″ background_layout=”dark” custom_margin=”50px|||” saved_tabs=”all” global_colors_info=”{}”] For players who like to emphasise strong contrasts on their instrument, and desire the biggest sound possible, rosewood is the right choice. Bodies of this wood are best adapted to performance in larger halls.<\/p>\n The sound of bodies of yew has an unmistakable and inimitable charm. This wood provides the “warmest” tone and is therefore particularly suitable for players with romantic sound visions.<\/p>\n Maple is an all-rounder, having something of both of the above woods, without tending to either extreme. For those often playing in ensembles, the bright and fresh sound of maple instruments is perhaps most advisable.<\/p>\n The choice of body wood is of course a personal decision, involving individual taste and playing style. Decision will be made much easier by simply trying instruments out in the various woods.<\/p>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”Ribs” _builder_version=”4.16″ background_color=”#f2ebeb” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text: Unterschiedliche Anzahl von Sp\u00e4nen \u2013 klangliche Auswirkungen” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n Lute bodies are put together with an uneven number of ribs. This can vary between 9 and 65. We work largely with 11 and 19 ribbed bodies.<\/p>\n We have observed, in disagreement with earlier assumptions, that the difference in sound between an 11 and a 19 rib instrument is that the brightness of the intrinsic tone of an instrument sinks with the increase of ribs, becoming thus more mellow. This in turn leads to an improved capacity for air resonance within the instrument which improves particularly the deeper frequencies. For this reason, the body of the Tiorba forte has 19 ribs instead of 11. The especially common occurrence of higher numbers of ribs in thorough bass instruments seems to have been not only determined by questions of decorativeness or the lack of raw materials for broad yew ribs. These reasons may, of course, have been instrumental in the discovery in thorough bass instruments of such welcome acoustical side effects.<\/p>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”Body shapes” _builder_version=”4.16″ background_image=”https:\/\/liuto-forte.de\/wp-content\/uploads\/2019\/01\/hg_1.jpg” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text: Korpusformen” _builder_version=”4.16″ background_layout=”dark” global_colors_info=”{}”]<\/p>\n Within historical lute building there can be determined two ideally distinct body shapes, both of which have been retained in the building of our instruments. They differ basically in the relation between depth and breadth of the lute body. Differing proportions between these parameters can be justifiably seen to involve different worlds of sound; already around 1600 Alessandro Piccinini described these as \u201cmelodic\u201d and \u201charmonic\u201d. This same distinction in sound, resulting from particular specifications of construction, can be observed in violins (Amati & Stradivari), harpsichords (French & Italian) and the modern grand piano (Bl\u00fcthner & Steinway). Musicians of past centuries did not find that the existence of these distinct ideals gave reasons for any fundamental decision but did their best to participate in both areas. Professional string players of the 18th century, for example, often owned a narrow, arched model of the Amati type for use in chamber music and a poweful instrument of a broader, shallower structure for larger settings.<\/p>\n For each of the different models of the Liuto forte, the body shape was selected that best fits the repertoire and aesthetics of the individual models. Somebody always asks after lute concerts why the pegbox is bent back. The answer remains: we don\u2019t know.<\/p>\n <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [\/et_pb_text][et_pb_gallery gallery_ids=”2113,2110,2108″ posts_number=”10″ orientation=”portrait” show_title_and_caption=”off” show_pagination=”off” zoom_icon_color=”#470a00″ hover_overlay_color=”rgba(174,145,142,0.9)” hover_icon=”P||divi||400″ _builder_version=”4.16″ custom_margin=”50px|||” saved_tabs=”all” global_colors_info=”{}”] The lengthening of bass strings, appearing around 1600 and attributed to Alessandro Piccinini, was primarily intended to increase the sound of the bass register, making it more \u201clike an organ\u201d. The discovery that a straight pegbox with lengthened bass strings can also positively influence the sustain of the descant and middle range of a lute instrument may have been an unexpected side effect of this invention.<\/p>\n The classic form of the straight extension of the neck (fig. 1),<\/strong> which one finds on Italian archlutes and theorbos has great aesthetic charm and admirably fulfils its sonic purpose as well.<\/p>\n Inspired by this innovation further kinds of lengthening were developed during the 17th century. They were mainly used for the lute in D minor. In historical sequence, it concerned on the following constructions:<\/p>\n The lateral extension on a bent-back pegbox for fitting four additional bass courses of different lengths (double head), invented by Jacques Gaultier (born circa 1600), a French lutenist resident in England (fig. 2)<\/strong>.<\/p>\n Bracket or bass rider for two additional longer bass courses, presumably attributable to the Bohemian lutenist Jan Antonin Losy (c.1645-1721).<\/p>\n The swan neck of the Ang\u00e9lique with two straight pegboxes, which was probably taken over around 1728 by Silvius Leopold Wei\u00df for his 13 course d minor lute after the model of Johann Sebastian Bach’s lute. (fig. 3)<\/strong>.<\/p>\n This latter construction, wherein usually eight courses were on the fingerboard and five bourdon strings were in the second, extended pegbox (or three bourdon strings in the second and two in a third one), was the climax in the development of the European lute. The strings of the Liuto forte, continuing the practice of the old lutes, are adjusted using tuning pegs. This is perhaps the aspect of the Liuto forte that will take the most getting used to by guitarists. Inserted wooden pegs transmit the torque in a proportion of 1:1, whereas a guitar machine head transmits in a proportion of 1:16. There are not only aesthetic reasons for keeping pegs. A mechanism like that of the guitar would make multi-stringed instruments seriously top-heavy.<\/p>\n In contrast to the very slender and rather cramped peg boxes on old lutes, clumsy to handle, and with pegs often enough ill-fitting and real finger-twisters, the Liuto forte presents its pegs in a comfortable calibre and in well-spaced arrangement. With care and maintenance they are as easy to handle as the pegs on bowed instruments. From the experience of recent years, in fact, owing to its thinner strings, the Liuto forte keeps its tuning better than a modern guitar.<\/p>\n Since 2015 a new development of a geared tuning peg by Wittner has been available. This peg does not differ in appearance from classical pegs, but has a mechanism inside which enables fine tuning similar to that of a guitar and prevents the peg from jumping out during tuning. On request, all Liuto forte models can be equipped with these mechanical pegs specially adapted to the needs of our instruments at an extra charge. Most of the rose designs employed up until the 18th century and in contemporary lute making originate in types developed in the 16th century and are based on Islamic ornaments. They can involve abstract, geometrical forms, floral elements, symbols or heraldic motifs, but they will usually elicit associations of times long gone.<\/p>\n The decisive inspiration for a more timeless design was found in the sight of winter twigs by the window of our lutemaker\u2019s workshop. G\u00fcnter Mark\u2019s pattern, inspired by this view, does contain abstract elements, but at the same times raises associations with the natural world. It is almost as though the essence of the wood itself is revealing itself: in its subterranean contortions, its upward striving, and in ever finer branchings towards the slender stems of leaves.<\/p>\n G\u00fcnter Mark\u2019s design has enriched the wealth of rose patterns with a further pattern of fine ornament and great beauty.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”Ornaments” _builder_version=”4.16″ background_image=”https:\/\/liuto-forte.de\/wp-content\/uploads\/2019\/01\/hg_1.jpg” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text: Ornamente” _builder_version=”4.16″ text_font=”||||||||” header_font=”||||||||” header_text_color=”#d0b17a” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Impressed by the lavish ornaments often found on the necks and pegboxes of historical lutes, customers occasionally ask if their Liuto forte could be decorated in a similar way. We deliberately do without additions of this kind and rather concentrate on the balance of form in the external appearance of our instruments.<\/p>\n With Liuti forti, the main focus is on working on the sound. Apart from the ornamental trims on the neck of an Arciliuto forte and a Tiorba forte, their beauty is revealed above all in their noble proportions and lines, which give the impression of a complete “inner peace”. Liuti forti are constructed according to the canon of proportions of the Renaissance and the Baroque. Their timeless beauty and elegance are based on universal geometric rules.<\/p>\n In the process of renewal undertaken by Liuto forte for the complete lute family it was natural to take a critical look at traditional tunings. It soon became clear that with only minor modifications, demanding no major rethinking, definite technical and musical improvements were possible.These can considerably relieve players of the Renaissance lute as well as the guitar and D minor lute.<\/p>\n Players of the Liuto forte have the choice to keep to the traditional tunings or to try any of the newer and refined tuning variations here presented. These enable not only the easing of technical difficulties but also the extension of musical possibilities, as can be shown in the lute works of J. S. Bach.<\/p>\n It should be stated here right away that there is no absolutely \u201cideal\u201d tuning. Tuning patterns are always an approach to the music intended, and all have their drawbacks and advantages. The 4th tuning of the Renaissance lute (and modern guitar), most common until about 1620, came under increasing criticism at the beginning of the 17th century. Anyone who is familiar with the works of Dowland, for example, will recognise what Thomas Mace criticised in the confoundedly uncomfortable fingerings commonly demanded by this tuning.<\/p>\n Between 1600 and 1650 a large variety of tunings were tried, including the d minor chord \u2013 (A) d f a d f \u2013 which then became a kind of new standard tuning north, west and east of the Alps. This d minor tuning gives immense ease to the left hand while opening up unexpected musical possibilities. It approaches very close to an ideal tuning.<\/p>\n One particular flaw of the tuning in 4ths used on renaissance lutes and today\u2019s guitars is the fourth between the 5th and 6th courses or strings. Such an interval in this position makes no sense in terms of fingering. As long as the little finger of the left hand stays shorter than the other fingers, the interval between the strings would need to begin to get less at least by the fifth string.<\/p>\n Guitarists will see what this means by glancing at bar 6 of the Villa-Lobos Etude No. 1. Imagine what this fingering would feel like if their instrument had a 7th string tuned in F and the G# could be stopped on the third fret. The new 7th string in F would be also tunable to F# or G depending on the key of other pieces and this development would relax the left hand and lead to more ease and improved tone on both guitar and renaissance lute.<\/p>\n On the French baroque lute with its d minor tuning, the interval of a fourth between the 5th and 6th string could be filled in by a course in B or B flat, depending on the key. The A would thus become the 7th course. This insight is due to no other than J. S. Bach, who unmistakably demonstrates the advantages of such a tuning in several works for the lute which have been long been considered \u201cunplayable\u201d in their exact notated form. (see www.Bach-Lautenwerke.de<\/a>). Not uninfluenced by Bach\u2019s lute tunings, which my research has shown to only retain a single interval of a fourth \u2013 between the second and third string \u2013 the French lutenist Eric Bellocq in 2008 developed for his Liuto forte a completely new tuning consisting of solely major and minor thirds. The top six strings of the instrument are tuned in the following manner, c – e flat – g – b flat – d’ – f’. The instrument includes a full set of bass strings in a diatonic scale which can also be stopped on the fingerboard when necessary. The tuning offers tempting new possibilities in the arrangements of chords. Moreover, the agreement of its top strings with the lines of the treble clef brings the reading from staff notation very close to the practice of reading from tablature.<\/p>\n
\n[\/et_pb_gallery][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\nThe Numbers of Ribs \u2013 and their Influence on the Sound<\/h1>\n
\n[\/et_pb_text][et_pb_gallery gallery_ids=”2095,2096,2097″ posts_number=”10″ orientation=”portrait” show_title_and_caption=”off” show_pagination=”off” zoom_icon_color=”#470a00″ hover_overlay_color=”rgba(174,145,142,0.9)” hover_icon=”P||divi||400″ _builder_version=”4.16″ custom_margin=”50px|||” saved_tabs=”all” global_colors_info=”{}”]
\n[\/et_pb_gallery][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\nBody shapes<\/h1>\n
\n[\/et_pb_text][et_pb_gallery gallery_ids=”2117,2115,2116,2118″ posts_number=”10″ show_title_and_caption=”off” show_pagination=”off” zoom_icon_color=”#470a00″ hover_overlay_color=”rgba(174,145,142,0.9)” hover_icon=”P||divi||400″ _builder_version=”4.16″ custom_margin=”50px|||” saved_tabs=”all” global_colors_info=”{}”]
\n[\/et_pb_gallery][et_pb_text _builder_version=”4.16″ background_layout=”dark” global_colors_info=”{}”]Instruments with narrow and deep bodies will sound rather sweet and cantabile. Those with broad, shallower forms will sound more brilliant and strong, lending themselves to the harmony and use in ensembles. Both worlds thoroughly have their own charms.<\/p>\n
\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”pegboxes” _builder_version=”4.16″ background_color=”#f2ebeb” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text: Unterschiedliche Formen der Wirbelk\u00e4sten” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\nParticular forms of pegbox<\/h1>\n
\n[\/et_pb_gallery][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]We are a little better informed, however, concerning the profound effects of an elongated, \u201ctheorboed\u201d, neck on the frequency proportions of the whole instrument, not merely on the longer bass strings.<\/p>\n
\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”Wirbel” _builder_version=”4.16″ background_image=”https:\/\/liuto-forte.de\/wp-content\/uploads\/2019\/01\/hg_1.jpg” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text: Klassische und mechanische Wirbel” _builder_version=”4.16″ header_text_color=”#d0b17a” background_layout=”dark” global_colors_info=”{}”]<\/p>\nTraditional and geared Pegs<\/h1>\n
![\"\"](\"https:\/\/liuto-forte.de\/wp-content\/uploads\/2019\/01\/19-6365.jpg\")
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\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ background_color=”#f2ebeb” link_option_url=”Rosette” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text: Rosette” _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\nA New Rose designed for Liuto forte<\/h1>\n
![\"\"](\"https:\/\/liuto-forte.de\/wp-content\/uploads\/2021\/05\/Schwanenhalslaute-in-e-Detail-4.jpg\")
We therefore already began some years ago to bring a timeless rose design into being, one to suit the conception of Liuto forte. A prize was even offered for successful suggestions. Artists and designers whom we approached perhaps surprisingly did not rise to the challenge.<\/p>\nOrnaments<\/h1>\n
![\"\"](\"https:\/\/liuto-forte.de\/wp-content\/uploads\/2019\/01\/077_18_03_A_A.jpg\")
\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_id=”Tuning varieties ” _builder_version=”4.16″ background_color=”#f2ebeb” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Text: Stimmvarianten f\u00fcr Liuto forte in g, e und d” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\nTuning varieties for Liuti forti in g, e & d<\/h1>\n
![\"\"](\"https:\/\/liuto-forte.de\/wp-content\/uploads\/2019\/01\/mod_stimmungen.jpg\")
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\n[\/et_pb_text][et_pb_text admin_label=”Text: Bellocq-Stimmung (Terzenstimmung)” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\nThe Bellocq Tuning (Tuning in Thirds)<\/h2>\n