The intended targets are dalbergia nigra / Brazilian Rosewood and dalbergia latifolia /Indian Rosewood, although other Dalbergia timbers which are in common use such as Kingwood ( d.caerensis), African Blackwood ( d. Older or pre-existing items made from or containing rosewoods faced similar restrictions, and the legislation is likely to become tougher in the near future, with a wider scope for example, an export permit is currently required to transport a classical guitar made from Brazilian rosewood across an international border. On 2nd January 2017, the United States government, acting in conjunction with CITES, introduced legislation which severely restricted the import into the US of newly-manufactured items made from or having any component parts made from any and all Dalbergia species timbers. Some instruments have since been sold, and theirĬurrent whereabouts are not always known to us.ĭ albergia (rosewood) species ban (USA only) Provenance of the original instruments upon which the guitars listedīelow are based, is listed here as where the originals were located This instrument, along with further details, below, at No. 18 below) for a playerīased in the UK there are images of a recently-completed version of Player and accompanist here in the UK, what is effectively a theorboed Guitar in the Leipzig Musikinstrument Museum details of this guitarĮarly January 2004, we built a very interesting instrument for a continuo Planned to be ready later in 2008 is the Antonio Mariani 1680
![broque gui tar broque gui tar](http://media.voog.com/0000/0044/0245/photos/Baroque-guitar-2_huge.jpg)
Under development, which we are working on a prototype copy of, currently
#Broque gui tar archive
This archive of information: one of the new models we currently have Listed below, we like to develop and build new models, working from Which we have measured over the last 30 years, and as well as the instruments Have a large database of measurements and photographs of original guitars Guitar is just like the idea of a baroque guitar I had in my head when Upper register is very clear and the lower is nicely full, making it Tuomas Rauramaa, writing from Finland, said: A recent owner of one of our flat-backed Voboam models, Guitars "Play straight out of the box, as if you've always known One of our long-standing customers, the American lutenist,Ĭontinuo expert and opera director Stephen Stubbs, comments that our Sound and projection, and they work very well for both continuo and Our guitars are renowned for their articulation, brightness, depth of Them to use in a continuo context, as well as for playing the solo repertoire Have become increasingly popular in recent years, and many players buy
![broque gui tar broque gui tar](https://i.etsystatic.com/14203861/r/il/f1ce53/1159274975/il_fullxfull.1159274975_nnyd.jpg)
The two main types asked for by players, namely the (usually) smallerĤ or 5-course guitars often tuned in a' and the later, usually larger Have used the broad terms 'renaissance guitars' and 'baroque guitars'īelow simply to help locate the different models, grouping them into The knowledgeĪnd experience thus gained is reflected in the list of instruments we This ongoing research has continued to the present day. Public and private collections later, working together with Sandi, Them) as many important early guitars as he could get access to, in Measure and document (sometimes for publication by the museums who owned
![broque gui tar broque gui tar](https://vihuelademano.com/guitars/Voboam/images3/table/soundboard3d.jpg)
In early 1976, at the invitation of Ian HarwoodĪnd the Royal College Of Music, Stephen was commissioned to produceįor publication technical drawings of the earliest known guitar (thenĪs now) the Belchior Dias instrument of 1581. The Prévost model listed below (No.16) and a meeting shortlyĪfterwards with James Tyler, another pioneer and, as it were,Īn early champion of the early guitar further developed Stephen's Guitars not listed here can be accepted as commissions we haveĪ large archive of measurements and information on guitars not mentionedīelow please ask for further details and information.įirst met the late Robert Spencer back in the spring of 1973, Stephenįirst encountered original baroque guitars in Robert's collection, including Is intended to be a representative sample of our work in this area We have measuredĪnd documented many other guitars not listed here, and this section Of guitar building across Europe from 1520 - 1780. (except for the metal-strung chitarra battente) and we feel that theyĪre a reasonably comprehensive representation of the various schools The guitars offered here range from the simple 4-course instrument