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:''Ten-string classical guitar redirects here. For the romantic ten-string harp guitar or decacorde see Ten-string harp guitars.'' The ten string extended-range classical guitar, with fully chromatic, sympathetic string resonance was conceived in 1963〔The first compositions for this instrument date from 1963: Ohana, Maurice. 1963. ''Si le jour paraît...'', nos. 1-7. Gérard Billaudot: Paris.〕 by Narciso Yepes, who "ordered the guitar from José Ramírez ()".〔Yepes, quoted in: Snitzler, Larry. 1978. "The 10-String Guitar: Overcoming the Limitations of Six Strings". ''Guitar Player'' 12(3): p. 26.〕 This instrument is sometimes referred to as the "modern" 10-string guitar〔There is no record of Yepes himself using the adjective "modern" in relation to his guitar or its standard tuning. However, it is used by the (LaBella Company ) to differentiate string sets intended for Yepes' standard tuning and another string set that the company produces, called "Romantic". (See LaBella's (catalogue ), p. 10, as well as (). The Romantic 10-stringed harp guitar's tuning, from which the LaBella Company has derived its "Romantic" tuning string sets, is indicated (among other sources) (here (p.3) ), in a period document (Rischel 30 mu 6611.1784 U48) housed at (The Royal Library of Denmark.) )〕 (or the "Yepes guitar"〔Sensier, Peter. 1975. "Narciso Yepes and the ten-string guitar". ''Guitar'' iii(9): p. 27. ISSN: 03017214.〕) to differentiate it from ten-stringed harp guitars of the 19th century. Today, ten-string instruments to Ramírez' original design remain available from the Ramírez Company,〔See (Professional guitars ) in the current Ramírez Guitars catalog. The ''Traditional Classic'' ten string is as designed by José Ramírez III, while the ''Special Classic'' ten string is a later design by his son José Ramírez IV.〕 and similar instruments in a variety of designs are available both from the Ramírez Company and other luthiers, notably from Paulino Bernabe Senior. ==Background== In the early 1960s, luthier José Ramírez III considered adding sympathetic strings to the classical guitar. He sought advice from the leading classical guitarists of the time, notably Andrés Segovia and Narciso Yepes, both of them players of Ramírez six-string guitars. Eventually they came up with a ten-string guitar.〔Ramírez, José. 1994. "The Ten-String Guitar". In: ''Things About the Guitar''. Bold Strummer. pp. 137-140. ISBN 978-84-87969-40-9〕 In ''Ser Instrumento'',〔Yepes, N. 1989. "Ser Instrumento" . Speech of Ingression into the Real Academia de Bellas Artes de San Fernando, delivered on 30 April.〕 Yepes mentions that the reasons that led him to carry out the "design" (''diseño''),〔Yepes, N. 1989. "Ser Instrumento" . Speech of Ingression into the Real Academia de Bellas Artes de San Fernando, delivered on 30 April: p. 15.〕 of his instrument were acoustical/physical ("''físicas''") and musical ("''musicales''").〔 After some "initial protest"〔 that the 10-string guitar envisioned by Yepes was "impossible"〔Snitzler, Larry. 1978. "The 10-String Guitar: Overcoming the Limitations of Six Strings". ''Guitar Player'' 12(3): p. 26.〕 to construct, Ramírez agreed to the commission and completed the first of these instruments in March 1964.〔Kozinn, Allan. 1981. "Narciso Yepes and His 10-String Guitar". ''The New York Times'', Nov. 22: p. D22.〕 Yepes hastens to point out that he invented nothing (''inventado nada'')〔 by adding four strings to the guitar, noting the constantly changing number of strings on the guitar during its history,〔Yepes, N. 1989. "Ser Instrumento" . Speech of Ingression into the Real Academia de Bellas Artes de San Fernando, delivered on 30 April: p. 16-17.〕 including 10-stringed guitars of the 18th and 19th centuries.〔Yepes, N. 1989. "Ser Instrumento" . Speech of Ingression into the Real Academia de Bellas Artes de San Fernando, delivered on 30 April: p. 17.〕 Like earlier 10-stringed guitars, his instrument has an augmented tessitura. However, unlike earlier 6- or 10-stringed guitars, the normal tuning of the strings Yepes added "also incorporates all the natural resonance that the instrument lacked in eight of twelve notes of the equal tempered scale".〔("''además incorporan toda la resonancia natural que le faltaba al instrumento en ocho de las doce notas de escala temperada''") Yepes, N. 1989. "Ser Instrumento" . Speech of Ingression into the Real Academia de Bellas Artes de San Fernando, delivered on 30 April: p. 17.〕 As Yepes explains, the tuning of the Romantic ten-stringed guitars is "not exactly the same, because the tuning that I use is also for the resonance")〔Schneider, John. 1983. "Conversation with Narciso Yepes". ''Soundboard'', Spring: p. 67.〕 Yepes recalled that after receiving his first ten-string guitar in 1964, he held a private concert for "friends, musicians, conductors and composers to listen to my instruments and then let them decide which is the better instrument for my concert. I can honestly say that during the concert I played the same compositions once on the six-string guitar and once on the ten-string guitar. They all preferred the ten-string guitar." Yepes then sought the opinion of his former teacher, Nadia Boulanger. After playing the ten-string guitar for her, Yepes recalled that, "She noticed that my playing on my new guitar had more resonance, and this is important, she noticed that I could stop the resonance with my hands if I wanted to. She also preferred my ten-string guitar."〔Kazandjian, Fred. "An Interview With Narciso Yepes in Cabo-Roig, Alicante - Spain on 7 July 1987," reproduced as Appendix C in Fred Kazandjian, "The Concept and Development of the Yepes Ten-String Guitar: A Preliminary Investigation" (M.M. thesis, University of Cape Town, 1992), 233-245; repr. in ''Musicus'', vol. 23, no. 2 (1995): 11-18.〕 Segovia, though, was highly critical of Yepes's innovation, writing in 1974 that, "I absolutely do not believe that the guitar requires additional strings, neither at the right nor at the left of its fingerboard ... the six it traditionally possesses are quite sufficient. The inventors of this futile addition in sonority are far from having exhausted the natural resources of the instrument."〔"Andrés Segovia's Letter in Answer to Vladimir Bobri's Query About the Value of Multi-String Instruments in the Twentieth Century," 29 January 1974, reproduced as Appendix D in Fred Kazandjian, "The Concept and Development of the Yepes Ten-String Guitar: A Preliminary Investigation" (M.M. thesis, University of Cape Town, 1992), 246-249.〕 However, the validity of Segovia's criticism can be called into question: Firstly, Segovia seems to have been ignorant of the predominance of 'multi-string' guitars in the 19th Century,〔Simon Wynberg, "A Brief History of Multi-String Guitars from the Renaissance to the Present Day" (B.Mus. Hons. dissertation, University of the Witwatersrand, 1977).〕 including the 21-stringed harpolyre for which Fernando Sor composed,〔"Marche Funebre (Andante lento)" reproduced as Appendix A in Fred Kazandjian, "The Concept and Development of the Yepes Ten-String Guitar: A Preliminary Investigation" (M.M. thesis, University of Cape Town, 1992), 224-226.〕 as is evidenced in his claim that "Sor....did not feel a need for additional strings".〔"Andrés Segovia's Letter in Answer to Vladimir Bobri's Query About the Value of Multi-String Instruments in the Twentieth Century," 29 January 1974, reproduced as Appendix D in Fred Kazandjian, "The Concept and Development of the Yepes Ten-String Guitar: A Preliminary Investigation" (M.M. thesis, University of Cape Town, 1992), 247.〕 Secondly, Segovia incorrectly claims that Yepes "added four thick tongues"〔"Andrés Segovia's Letter in Answer to Vladimir Bobri's Query About the Value of Multi-String Instruments in the Twentieth Century," 29 January 1974, reproduced as Appendix D in Fred Kazandjian, "The Concept and Development of the Yepes Ten-String Guitar: A Preliminary Investigation" (M.M. thesis, University of Cape Town, 1992), 249.〕 to the guitar. In fact, Yepes added one "thick" (seventh) string only. As Yepes pointed out, the first criticism from Segovia already came "before he had seen or even heard the instrument, soon after Ramirez made the ten-string guitar."〔"An Interview with Narciso Yepes in Cabo-Roig, Alicante - Spain on 7 July 1987," reproduced as Appendix C in Fred Kazandjian, "The Concept and Development of the Yepes Ten-String Guitar: A Preliminary Investigation" (M.M. thesis, University of Cape Town, 1992), 234.〕 Lastly, the questionable nature of Segovia's criticisms of the Yepes ten-string guitar are revealed by the fact that Segovia wrote "frequent letters"〔Ramirez III, J. 1994. "Andrés Segovia, the Guitar and I". In: Things About the Guitar. Madrid: Ediciones Casa Ramirez, p. 208.〕 to Jose Ramirez III in which his unhappiness with weak "notes were always mentioned."〔Ibid.〕 Segovia complained that he "had to substitute or cancel a specific musical piece from one of his programs because the note that he had to emphasize coincided with one of the mortifying () notes".〔Ibid. (Ramirez misidentifies Segovia's complaint as a "wolf" note; however, it is clear from Ramirez's own description that Segovia complained about weak notes that could not be adequately emphasized when the musical context so required, as opposed to wolf notes in the scientific sense.)〕 Before the Yepes ten-string guitar was designed to address exactly this problem, Segovia had already complained to Ramirez III about how certain notes on the first string of his six-string guitar did "not have the same intensity as the others."〔Ramirez III, J. 1994. "Andrés Segovia, the Guitar and I". In: Things About the Guitar. Madrid: Ediciones Casa Ramirez, p. 199.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ten-string classical guitar of Yepes」の詳細全文を読む スポンサード リンク
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