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Gut strings
struction, one replaces the plain nylon strings with gut, the
can determine it. These pitches are not necessarily the same
wrong size, only that they are expecting to tune them at non-
gut tone.'
2. Pitch distortion
thicker or duller, since some of the glitter of the higher harstretching sharpens the pitch. Strongly bowing or plucking a
fretted instruments.
Bowing can be disconcerting when varying loudness also
do?
strings but can get disturbingly big with bass strings.
tion accuracy common at that time and earlier, and our own.
where the total mass of the material creates the low pitch
but only the elasticity of the core governs the pitch distor-
musical use.
tion.
Nylon and steel have greater tensile strength than gut, so gut
the same time that he introduced the use of strings spun with
Catlines.
usually used plain gut for every string. The lower strings were
430
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ably stretchy for a bass string. The trouble with these strings
was that they had already been polished, making them hairy
strings were played. We can deduce this only from noting the
The more twist there is in a gut string, the more elastic it is,
a string of that length could reach. From the late 15th to late
distortion on fingering
allow) offered a range up to two octaves and a tone. From the
possible frets. Making a low action was certainly an authenoffered an open-string range of two octaves and a fifth. They
tic practice, but the grading of frets for fine adjustment of the
were known in England as Venice Catlines. At each advance
flatter than theoretical and controlling intonation by fingerno significant change in tone quality or cost in these changes,
instruments.
4. Venice Catlines
Even Venice Catlines did not have anything like the elasticity
6. String uniformity
possible with overspun strings, so pitch distortion will be a
strings, some with the thick end at the nut, some with the
fixed to the side of the ship for that purpose). The job needs
string is turned end for end, since the end of the string at the
rope. This flexibility comes from the way the rope is made.
(The other kind of rope, where both twistings are in the same
another and with the fundamental. Thus they beat with one
431
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-Eferodobvdfa
modern concert hall conditions.
very expensive.'1
GANASSI 1543
MERSENNE 1636
is known thus: holding the two ends in each hand and strik-
ing the string with the middle finger, if they part in two only;
buying cheap, less uniform strings, and finding the best parts
formly that a minimum of polishing is necessary.
to use for the bit that vibrates. Note that a treble string, to
sound right, needs to be truer than a bass, and how it per9. Tuning ease and stability
forms in the test will depend on how tightly you stretch the
If a player is converting from nylon to gut on an instru-
lighting confuses the vibration pattern, and should therehave about - of the peg movement that he had with nylon. If
fore be avoided. Daylight is best. An indication of how stanconverting from single-strand iron or steel, he would enjoy
this method there was never a hint that it might have been
the steel is often made of twisted strands which increases the
8. String polishing
more difficulty in tuning as well as the need (see next section)
adds weight, thus tending to lower the pitch. The more twist
433
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goes down.
Some modern strings are varnished to resist moisture abLow Moderate High Catl ine
: ---c r
helps.
* 0 : c=== c
r wall =
:---:C :2 C: t--
stick El cJC--c
means that the notches on the nut are widened outwards
from the centre of the course. On the bridge where the string
Fig. 3
catch against the wall and stop the gut from untwisting. As
the gut starts to dry out it will be able to take more twist. The
result can be hairy and bumpy to look at, but provided the
string depends on its elasticity, its mass per unit length and
sound and on a plain metal string the first two factors are
gut sound
present.
435
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and their sound dies away faster after being plucked. They
the bridge), and they emit a hiss during bowing which can be
music itself.
STRING LENGTH cm 43 45 48 51 54 57 61 64 68 72 76 81
Highest pitch b' b' a' g"' g' f' P e' eb' d' c'? c'
Lowest pitch
Lowest pitch
High twist B B A G G F F E E D Cs C
Lowest pitch
Venice Catlines FS F E E D C$ C B E A G G
These are the usual ranges. One semitone or more higher is possible with particularly high
Burwell (see note 12 below), p 7, called a
quality gut but was not the usual practice because of the short life of the string.
knot a 'bunch' and said it was hard to get two
Plucked instruments often go one tone lower, bowed instruments rarely do since bowing thick
good strings out of one of them, but those
TREBLE RANGE:
Varietie of Lute-Lessons (1610), facs. Edgar
p 3.
Overspun
BASS RANGE:
Facs. Forni.
p 79.
1975), p 146.
p 295.
p 48.
437
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