The renaissance guitar emerged in the early 16th century, and largely fell out of use in the mid-17th century, when larger, 5-course guitars became popular. It's a delightful and extremely versatile instrument. It has four courses (gg' c'c' e'e' a), and a string length of 484mm. It's smaller, easier to play, and more portable than a lute or vihuela. It has its own small, attractive repertoire of lute-like pieces in tablature, but it also responds very well to strumming, providing a solid but prominent accompaniment to other instruments.
My renaissance guitars are based on various paintings and illustrations, including the precise scaled drawing in Michael Praetorius's "Syntagma Musicum" of 1612. This is a rather odd instrument, having 6 courses and a carved head, but it provides the most accurate evidence for the body shape of a renaissance guitar.
I usually construct the body and neck in maple, with a spruce or cedar soundboard. Bridge, pegs, etc. are in walnut. Fingerboard is yew. This, of course, can be modified to your specification.
Played by Richard MacKenzie
Played by Ian Pittaway
Played by Ian Pittaway
Played by Nick Gravestock
To order or enquire, please contact me
Cases - Excellent cases can be ordered from specialist manufacturers such as Kingham MTM, but they're pricy. I can supply an attractive, custom-built plywood case, black with chrome fittings, for £180 when ordered with an instrument.
Delivery - the price depends on where you live. Please enquire.
I hate it when websites say "Phone for a quote", so to give you some idea - getting a baroque guitar in its case to America, including insurance, is currently about £130. Getting one to Kent is about half that.
Waiting time, from placing an order to clutching your new baby, is currently about 10 months. It's very approximate, because the schedule often contains items that are somewhat experimental, and they may take more or less time to complete than anticipated. Usually more.
Deposit - I usually ask for £150 (non-returnable unless I'm dead, insane, incapacitated or incarcerated) to secure an order and cover materials. Once that's paid, your order is entered into my Magic Book. Nothing happens for several months, then you receive an email to tell you I've started construction. A few weeks later, a big parcel arrives, and you squeal with delight.
A note on HUMIDITY - delicate wooden instruments are remarkably resilient, but they can have major problems with both high and low atmospheric humidity levels. I keep my workshop at the recommended humidity level, between 45% and 50%. Low humidity can shrink wood, resulting in cracks. High humidity can loosen glue joints, especially when it's coupled with high temperature. There's plenty of advice on the Web, but I'm compiling a brief summary of recommendations which I'll upload soon.
Email for Diabolus