Ten-string classical guitar of Yepes

Ten-string extended-range classical guitar

String instrument
Classification	string
Hornbostel–Sachs classification	321.322-5 (Composite chordophone sounded by the bare fingers)
Developed	1960s by José Ramírez III and Narciso Yepes from the classical guitar
Related instruments
Ten-string guitar
Musicians
Narciso Yepes Perfecto de Castro
Builders
Ramírez Guitars Paulino Bernabe Senior

Ten-string classical guitar redirects here. For the romantic ten-string harp guitar or decacorde see Ten-string guitar#Ten-string harp guitars.

The modern ten-string extended-range classical guitar was produced in 1963 by luthier José Ramírez III in collaboration with guitarist Narciso Yepes, who intended it to be used with a specific reentrant tuning.

It has since been adopted by a number of classical guitarists, using both Yepes' tuning and others.

Invention

In the early 1960s, José Ramírez III, a luthier noted for his innovations to the classical guitar, was inspired by the viola d'amore to investigate the addition of sympathetic strings to the classical guitar. As was his practice, 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.

Yepes was particularly taken with the idea, but both he and Ramírez were concerned with the problem of muting the extra strings when not required. Yepes at first suggested damping them with a mechanism similar to the sustain pedal of a piano, built in to the guitar, but Ramírez was not keen on loading the instrument with so much mechanism.

In 1963 Yepes telephoned Ramírez and suggested that simply by adding four extra bass strings, accommodated by a wider than normal bridge, fretboard and head, and adopting a particular reentrant tuning, an instrument could be produced that had a unique balance of resonances throughout the chromatic scale. Yepes further stated that he had devised a technique for the right hand which would allow the player to damp the extra strings when not required.

Ramírez produced the instrument described, and after some initial struggles to master the technique, Yepes enthusiastically played and promoted this pattern and tuning of ten-string guitar for the rest of his life.

Today ten-string instruments to Ramírez' original design remain available from the Ramírez Company, and similar instruments in a variety of designs are available both from the Ramírez Company and other first-class luthiers, notably from Paulino Bernabe Senior who left the Ramírez company in 1969 to found Bernabe Guitars, taking with him several of their most prestigious clients including Yepes himself. Yepes accepted a Bernabe ten-string in 1972, which he played from then on .

While Yepes' tuning continues to have a loyal following among some guitarists, other classical ten-string guitarists have used different stringings and tunings, some of them reentrant and some not. Yepes himself was always very particular to point out that only this one tuning would achieve the resonance which was his aim, and the question of to what extent these various other stringings and tunings compromise this aim is somewhat controversial.

Tunings

Yepes' or Modern tuning: e' - b - g - d - A - E - C - A# - G# - F# in Helmholtz pitch notation

Yepes' reentrant tuning added four bass strings tuned to C, B-flat, A-flat, and G-flat. The harmonics of these at octave and perfect fifth intervals provided the eight resonances that Yepes claimed were missing from the standard six-string classical guitar. He did not consider other harmonics, and particularly those at major third intervals, to be sufficiently in tune to supply these resonances. This tuning is called the Modern tuning by its proponents.

Yepes also employed scordatura by lowering or raising the lowest string from this tuning, particularly but not only for playing transcribed lute music. The seventh string is normally tuned to C, but may be tuned up a tone to D, or down a semitone to B_I or three semitones to A_I. None of these tunings supply the chromatic balance of the unaltered Modern tuning.

Baroque or Romantic tuning e' - b - g - d - A - E - D - C - B_I - A_I

Most other tunings used on this instrument differ sufficiently from the Yepes tuning to require different string gauges, and so are not simple scordatura. For example, the five Marlow tunings (see below) require a lighter 7th string, as this is tuned about an octave higher than the Yepes tuning (depending on the exact tuning), which would double the tension on this string if the gauge were not reduced. Non-reentrant tunings similarly require heavier strings on the three lowest bass strings.

A non-reentrant tuning with the additional strings tuned diatonically from D to A_I has been termed the "Baroque" or "Romantic" tuning.

Standard Marlow Method tuning e' - b - g - d - A - E - B - F# - C# - G#_I

Janet Marlow has proposed an alternative reentrant tuning system of five different tunings, in all of which the reentry takes place between the 6th and 7th strings, rather than between 7th and 8th as proposed by Yepes. A method for the ten-string guitar using these tunings was written by Marlow and self-published in 2005.

Repertoire

There are three main sources of repertoire for the ten-string classical guitar:

• Repertoire for the conventional six-string classical guitar, using the four extra bass strings as sympathetic strings only. Performance of such music requires at most that the performer muffle the extra strings when their resonance is not desired, which is the purpose of the right-hand technique developed by Yepes; Otherwise the technique is essentially identical to that of the six-string guitar.

• Works specifically composed or arranged for this instrument, which may in addition involve the extra bass strings being plucked either open or fretted.

• Transcriptions of works for other instruments such as the thirteen-course lute, which typically use the extra bass strings both fretted and unfretted and often require scordatura tunings.

The lists below are neither comprehensive nor intended to be so, but representative.

Performance of six-string repertoire

• Concierto de Aranjuez performed by Narciso Yepes with the Berlin Philharmonic Orchestra, 1964. This particularly brought the then new instrument to international attention.
• Recuerdos de la Alhambra performed by Narciso Yepes, 1987.

Composers who have written for ten-string classical guitar

• Leonardo Balada
• Martin Derungs
• Philippe Drogoz
• Bob Dickinson
• José Ramón Encinar
• T.E. Flemming
• Egberto Gismonti
• Stephen Goss
• Robert Keeley
• Jorge Labrouve
• Bruno Maderna
• Chris Malloy
• Maurice Ohana
  • Si le jour paraît... (1963)
  • Cadran lunaire (1981-2)
• José Peris
• Michèle Reverdy
• Antonio Ruiz-Pipó
• Ignacio Yepes

Trascriptions of lute and similar music

• Bach works for lute transcribed by Narciso Yepes .

Derivative instruments

Main article: ten-string guitar

The ten-string extended-range layout has been adopted to several other styles of guitar, including the ten-string jazz guitar and the ten-string solid body electric guitar.

See also

• Ten-string guitar for all guitars with ten strings.
• Extended-range classical guitar for all classical guitars with more than six strings.

Further reading

• Ramírez, José. 1994. The Ten-String Guitar in Things About the Guitar. Bold Strummer. pp. 137-141. ISBN 9788487969409
• Yepes, Narciso. 1978. The 10-String Guitar: Overcoming the Limitations of Six Strings. Interview by Larry Snitzler. Guitar Player 12(3): pp. 26, 42, 46, 48, 52.
• Yepes, Narciso. 1981. Narciso Yepes and His 10-String Guitar. Interview-Article by Allan Kozinn, The New York Times, November 22, 1981, Section 2, Page 21, Column 6.