To the Proficient Scholler or Lover of the Cittharn. . .

The "Renaissance" cittern of 16th century Europe is my favorite instrument, both to make, as a luthier, and to play.

It is a delightful, light, wire-strung instrument that has a substantial solo repertory, as well as being a staple of the broken consort. Its sound when used in continuo is plucky and rhythmic, sounding in range from the cluck of an Appalachian banjo to the marching calculation of the harpsichord. When heard alone, it defies comparison to any other instrument: an unmistakable sound.

The following is a summery of my work with the instrument.

The pegbox of my tenor model cittern, 61.6cm. I have had some success recently experimenting with different tunings on this instrument. For years I played it tuned just a whole step below the typical 'Italian' tuning - quite high for a tenor size instrument - and it was very loud and plucky and delightfully well intonated, so I left well enough alone! - but in light of some recent inquiries, I have tuned the instrument down a 4th from there to f#-f#/d-d'-d/a-a/b-b, but without changing the strings. Thus taking it down into the range of a modern cittern tuning. I am happy to report that the intonation is not compromised and the sound is still penetrating. To hear samples of the instrument at this tuning click:

Example 1 (playing near the bridge)

Example 2 (minor key)

Example 3 (playing closer to the rose)

The ubiquitous Robinson engraving shewing the positions of the frets

Detail of the scroll covers of the tenor.

My version of the Ashmolean DaSalo, strung in four courses.

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I call this my 'composite neck' cittern. After carving endless thumb channels and pegboxes out of one solid piece of wood I have contrived to build this unwieldly shape out of an assembly of easily planed and joined pieces of wood. Besides being held together entirely by glue, the only design liability I have found is it is less condusive to gently curving pegboxes, and the pointed heel has been replaced with a less elegant 'flat'. Howeer on the other side of the coin, it took me about 4 hours to make the entire neck and pegbox. And after I gesso it and paint it black you'll never know.

Showing the components. Note the hook is laminated to prevent future destruction. The seams of the 'cheeks' and 'blocks' are clearly visible.

Hanging around with a friend.

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Following are some images related to the cittern fittings: making the boxwood and ebony fretboard wedges, the pegs, scrolls, pyramid pegbox head cap.

The piece of Jatoba I'm using for the fingerboard started life as a flooring sample (from my architectural firm) and I've found the laquer topcoat to be a great measure for exactly how much wood to take away when carving the scallop. When the last piece of laquer is gone, the height just in front and behind the fret slot is just right.

I have seen some makers - they have been modern reproductions - make the wedge not only tapered but with an undercut dovetail thus taking extra measure not to have the piece fall out. One maker infact used no glue and relied entirely on friction. I am gluing these frets in place so am not taking this extra measure.

The same Jatobah has been used for the pegs, scrolls and head cap (hiding).

The lining is glued on. The top edge will be trimmed after the top brace is attached to the soundblard and the exact curve of contact can be determined. Also visible, the linen strips covering the stave seams.

The top spars are glued on and are being shaped. The bridge location is located with a pencil mark.

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Following are excerpts from my own study photographs of the DaSalo cittern in the Ashmolean Museum, Oxford

The study area: the Map and Print Room, where photography with a flash and tripod is prohibited. I found that out only after I had lugged my tripod through many train stations. I also was breaking in a new digital camera which did not function well in low light: this explaining the poor quality of these images. It was the experience that counts.

The end pins which look suspiciously like modern brass tacks. Perhaps a substitution of the Hills? We know this is not the original stringing.

The master's stamp

Despite their draconian restrictions on tripod use, I must say that they were terribly accommodating in providing me with this Hill collection catalog to serve as my backdrop.

Here ends the Leffon.

Bring it HOME.

Right honorable and thrise noble Lord: (the sole true patron of all vertue and my poore deservings) I have long wrastled in the labor of my best wits, to betoken to your L. selfe as the choise of a world, some acceptable pledge or testimoniall acknowledgement of my love, duety and thankefulnes: which in the best allowaunce from my weake fortunes I can in no sort better appoint then by this my silly Citharn Schoole.

-Anthony Holborne,from the Citharn Schoole

Gentlemen, blame me not although I have beene so long cracking of this nutte, fith as last I have given you the sweetest Cornell of my conceited Cithering.

-Thomas Robinson

The twelfth Rule. Note, that you keepe alwayes your hands cleane, and your nailes short.

-Thomas Robinson

With my strings of small wire lo I come, And a cittern made of wood; And a song altho' you are Deaf and Dumb. May be heard and understood dumb, dumb. . .

-D'Urfey, Don Quixote

Barbers shall wear thee on their citterns and hucksters set thee out in gingerbread.

-Forde, The Lover's Melancholy