Welcome to "Kertsopoulos Aesthetics".It includes inventions and constructions in guitars and strings.The history of the guitar includes numerous forms of the body of the guitar, the string quality and quantity and the tuning of the instrument in different ranges. This revival of the many different forms constitutes the "Kertsopoulos Aesthetics".
...These guitars possess antique sounds, sounds with an ancient charm.
Amalia Ramirez 7 Feb. 2009
COMPARE: ASTURIAS BY I. ALBENIZ INTERPRETED BY Y. KERTSOPOULOS WITH FOUR DIFFERENT AESTHETICS
PHOTO PUBLISHED BY "EPIKAIRA" MAGAZINE OF THE WIDE CIRCULATION SUNDAY'S GREEK NEWSPAPER "KYRIAKATIKI" ("ELEFTHEROTYPIA") ON A FOUR PAGE ARTICLE CONCERNING "KERTSOPOULOS AESTHETICS", 6 MARCH 1994, ISSUE 152
Wednesday, April 17, 2019
Yorgos Kertsopoulos performs using his innovation guitar support -amplifier version: "Superior" and two passive guitar's acoustical Timbre-Tone Equalizing Amplifiers "small" version, all attached on the double course guitar amplifying and equalizing the sound. Measurements have been taken and graphs are presented of SPL (db-dbA) meter, first measuring the room's threshold environment with no sound whatsoever (ambient sound) at 33db. Then, measurement of the guitar's sound one meter away from the SPL meter, without the amplifiers-equalizers giving an average reading of 70 dbA and measurement of the guitar's sound one meter away from the SPL meter, with the amplifiers-equalizers giving an average reading of 80 dbA. This 10 dbA average difference in the readings is perceived by the human perception as doubling of the volume (loudness). In SPL (Sound Pressure Level) criteria this difference of 10 dbA, between 70 dbA and 80 dbA is an increase of ten times more when the reading is 80 dbA in contrast to the 70 dbA. The innovation support-amplifier and equalizers are strictly pathetic acoustical members enhancing in an acoustical manner the sound of the guitar. They are not connected in any way to electrically or electronically working devices of any sort. As musical instruments, intonation is achieved to them, at all acoustical frequencies, they become an extension of the acoustical chamber-body resonator of the instrument itself upgrading the sound of any classical-flamenco or steel string acoustic guitar. An excerpt from his composition "magnapeiron" is performed in room conditions by Yorgos Kertsopoulos.The video of playing is taken by Apostolakis Konstantinos in room conditions at a distance of 1.7 m from the source and the recording has been left as recorded, no effect or mastering has been done on the sound. It is given here as recorded from the ZOOM Q8, as raw wave sound at 44.1 Khz.
https://www.classicalguitardelcamp.com/viewtopic.php?f=46&t=108201,
http://kertsopoulosaesthetics.blogspot.com/,
http://kertsopoulosformsandstrings.blogspot.com/
https://www.classicalguitardelcamp.com/viewtopic.php?f=46&t=109130,
http://kertsopoulospedalguitar.blogspot.com/,
https://www.facebook.com/kertsopoulosaesthetics/
It's Great that you are aware of people about music. Thank you for sharing this informative content. it's really wonderful and helpful for us. We are also from the same Domain. Hire Classical and Jazz Musical Guitarist for concerts.
Excerpt from: Album Review – Reinventing Guitar, Performed by Smaro Gregoriadou by Contrapuntist
The most interesting arrangement is the Lute Suite in G minor, BWV 995 by Johann Sebastian Bach. Cellists will recognize this work as the Cello Suite in C minor, BWV 1011. Bach arranged the work for the lute. Normally guitarists transpose the piece from G minor to A minor. By contrast, Gregoriadou’s arrangement is in C minor and is performed on a triple-double-single course guitar. From the first plucked note, the instrument projects a harpsichord-like quality with a brighter, yet round tone. The interpretation maintains the stylistic nuances of the period by effectively using ornamentation and embellishments to convey the character of each movement. I especially like how the use of courses brought out harmonic textures in the Prelude, Courante and Gigue. Classical guitarists will likely debate about the authenticity of the interpretation, but this may very well represent a more accurate depiction of what Bach intended. by Contrapuntist on March 30, 2010 in Classical Music, Sonic Perspectives
At the press conference in Musik Messe Frankfurt presenting the "Mathematical Model of the Guitar" - 7 Feb. 1983
Excerpt from: Album Review – Reinventing Guitar, Performed by Smaro Gregoriadou by Contrapuntist
Domenico Scarlatti never wrote music for guitar. Despite this fact, many of Scarlatti’s pieces fit nicely on the guitar. Sonata K.380/L. 23 is commonly performed by guitarists, but not on an instrument with scalloped frets and movable back with high tuning. As a whole, the performance is crisp and the tone is very close to replicating a harpsichord. The use of scalloped frets presents some interesting technical challenges because the fingers “float” above the frets instead of touching the fingerboard as they press down on the strings. The sound is much brighter than the typical classical guitar. According to the booklet, the moveable back “alters the air cavity while playing,” which likely influences the way the instrument vibrates and resonates sound. by Contrapuntist on March 30, 2010 in Classical Music, Sonic Perspectives
KERTSOPOULOS
PNEUMATIC FOOT PEDAL GUITAR
Smaro Gregoriadou: Reinventing Guitar on “Kertsopoulos Æsthetics”
..."What I found remarkable about the new instruments is the way they allow for a much more detailed separation of the treble and bass voices, of the different musical lines within each piece. One guitar almost sounds like two separate instruments! "... CLASSICAL MUSIC SENTINEL of Canada, July 2010
“Kertsopoulos Æsthetics” consist of a 30-year continuous research in guitar’s retrospective history and tradition accomplished by George Kertsopoulos, Greek guitarist and instrument-maker with international acclaim, which has ended in numerous achievements on the fields of guitar’s and strings’ construction and technology. It is a series of innovations and intelligent solutions aiming:
a)to connect contemporary guitarist with obsolete forms and sounds of guitar, that nevertheless determined the instrument’s rich evolution from early centuries until today, since the so-called “guitar” instrument has during its long history undergone enormous changes in form, construction, tunings, number and materials of strings, dimensions etc, and
b)to expand modern guitar’s technical limits and offer potential solutions to its undesirable complexities (small volume, imbalance in the transmission from 3rd to 4th string, dullness of trebles, pure tone-color etc).
Kertsopoulos’ innovations include:
1.New materials and types of strings that, when applied on an ordinary guitar, offer such interesting possibilities as:
double/triple-course and re-entrant stringing,
wide range of tunings from down a third lower to up an octave higher than the usual one in e’,
multi-timbre exploration and tone-color diversity,
bigger volume and sound projection,
access to unexplored tonalities up to now totally out of use for modern guitar.
2.Complex applications of evolved specifications (right-hand and movable-back pedal mechanisms, scalloped fingerboards, soundboards of diverse various etc) with indisputable reinforcement of guitar’s sound.
“Kertsopoulos Æsthetics” have achieved:
1.Creation of guitarfamily and complete guitar ensembles with unlimited potential in frequency range and tone-color,
2.Credible, historically coherent, convincing interpretations of renaissance and baroque guitar repertory (music for solo guitar or ensemble music with guitar), as well as reliableguitar transcriptions of works originally written for instruments like lute, harpsichord, mandolin, violin etc,
3.New sound horizons for contemporary composers to explore giving a guitar sound that meets at last today’s concert hall demanding standards,
4.Creation of personal styles and aesthetic preferences that encourage diversity.
Smaro Gregoriadou exclusively promotes the researching, artistic and educational part of “Kertsopoulos Æsthetics” and in no way is she connected with them or represents them for any profit-bearing purposes.
DESCRIPTION
Smaro Gregoriadou interprets renaissance, baroque, romantic and contemporary music on several guitars different in type, number and material of strings and tunings. They feature Kertsopoulos’ Æsthetics (guitars, strings, acoustic applications of evolved specifications), a 30-year research on history and æsthetics of guitar, accomplished by Greek guitarist-maker Yorgos Kertsopoulos and involving numerous suggestions on interpretation of old and new guitar repertoire. Since Æsthetics’ first presentation in Athens, 1994, by their inventor, numerous astonishing innovations have enriched inventive guitarist’s sound, recreating 500-years of beautiful guitar tradition: high-pitched, transitive and re-entrant tunings up an octave higher than the ordinary, double and triple-course stringing, tone-colour’s diversity, access to unexplored tonalities, pedal mechanisms! Smaro has championed first world presentations of several innovations included in Kertsopoulos’ Æsthetics.
HISTORIC EVIDENCE
Long time before modern guitar was established as a six-string concert instrument with tenor to bass disposition, tuned in the modern interval pattern and bearing single nylon strings introduced by Segovia and Augustine in the 1940s, our favourite instrument had during the centuries undergone enormous modifications in shapes, proportions, tunings, stringing, number and materials of strings, playing techniques and social role. From Renaissance to 19th century, many types of guitar no more known to us today have extensively influenced the instrument’s evolution and are respectfully considered as genuine branches of guitar’s tradition: renaissance four-course guitar and six-course vihuela, baroque five-course guitar (the so-called “Spanish”) and chitarra battente with five triple strings, six-course guitar (which emerged in Spain around 1770 and survived there for approximately 70 more years as a transitional stage before six-string guitar of 19th century), all these samples of astonishing craftsmanship were high-pitched and bared double or triple courses of gut or metal strings, their tunings being re-entrant and non-standardized. These early instruments, once flourishing in the hands of remarkable interpreters all over Europe, now obsolete, contributed nevertheless to the creation of guitar’s unique sound identity, fundamental features of which have always been unconsciously registered and freely incorporated in the experience of anyone involved with playing the guitar ever since.
As time goes by and research deepens our response to the music of the past, modern guitar’s unsuitability to perform renaissance, baroque and classical repertory convincingly is more and more emphasized by specialists and demands flexible alternatives. Transcribing old music onto 20th century guitar, a practice in which generations of guitarists were and still are so keenly involved, deserves a re-evaluation under the light of new historical-æsthetical evidence on guitar’s tradition, a lack of which might seriously abuse this music’s spirit. Kertsopoulos’ Æsthetics, with numerous inventions-interventions into the domains of guitar and strings’ construction, have much to contribute to this aim.
It's Great that you are aware of people about music. Thank you for sharing this informative content. it's really wonderful and helpful for us. We are also from the same Domain. Hire Classical and Jazz Musical Guitarist for concerts.
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