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and any dissonance becoraes very obvious. Once the pegbox was turned
and cut out to meet the tangent box it was glued onto the end of the
neck and the neck carved back to match the pegbox profile.
THE TAilGENT BOX AND KEYS
BN B«-
giga 3
Peg Design
The tangent box was built up of 6nm thick strips of sycamore; each
side consisting of two strips the lower being cut out to receive the
sliding keys. The placing of the keys is not particularly criticai since
the tangents can be adjusted to compensate, but it should be borne in
mind that if it is required to play the instrument in another key (which
can be achieved by adjustment of the tangents) then the key placing
should be given some thought. For my reconstructed instrument playing
in G Ihave allowed B 1 * to be changed to B^, E 1 » to E 1 ", and Fi to F* thus
making it possible to play in four basic keys. Unfortunately it is
not possible for example, to play B*7 and B^ in the same melody. Figure
4 shows the method of retuning the tangents.
1
Tunings
Bosch shows ten keys 3eemingly
of one piece construction, To duplicato
this I have used 11 rem thick syca^cre
carefully cut to the desired profile.
Jt is important to have a good sliding
fit between the key and the tangent box;
too tight and they won * t drop away from
the stringa, too loose and the keys will
rattle. A 3trip of felt glued along
the top inside edge of the tangent box
helpa to damp the noise of the returning
keys. The tangents are made of sycamore with the grain running parallel
to the axis of their retaining screws. They were cut and filed to give
about 2 nm clearance from the strings and held in place by a slender
brass screw. Since the tangents are not glued into position they can
be readily adjusted for tuning. The nut fret is fitted on a wooden piate
mounted at the end of the tangent box and is free to be moved to give a
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