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What is the theory behind classicals having no radius on the fingerboard? is it to do with the difference in playing styles ?

Many Thanks


Russell

It would be more appropriate to say that it has to do with playing "technique" than style.

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Thanks Don

So it is because clasiical players tend to play oon top of the board rather than wraping round ?

Well since the flat fingerboard came first how about explaining the theory behind a radiused one ;)

Fingerboards used to be flush with the top of the instrument (and consequently flat), way before the raised fingerboard became widespread. I think its likely the makers of old, when they decided to make a raised fingerboard, didn't give it any thought.

Some classical makers use a radiused fingerboard. I don't - there is no need.

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Paul Galbraith recently asked Brazilian luthier Antonio Tessarin to put a radius on his fingerboards. Says it is easier to play that way. However, he is not playing a typical six sting in the standard playing position either.

It's been a looooong time since I've played a 6-string Ramirez (1a model), but as I dimly recall, Ramirez did put a very slight curvature into his fingerboards. But he also tapered them a lot toward the bass side, so perhaps this is where it came from.

Bill Cumpiano also slightly radiuses his classical fingerboards.

As Josh mentioned, though, it is most likely a matter of tradition with classical builders. However from a physiological perspective, it has been pretty convincingly determined, as far as I've been able to ascertain, that it is a bit less fatiguing to the left hand if the fingerboard has a slight arch to it. If you make an imaginary bar chord on an air guitar right now, you will note that your index finger is most comfortable when it retains a slight bit of curvature. Thus, the thinking behind going with a slight radius. I personally have not built any classicals with radiused fingerboards -- yet. But I might give it a whirl. I'm thinking that something in the 20" range would not be excessive.

Best,

Michael

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I've read that most of the classical builders that round their boards do it in radii of FEET, not inches. It's very subtle.

Actually, lute fingerboards used to be very slightly radiused too. Partly this was because of the tied gut frets: they made better contact all the way across if the fingerboard was slightly radiused. We're talking _slight_ here. In fact, they used to use a thin ebony fingerboard, just a heavy veneer, and it was often simply held on by the frets. It could buzz if it was not radiused.

The comfort thing is pretty important. Ebony never really seems to stop shrinking, and as the fingerboard dries out it gets narrower. That's why the fret ends pop. As it gets narrower it's pulling the top of the neck in sideways, and that actually tends to cup the fingerboard slightly. When I was doing more repairs we had a fellow come in with bad left hand pain. His fingerboard was cupped noticably, and he was killing himself trying to make barres. It was an easy fix, and his hand got better fast too. Arching the 'board slightly helps keep that from happening, or, at least, puts off the day.

Alan is right, the fingerboard veneers on my lutes do have a very slight radius, I coudn't tell you what it is I just put it in with the scraper and shagreen (The dried shark skin that I used as sandpaper). You need the slight radius so that the tied gut frets have a good contact with the fret board across its width, this can't be guarenteed with a flat board. The wood frets on the body are also slightly radiused to match. My guess is that when they went to metal frets it was just easier to leave the board flat.

Colin

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I don't believe in anything, I simply make use of a set of reasonable working hypotheses.

From a players perspective I definitly see how a radiused fingerboard will help your left hand, however it's the right hand that gives my trouble playing a radiused instrument. It seems when the saddle is radiused to compensate, it throws off my right hand when playing appregios, tremelos, or any other type of fast, accurate fingerwork. Of course this same effect is had by playing further up the neck on individual strings, but the more you can limit it the better.

Cheers!

John