Venetian and Florentine Cutaways – by Mike Overly

March 11, 2015

CutawayA cutaway is the scooped indentation in a guitar’s upper bout adjacent to the neck which allows for easier access to the upper frets. Cutaways appear on both acoustic and electric guitars.

Virtually all solid body electric guitars have at least one cutaway, or have a body shape, such as the Gibson Flying V, which does not obstruct access to the upper fretboard area. For many players, cutaways are appreciated as much for their aesthetic appeal as for their function.

There are two main types of cutaways: Venetian and Florentine. A Venetian cutaway is round and smooth. A Florentine cutaway is sharp and pointy. Of the two styles, the Venetian cutaway is more common, probably because the Florentine cutaway is more complex and labor-intensive than the Venetian.

Now, here’s something good. You don’t need to know anything about Italian history or geography because the terms Venetian and Florentine appear to have been coined by U.S. guitar makers in the first half of the 20th century. They do not reflect any historic instrument-making practices of either Venice or Florence.

Instruments with only a lower cutaway, whether Venetian or Florentine are known as single cutaway. Here’s a picture of a Hollow Body Gibson L5 with a Venetian cutaway.

Gibson L5
Here’s a picture of a Hollow Body Gibson ES-175 with a Florentine cutaway.

Gibson 175Many instruments have an upper cutaway and a lower cutaway usually about the same size, guitars with both are called double cutaway. Double cutaways allow the thumb as well as the fingers to move past the neck-body join. Double cutaway are mainly seen on electric guitars, as the reduction in body size resulting from a double cutaway would be detrimental to the sound quality of an acoustic guitar.

Here’s a picture of a Hollow Body Gibson ES-335  with double Venetian cutaways.

gibson ES-335

Here’s a picture of a Hollow Body Gibson Barney Kessel with double Florentine cutaways.

Barney KesselIn some Gibson guitars, models with two cutaways are abbreviated with a DC after the name, such as in the Les Paul Standard DC. Since more single cut versions of these guitars are produced than the double cutaway versions, if the model name of these guitars is not followed by DC, the assumed reference is to the single cutaway models.

Here’s a picture of a Solid Body Gibson Les Paul Standard DC with double Venetian cutaways.

Les Paul DCHere’s a picture of a Solid Body Gibson Les Paul SG Custom with double Florentine cutaways.

Les Paul SG CustomLet’s end this blog with something different. Here’s a picture of a scarce and rare 1951 Solid Body Gibson Les Paul prototype with a single Florentine cutaway .

1951 Les Paul

’til next time, have some Venetian and Florentine cutaway fun… I’ll be listening!

Seven Ideas For One Sound – by Mike Overly

December 16, 2014

Do Re MiLet’s state the case simply, symbolic music is complex. By symbolic music, I mean the written symbols and signs of music and guitar that are needed to produce one sound. This lesson will present seven ideas needed to play a melody. Harmony uses additional symbols and signs and will be presented later in a different lesson. So, stay tuned.

Symbolic music on guitar is complicated because it takes seven ideas to make one sound: 1. key letter, 2. time signature, 3. tempo, 4. dynamic, 5. tone number, 6. note or rest, and 7. strum. Before we go any further, let’s ask a simple question: What is the difference between a thought and an idea? For many, this question may seem a bit esoteric, but really it isn’t. Think of it this way. A thought is an energy that moves in time through the space of the mind to find an idea to bring back to the thinker. Here’s an example. Consider this question as a thought: How much is 1 + 1? Now, consider the answer as an idea: more than 1. Easy enough, the thought question found the answer idea and brought it back to the thinker. Let’s continue. I’m sure you noticed that I didn’t answer the question the way you were probably expecting me too. This is because all that is needed to answer the question, how much is 1 + 1, is the concept of “oneness.” In other words, 1 + 1 is more than 1. Or, said a different way, how much more than one is 1 + 1? The answer is again 1. The point is, we don’t need to learn or know anything new to answer the question… 1 is all we need!This “1 + 1 is more than 1” example is analogous to Russian Nesting Dolls. By that I mean, after we know that 1 + 1 is 1 more than 1, we can “nest” the concept of “one more than one” into a new word… two. In other words, after all that thinking about 1 + 1, we can now simply say the number 2!I can hear you asking, “What does all this have to do with playing music on the guitar?” Well, here’s what. Consider this thought question: How do I make one sound on the guitar? And it’s idea answer: “nest” seven ideas. Let’s say it again, symbolic music is complex because it takes seven ideas just to play one sound! To help organize these seven ideas, we’ll divide them into two groups.

In the first group, before you play, there are three ideas needed: key letter, time signature and tempo. In the second group, as you play, there are four ideas needed: dynamic, tone number, note or rest, and strum. Let’s look at each of these seven ideas one at a time.

The first idea is key. Key is simply the letter of tone 1, and is symbolized by a letter in a circle. Let’s compare this with the “key-signature” of traditional staff-notation.

Traditional staff-notation uses a 5 line staff, a clef and a key signature which limits you to playing a song in only one key! In contrast, the revolutionary Tone Note® Music Method does not utilize a staff, a clef or a key signature. By eliminating these elements, you can play any song in any key! This is impossible with traditional staff-notation. Here’s why. The key signature represents the unseen letters of the staff, and when you change the key signature, all the unseen staff-note letters change. This is not the case with the Tone Note® Music Method, because when you change the key, all the tone numbers remain the same, and only the letter of tone 1 changes. Let’s proceed.

After the key letter is known, the second idea is the time signature. The Tone Note® Music Method uses the same stacked meter and value time-signature as traditional staff-notation.

The third idea is tempo, the rate of speed of the steady beat. The Tone Note® Music Method uses the same beats-per-minute sign as traditional staff-notation.

Now, let’s review the three ideas needed before you play “nested” into one thought: key, time signature and tempo.

Next, let’s present the four ideas that are needed as you play. The first idea is the dynamic sign, which tells you how quiet or loud to play a sound. The Tone Note® Music Method uses the same dynamic signs as traditional staff-notation, for example: piano (quiet), forte (loud), mezzo-piano (medium quiet), and mezzo-forte (medium loud). It’s interesting to note that traditional staff-notation does not use mezzo (medium) by itself, but only as a qualifier to piano and forte. I find that curious.

And here’s something strange. Traditional staff-notation defines the dynamic sign piano as soft, and forte as loud. This doesn’t make any sense. Here’s why. Ask your child this question: What is the opposite of loud? I’m sure they said quiet and not soft. So, how did traditional staff-notation get the dynamics of acoustics wrong? In other words, why does traditional staff-notation teach loud and soft, but never quiet and hard? The simple answer is, they confused force with dynamic. It helps to think of it this way. While it’s true that on an acoustic instrument a hard force is necessary to produce a loud sound, and a soft force is needed to produce a quiet sound, force and dynamics are not the same and should not be used interchangeably.

Okay, now that we know that dynamics is quiet and loud, the second idea is pitch as tone number. In traditional staff-notation a tone number is called a scale-degree. Simply stated, tone 1 is the key letter and is the first sound of any scale.

The third idea is rhythm, and it has two components: the note of sound, and the rest of silence. The Tone Note® Music Method uses the same notes and rests as traditional staff-notation, for example: quarter, half, dotted-half, and whole. The fourth idea is not a music idea, but rather a guitar idea: strum. Four strums are needed to play guitar efficiently: two strokes: down and up, and two ghosts: down and up. A stroke is a strum which produces a sound and a ghost is a strum that produces no sound. Now, let’s review the four ideas needed as you play into one thought: dynamic, tone number, note or rest and strum.Okay, let’s end this lesson by “nesting” the seven ideas needed to play one sound into one recapitulated thought: 1. key, 2. time signature, 3. tempo,4. dynamic, 5. tone number, 6. note or rest, and 7. strum.

’til next time, have some thought and idea fun… I’ll be listening!

image © 2014 SkinnyCorp LLC

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