So, I listened to this whole thing, and I agree with many of the points made. I am currently primarily a Grand Stick player, but, I played Baritone Melody 10-string for 15 years. Here is a list of the recordings I made using that setup:

"Sticks and Stones: a collection of Spontaneous Improvisations" 1987 (cassette and then CD)
"Whispers" 1987 (solo Stick originals cassette)
Sticks and Stones "Brand New Age" (live radio cassette)
Sticks and Stones "Face of Sand" 1989 (cassette)
Sticks and Stones "Transmigration" 1991 (cassette and then CD)
"Stick Figures" 1992 (solo cassette CD)
"Shapes" 1994 (cassette and CD, duos and trios, originals and standards)
"Code Magenta" 1995 (CD live and studio improv music and poetry trio)
"Sol" 1997 (CD band)
"Water on the Moon" 1998 (CD live solo)
"Handiwork" 1999 (live concert video duo)
"Lift" 2000 (band CD)

I also gave well over 2000 performances on the 10-string before starting to incorporate the Grand into my musical life. For me, the key was the greater overlap the Baritone Melody offered over the Classic tuning (Gene called this "crossover" in the podcast I remember). I switched to what became known as Baritone Melody just 3 months after getting my first Stick, when I broke the highest melody string and decided to move them over and add a lower 4th. I was totally hooked.

The basic technique is the same, and I maintain that it's probably easier to learn on a simpler surface. Patterns are easier to see on fewer strings. The way strings 9 and 10 in the bass chords are engaged is really sweet for voice leading.

Just about everyone whose music you've ever heard on The Stick started out on a 10-string, and several great players have "stuck" with it, even after introduction of the Grand, including Guillermo Cides, Nick Beggs and Kevin Keith. Emmett himself has returned to the 10-string... So, as a starting point it certainly won't hold you back from anything.

The best thing about learning on a 10-string, in my opinion, is that it encourages you to move your hand along the string rather than relying mostly on playing across the strings. you have to do that with your left hand anyway in the 5ths tuning. Encouraging the right hand to do it, too makes you a much more powerful player.

The Grand does increase your arrangement possibilities, but doesn't actually increase the overall range of the instrument. My favorite thing about it is the high bass 4th, which I truly love for the way it expands the harmonic pallet of the left hand functioning on its own. Just my 3 cents..

Anyway, it was a fun topic to hear your perspectives on.

Wow, I didn’t know this podcast existed...... who is Victor??

You guys do a great job!!! I listened to the first episode.

Just some wannabe.

Gusset YOU ARE VICTOR!!???!!!

Just goes to show....

How little I know..... and we need more seminars in the future.

Brett

Yeah, I wannabe able to play this piece like him lol...

And yes, more seminars. How I wish I could have been at the NE event with Bernier and you and many others Brett..!

Big thanks Greg - I didn't know that enormous body of work had been done on the 10r..?! Whoa, now we know! Interesting to know that the 12-string does not offer greater range, just more crossover range in the left hand. Coming to the 12-string from the 10 also offers the benefit of the "bonustring", that is, adding a string to the array that allows new perspective on the existing 10-string core.

I've been using a high C# on my melody side which allows me to flat fret major chords - still experimenting with it. Don't you love the flexibility of this instrument?!

I appreciated reading about your perspective on the matter, thanks for sharing this bit.

GP! This podcast is the best reason to own a phone, aside from being able to ring somebody!

Yes!!! I’ve Heard that Bach performance before, WONDERFUL!!!! Now I have a name to put with the great performance!!

Well done Victor!

To the mysterious wannabe Victor and his crew: Great job on Episode 4! I've heard them all and they just get better. Something Rod said has changed my approach at (attempting) Bach's Prelude #1, so thanks for that! I started with Greg's Baritone tuning on an Ironwood 10-string and moved to 12 maybe 5-6 years later. I am currently unable to exist without the high bass string.

Me too re the high bass string [emoji16]


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