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Thread: Ranieri -- The Art of the Mandoline

  1. #1
    Mando-Accumulator Jim Garber's Avatar
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    I was able to find and purchase volume 1 of this method. I was wondering if it is still in print and, if not, where to obtain the subsequent volumes. Mine is labelled Edition Cranz and dates from 1956 printed in Belgium. There is a stamp on the title page saying Cranz and Co., Ltd. had a store in London 1, Montague Street, Russell Square.

    Also, how does this methoid compare to the other ones like Munier and Calace etc.?
    Jim
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    I am fairly certain it can be obtained (in French, I think) from Trekel, www.trekel.de
    Robert A. Margo

  3. #3
    Mando-Accumulator Jim Garber's Avatar
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    Trekel does list a Volume II. For some reason I thought there was at least 3 volumes.

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    Norman at Plucked String, Inc. lists volumes 1 and 2 in his catalog, but I'm fairly certain he gets his stock of these via Trekel.




  5. #5
    Mando-Accumulator Jim Garber's Avatar
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    <Sound of hand slapping forehead>
    Right under my nose... I was getting used to having a hard time finding mandolin stuff. It can be easy, right?

    Jim
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    Registered User Alex Timmerman's Avatar
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    Hi Jim,

    In reply to your (quote): "Also, how does this method compare to the other ones like Munier and Calace etc.?"

    I would say that it is one of the few very best methods we have and therefore really worth buying.

    Cheers,

    Alex


    Here a picture of Silvio Ranieri playing a Luigi Embergher Concert Mandolin.

  7. #7
    Mando-Accumulator Jim Garber's Avatar
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    Hi Alex:
    Thanks for the recommendation. What is the story with those Ranieri picks and how do they affect playing various styles?

    Jim
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  8. #8
    Registered User Alex Timmerman's Avatar
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    Hello Jim,


    As far as I am concerned the Embergher/Ranieri plectrum represents the last phase and so far ultimate plectrum development.

    Letīs first point out that the Embergher/Ranieri plectrum is a very delicate and balanced extension piece of the mandolin. It was designed by Luigi Embergher himself for his instruments of the mandolin family to be played with.

    It speaks for itself that any kind of music (old and new) can be played with it with optimal result, but it is especially designed and suitable for the original and virtuosic mandolin concert repertoire composed from 1880 up to today.

    As said, it was Embergher himself who developed this long and two-pointed shaped plectrum and who advertised it as the īRoman Plectrumī. It was later perfected and enlarged with about 3 mm. by Silvio Ranieri.

    The philosophy behind this plectrum type is that it, when held losely between the tips of the thumb and forefinger, it moves itself when stroking a string(pair).
    An idea that can be compared with the manner of how a violin bow should be held: very lightly between the finger-tips. played in that way to steer and control the bow (not so much to press with it to get volume out of the violin soundbox).


    So, one should not make a fist and place a plectrum between the thumb and the two phalanx of the forefinger. In this way a plectrum (except for itīs point with what the strings are hit) can not move.

    An Embergher/Ranieri plectrum is held between the thumb and forefinger in such a way that both points can move freely. In that manner the string-stroking point allows the opposite point to move freely towards the direction it is falling (by the weight that is needed by the string-stroking point of the plectrum to slip from the string(pair) on which it is placed) when making a down-stroke. Or by the weight that is wanted by the player to obtain more forte = loudness of volume.
    When the plectrum falls down the string the oposite point will immediately bring the plectrum in exact the right position for the up-stroke to be made.
    The advantage of this (plectrum) is that whatever speed the music requires, the actual movement of the down- and up-strokes of the plectrum is controled by itself (and of course this is also important with regard to the tremolo technique on the mandolin).
    In slow compositions an even and wide plectrum movement will be aquired easily and in fast works a very narrow and close to the string(pair) plectrum motion will almost happen naturally.

    Of course a smooth and īevenī plectrum technique can be aquired with other plectrum types and by studying, but the īopenī and īrelaxedī sound of the Embergher/Ranieri plectrum will not be (so easily) captured.

    It is my firm belief that this plectrum was developed to bring out the finest quality of sound out of the best mandolins ever made (of course this is my opinion, and one may take that for what one thinks it is worth). Of course the technique of the player should be taken in account here. But once the Embergher/Ranieri plectrum is learned and mastered one will surely become aware of itīs refinement, musical expression possibilities and advantages over other plectrum shapes. #

    To judge instruments it is best to listen to them being played mezzo forte. There they speak so to say īfor themselvesī and it is here where they can be valued best for their quality. And - but much more secondair - from the mf area towards volume regions like ppp and fff. Remember that most music requires a normal (mf) volume.

    Therefore the natural sound of an instument is to be heared in itīs (individual) mezzo forte area.

    A player should therefore not press the string(pair) with his plectrum, but more just hit them. So that a natural mezzo forte sound of the mandolin comes out.


    Donīt think this is an easy matter. Besides a mandolin and a good plectrum one foremost needs a special kind of imagination and sound awareness. Having heard and played some of the concert mandolins build by the finest Roman- and Neapolitan luthiers also is a good thing to have experienced.


    I hope I have given you some background info on the Embergher/Ranieri plectrum and an idea of what my personal view is about the sound on these instruments and about the sound of the mandolin in general.


    All the best,

    Alex Đ



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  9. #9
    Mando-Accumulator Jim Garber's Avatar
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    Interesting, Alex. Are there other folks on this list who use this plectrum? Are there other well-known players who do so also? I know I saw on the video that Sebatiaan uses one.

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    Hi Jim,


    No, not on this Mandolin Cafe Message Board list (that I know of).

    The Embergher/Ranieri plectrum is unfortunately not very well known. Or letīs better and also say: not very well understood.
    The advantages that I spoke of are also not that easy to obtain. It takes time and perseverance.

    Today, I think that besides Sebastiaan, the plectrum playing CONSORT members, myself and some of my other advanced students, there is only the Belgian foremost mandolinist Ralf Leenen and his ensemble (the Royal Estudiantina "La Napolitaine") that are playing with this type of plectrum.


    Best,

    Alex Đ

    To compare here some images of plectra:
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  11. #11
    Mando-Accumulator Jim Garber's Avatar
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    Alex:
    Is there some mystical way that this plectrum is made? Is it thick or thin and are the edges bevelled in a way?

    And if I wanted to try such a plectrum, where would I buy one?

    Jim



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    Jim,

    The pick is thick (I actually have 2 picks made for or by Ranieri) and he preferred shell though one of the picks is in a clear celluloid type material. I spent a little time trying to get a feel for the Ranieri grip and hand/wrist motion and it really didn't work or even give me a hint of satisfaction. Alex's people play with this technique and some of them quite well. To be honest, I don't see a mechanical advantage for one system over another. Basically, if you can produce a smooth, varied (speed) and expressive tremolo, your right hand is doing it's job and it really doesn't matter how you do it as long as it costs the least amount of energy and effort to do so. #We only have reports about Ranieri's playing which was certainly on the highest order. However, his approach was not 'mainstream' and there were many other top echalon exponents of classical mandolin who used more conventional plectra and righthand technique. As to your question about where to find one of the Ranieri or Embergher style picks, you'll probably have to make one. I would start by going to your local piano repair store and seeing if they'll give you a few old broken celluloid (ivoroid) key tops that can be fashioned into the long double point shape of the Ranieri pick. I would guess that these picks are somewhere in the .75-.85mm thickness range (Alex, correct me on this). As to how to hold and move the wrist, you should look at that videoclip of Sebaastian deGrebber, he is one of the best exponents of this style.




  13. #13

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    Jim, I "inherited" a Ranieri pick —yes, real tortoise-shell!— with one of the vintage mandolins I acquired (I forget which one...) I once sent it to bratsche, who made a scan of it, so I am sure she can replicate it beautifully in ivory, if copies are desired.

    If you want the one I have, you can have it. I, for one, cannot play ANYthing on it, and fully assume the fault is mine. So, we could call it a "permanent loan", as it were, of this pick from my collection to yours #



    It is not man that lives but his work. (Ioannis Kapodistrias)

  14. #14

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    I know Carlo Aonzo occasionally uses a Ranieri-/Embergher-style plectrum. #He played his Columbus concert in October 2002 with one.




  15. #15
    Mando-Accumulator Jim Garber's Avatar
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    I received Victor's pick today. (A million thanks to you, VK!)

    Interesting, that it is somewhat shorter than the 65mm, more like 58mm. It is also likely tho that this was ground down over the years. As it is, it looks like it needs to have some polishing, with some very rough edges and a few pits.

    I wil have to experiment to see if this is for me. I like the idea of thinking of it as similar to a bow.

    Jim
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  16. #16

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    Well, I played with Carlo's and just this week decided to make one out of a chunk of celluloid (ivoroid, if you're wondering what color of celluloid). I still tend to favor the more traditional, Neapolitan-type plectrum. I'll do some fine tuning on my funky Romanesque bit of ivoroid and see if I can find something workable in there.

  17. #17
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    Wonderful Jim! And very generous of you Victor, very kind. Yes this one is rather short for a new Ranieri plectrum.
    It is, as you say, most likely worn-out. You certainly have to file and smoothen it (if you like, I will draw how to file it).
    However the shape reminds of a Ranieri model because of itīs broadness. Is itīs thickness about 1.8mm?
    Yes, Richard, the genuine tortoise-shell Ranieri ones are really that thick.


    It wonīt be easy to master it; first keep it as lose as possible between your fingertips (see image of Sebastiaanīs right hand) and see what the plectrum does. Than try to keep it at itīs place (still donīt press) while playing. If you have any further questions please donīt hesitate to ask!

    And donīt give up, we are - to quote Silvio Ranieri - talking about īTHE ART OF THE MANDOLINEī.
    If you master this type you can play with any plectrum!


    Many greetings and good luck!

    Alex



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    Mando-Accumulator Jim Garber's Avatar
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    Alex:
    The thickness seems to be less than 1.8mm, prob more like a little over 1, maybe 1.2mm. I don't have a micrometer. It has some flexibility. Is it supposed to be completely rigid?

    Yes, any guidance as to smoothing/bevelling would be appreciated, after, of course, permission from its owner.

    Jim



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  19. #19

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    *sung to the familiar tune*
    "I can't give you anything but permission"... #

    Yes, Jim, do with this pick as you please. But, as for guidance, look elsewhere, my friend!

    In a flash of memory: This pick came with my de Meglio, via England; no other information on it.

    Finally, a curious parallel: Looking at the photo of the proper holding of the Ranieri pick, it truly looks identical to that of pre-WWII bouzouki players. How very, very curious! (Said grip "mutated" to closed-fist, above-the-strings pendulum mechanics, as #bouzouki technique was "mandolinized" for speed, brilliance, and (inappropriate, I think) tremolo instead of "left-hand sustain", which defines the very essence of long-necked lutes. Victor's Rant #829,316,475A. #



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    Hmmm...

    I see I will have to, sooner or later, attempt to make one of these blasted things!

    Having seen and examined Victor's Ranieri plectrum (which I did trace, not scan, and somehow failed to insert in the micrometer), I assumed it was beyond the scope of ivory to reproduce, as it was most certainly flexible. But if they are supposed to be as thick as 1.85 with a beveled edge, then that certainly hints at rigidity - even in tortoise, from what I have been told. So perhaps an ivory one will be undertaken by moi one of these days, if I can tear myself away from these home and yard improvement projects. Even though there's no way I can play with a confounded shape like that (or using only my thumb and forefinger!) hehehehe...

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    This pick is certainly very heavy and I wouldn't even consider it for anything than a medium to strongly strung Embergher style instrument. It would make little sense on a Vinaccia or similar instrument that is best setup with very light stringing. It is great that our Dutch and Belgian colleagues pursue this style but it isn't absolutely necessary to achieve technical excellance.

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    Registered User Alex Timmerman's Avatar
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    Hello all,

    Ha! I see where the misunderstanding starts: I think was unclear. I am refering to the thickest thickness that is found exactly in the middle of the plectrum. This thickness can vary per plectrum from ą1.2mm to ą1.8mm (according to ones own preference).

    About the thinness of the tortoise-shell Embergher/Ranieri plectrum: towards itīs sides and especially to itīs points it gradually tappers to a thiness of about 0.3mm or even less.

    So the flexibility of this plectrum is found in the last ą8mm. of itīs very points.


    As I pointed out already one should hold it lightly between the finger tips. Once that is mastered any metal strung mandolin - be it a Vinaccia, Calace, Mozzani etc. - made in the same working period like the ones by Luigi Embergher and his followers, can successfully be played with it.

    Of course technical excellance can be reached on an Embergher mandolin played with an other plectrum type or on other metal strung mandolin types with any kind of plectrum: that is something the past has already shown us through the rave reviews on the playing of virtuosi like among others Carlo Munier, Nino Catania, Ernesto Rocco, Silvio Ranieri and Frans De Groodt. And through those we know of their playing through early recordings like the cylinder recordings and (78) records by Demetrius C. Dounis, Samuel Siegel, Valentine Abt, Giovanni Giovale, Giuseppe Pettine, Mario di Pietro, Raffaele Calace, Hugo D'Alton and Giuseppe Anedda etc. #


    But it is not so much about thecnical capability or technical excellance that I am talking about.

    It has more to do with brilliance of sound.


    I hope to find some time in the coming days to make myself more clear about this matter.


    For now all the best,

    Alex




  23. #23
    Registered User Alex Timmerman's Avatar
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    Hello Bratsche,

    My experience with an ivory Ranieri plectrum was not that succesful. At least it did not sound that great compared to the ones made of tortoise-shell. Probably because the ivory is a somewhat softer material (I made the plectrum from the keys of my old piano, since their rectangular shape was wide and long enough. The thickness of the ivory keys was 1.3mm.). The same īroughnessī - unless the fact that it was shining because of my polishing it - I experienced with a Ranieri plectrum made of bone.
    The best alternative for tortoise-shell we found was celluloid. And nice for us since we make these plectra ourselves, that can be bought in different thicknesses and looking like our favorite tortoise-shell! #


    Greetings and succes (also with your home and garden)!

    Alex




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    MandolaViola bratsche's Avatar
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    Thank you, Alex, for the well-wishes. Your piano keys were thicker than most are - and I suppose you used the long white key from the end of the keyboard, as the regular 'tails' would be too thin and the 'heads' too short to make a pick of these dimensions! If I do try it myself (though your report is disappointing), I shall use some even thicker material, and try beveling the points down, although they will not be flexible. If it is a plectral disaster, it will still make an interesting conversation piece! Ha ha!

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    Mando-Accumulator Jim Garber's Avatar
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    Ah, Plectral Disaster -- the name of my next band!

    Jim
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