SHORT HISTORY OF THE BANDURRIA:

"Few people knows - and some not even believe it when you said them- that the string instrument of more rancid lineage and nobler lineage is the bandurria. The piano has more than two hundred existence years, the violin does not arrive to five hundred, the guitar if we admitted that comes of the cytara Greek would arrive to the three thousand, but the bandurria, more of four millennia! and furthermore, it carries the origin´s guarantee certificate in the own name: pan-tur is the term with the one which the ancient Sumerian designated their string instruments, the most old that are known and of this root, through Latin pandura, it proceed the Hispanic bandurria".

Juan José Rey, musician.

The Pandura:
The origin of the bandurria would come, though not this of the all demonstrated, from the pandura, instrument that it was extended by the Romans in the countries of the Europe South, arriving to have certain popularity. The instrument reproduced in the Niña Lutatia, of Merida, would be a datum that supported such hypothesis. To be produced the contact with the Arabic civilization the pandura is merged with the qupuz Arabic giving cause for the first steps of the bandurria.

The bandurria in the Middle Ages:
It was an oval-shaped contour instrument, stunned fund and clavijero in "hoz" with a head carved in the extreme. The number of strings was not greater than three. The lid is of skin, what prevents the use of the "puente" as "cordal".

The bandurria in the Renaissance:
In the 'Declaración de instrumentos musicales' of Fray Juan Bermudo (S. XVI), is spoken of the change of tuning that experiences the bandurria; of re-sol-re to re-la-re. Always singles strings. Appear the first bandurrias of four strings. It is abandoned the use of the plectrum.

The bandurria in the Baroque:
It is a small instrument, acute and popular, provided of four or five double strings, that is touched with plectrum, contour type pear and of stunned fund, though it can not be discarded that exist of flat fund. The tuning is: #do-#fa-si-mi-la.

The bandurria at present:
The century XIX is a decisive period for the consolidation of the bandurria. Maintain the contour type pear of the previous century but the fund of the instrument tend to be flat. Add a sixth string definitely, being fixed the tuning to: la-mi-si-#fa-#do-#sol and beginning to be generalized the use of metallic strings, what give cause for modifications in the sonority and construction of the instrument.

PARTS OF THE BANDURRIA:

The bandurria have three partes: Head, Mast and Resonance box. For more detail, 'click' on the parts of the graphic:

- Cabeza (Head):
Upper part of the instrument where is found the "clavijero". It is in a way flat and lengthened and your upper part adopts different forms that in occasions serves to identify to the luthier that it has built the instrument.
It is united to the "mast" and to the "diapason" forming a litle angle of some 8 degrees.

- Clavijero (pegs):
It is located in the "head" of the instrument and its function is for tuning the instrument. It is composed by bone or metal cylinders where are coiled the strings and they are moved by the "pegs" (Clavijas) (before wood or ivory and now of paste or mother-of-pearl).

- Cejuela:
Lengthened bone piece that is put between the "head" and the "diapason", serving of bridge to the strings at the same time that fixes the separation of the strings by means of some grooves of the upper part.

- Mátil (Mast):
Arm of the instrument through the one which is joined the "head" with the "resonance box" and by where reflect the strings. In the previous face is found the "diapason" and the subsequent the "mango".

- Trastes:
Metal bars (alpaca or brass) incrusted horizontally in the "diapason" and that form the separation spaces of a sound to other. These spaces also is designated "trastes".

- Diapasón:
Lengthened and flat piece in a way trapezoidal of ebony or palosanto located in the previous face of the "mastl" on the one which are housed the "trastes". The bandurria has 12 "trastes" and the lute 18.

- Boca (Mouth):
It is a in a way rounded central Orifice or oval-shaped of the "lid" superior of the "resonance box" that permits the exit of the sound. Occasionally (in the lute) can appear two orifices located to the sides of the mouth in the form of 'S'.

- Caja de Resonancia (Resonance box):
It is where they are amplified the sound waves. The upper part is designated "lid" (place where is housed the "bridge" and the "mouth") and the inferior "fund". They are united by the hoops.

- Puente (Bridge):
Litle and lengthened piece of 'palo santo' that is put on the "lid" superior of the "resonance box". Hold the strings and separates of the "diapason" by means of a movable fine piece generally of bone designated 'Selleta', the one which determines the height of the strings.

- Cuerdas (Strings):
They are of different widths. Before were of "gut" and at present are manufactured for the first two in nylon and steel, being these the most common and "entorchadas" or "staffs" for the following four.

- Cordal (Chordal):
Metallic piece located in the low part of the "lid" and held in the edge. It depart the strings. Appear because the bridge does not sufficient has resistance to sustain the tension of 12 strings.

BUYING A BANDURRIA:

Exist two types of instruments: the manufactured serially and the manufactured to hand, whose difference is based on the manufacture process. The wood:
The wood can be of various types according to its court: Plywood and massive. The second, though more expensive and more fragile, it is superior in quality of sound that produces.
They are used various woods for the construction of the bandurria (mahogany, walnut, cedar, sycamore, etc). The most advisable are the 'Palo Santo' and the 'Maple' for the "fund" and the "hoops" of the instrument. The 'Palo Santo' is of tropical origin and is characterized by its warm sound. Exist two types of Palo Santo: 'of the India' and of 'River'. this last is expensive due to its shortage. The 'Maple? is originating in Central Europe and offers a most potent sound and more cold. The glaze:
Exist two forms of varnished: 'varnished to pistol ' to base of poliuretano that dries quickly and has the advantage of be more resistant and the drawback of subtracting the sound to the lid, therefore it is not very recomendable and the 'varnished to muñequilla' that consists of varnishing to hand with glue - lacquer, resulting more laborious and consequently more expensive though more advisable because it has the sufficient elasticity for let go by the sound.

The reinforcements:
The instruments must have reinforcements about the "mouth" and the "lid", so that the "mast" it is not curved, it toughened the pulsation or is split the "lid".

The pulsation:
It must be brandished so that the left hand.





THE MAINTENANCE OF THE BANDURRIA: Councils for the conservation of our instrument:
1. - Always let the instrument within casing (is advisable to have a casing or sheath rigid for transportation). If we want let on a surface, let always with the strings toward down.

2.-If we don´t play the Instrument during much time, it is convenient to loosen it a little the strings and to keep it in a casing with a silice gel bag for absorb the dampness. To cover the instrument within casing with natural silk or fine wool.

3.-To avoid the sharp temperature changes. The greater danger is the extreme dampness or dryness and above all the sharp step of a wet environment to other very dry. The rapid evaporation of the dampness can cause cracks. To avoid let the Instrument about the air currents and sources of heat, direct sun, radiators, chimneys, cooking stoves, etc.

4.-The wood is a higroscopic material, expels and/or absorb dampness according to the environment that surrounds it, therefore it is not advisable to hang the instrument in the wall. The heating creates an extremely dry environment. In this case to put a container with water near of the instrument. The degree of suitable dampness is between 65 and 80 %. By below of the 65 %, it can be split and toughened the pulsation. For above of the 80% of dampness the instrument loses sound, provoking that is takeoff the wood.

5.-With respect to transportation, if is traveled in plane and the instrument there has of going in the baggage cabin, it is necessary to loosen completely the cords. If is traveled in car in summer, not to insert the instrument in the carries baggage, because it can reach high temperatures.

6.-To change the strings, it should be to make one by one . Of that form, the Harmonic Lid does not lose the customary tension to the one which is submitted.

7.-To clean the instrument with a skin chamois wetted with water. It is not convenient to apply cleanliness product neither products that contain alcohol, because it affect to the glaze.

8.-To avoid the fret and blows because can provoke irreversible damages to the instrument. If appears a crack to carry the instrument to repair as soon as possible. If this is produced in the lid and about bridge, it is to loosen quickly the strings.

9.-If the strings lisp upon pulsateing them to the air, to put under the "cejuela" a paper or cardboard strip, to compensate the loss of height.

10.-To extend it more the life of the strings, it is convenient to dry with a rag the sweat deposited in the strings.

THE PLECTRUM:

In the past centuries were of ivory, bone, wood and even pens of fowl. Currently they are of carbon, nylon and of tortoise shell (tortoise-shell). These last are the most requested by the sonority. Currently it is forbidden its marketing.
Concerning its form, there is of a top and of three tops. The triangular form is the most extended.
The thickness and hardness of the plectrum depends on the tension on the strings on our instrument.

STRINGS FOR THE BANDURRIA:

Before, the strings were of gut. Now they are of steel in the first two orders and "entorchadas" or "bordenes" in the following four.
Currently, they exist also musicians that use nylon strings.
The ideal string depends on the distance on the "cejuela" to "the bridge" and of the calibre on the "lids".
Exist many manufacturers of bandurria strings, but the acoustic guitar strings are the most used.
For the fifth and sixth strings , it is better to use high tension guitar´s strings.

Brands of strings of bandurria and existing lute in the market:

• Royal Classics
• Gato Negro
• La Bella
• Pyramid
• Ramírez

Guitar´s strings of high tension able for the bandurria:

• Royal Classics
• Hannabach
• Agustine
• D'Addario

TERMS COMMONLY USED:

These are some of the technical terms more known in the plectrum´s world:

Articulación sencilla (Púa directa):
It is played the strings with the plectrum downward.

Articulación doble (Alzapúa):
It is played the strings once downward and again upward. It is used in speed passages.

Batido o Trémolo:
It is used to maintain the sound of a note. Consist of beating the strings with continuous movements upward and downward. It is the articulación more characteristic of the plectrum´s instruments.

Articulación Triple:
It is played the strings once downward, again upward and downward. It is used in ternary compasses.

Contrapúa:
Consist of applying 'alzapúa' inside out.

Arrastre:
It is indicated by means of a line that joins two notes and consists of traveling all the 'trastes' from the first note to the second in the same string without lifting the finger and supporting the sound. It can be rising or falling.

Apagados:
It is executed supporting the internal or ulnar edge of the straight hand together to the bridge and playing without to lift the hand. It is represented as (Apag.).

A la tastiera:
The plectrum touches the strins in the zone located between the mast and the mouth. The resulting sound is but sweet. It is represented as (Tast.).

Al puente:
The plectrum touches the strings together to the bridge. The resulting sound is but hard and pervasive. It is represented as (Pnt.).

Tambora:
It is executed together to the bridge, giving a blow to the strings the back of the thumb of the straight hand. The melody is touched with the thumb fingernail. The plectrum does not intervene and is held between the index fingers and middle. It is represented as (Tamb.).

Tranquilla:
Consist of pulsateing at the same time the serious notes with the plectrum and the acute with the fingers middle, to annul and in little occasions. It is represented as (Tranq.).

Desliz:
Consist of sliding the plectrum by several strings. It is represented as (d.e.s.) or (d.e.s.l.).

BANDURRIA'S FAMILY:

Bandurria.   Contralto lute (Laúd contralto).   Tenor lute(Laúd tenor).   Big Lute ( Laudón).   Bass Lute ( Laúd contrabajo).

• Bandurria:
  This is the instrument with high loudest register. As the rest of the instruments of the family, it is pear-shaped, with different variants. The most extended shape is the so-called 'Calvete', with an elliptic mouth (instead of the old-fashion round mouth). The name 'Calvete' comes from its creator, together with the luthier José Ramírez.
  Tuning:
  1st: A (la), 2nd: E (mi), 3th: B (si), 4th:F# (#fa), 5th:C# (#do), 6th: G (sol).
  
  
• Contralto lute:
  This instrument has a register between the bandurria (the same register than the mandolin) and the lute tenor (similar register to the mandola). It has two different denomiantions: contralto lute and laudete. This instrument was created as a result of a request by the Aguilar Quartet in 1930.
  
  
  
• Tenor lute:
  The origin of the tenor lute is the modern spanish lute of the XIX century. There are several models, such as the pear-shaped and the Calvete. The tuning is the same than the bandurria's one, but 1 octave lower. Tuning:
  1st: A (la), 2nd: E (mi), 3th: B (si), 4th:F# (#fa), 5th:C# (#do), 6th: G (sol).
  
  
• Big lute (Laudón):
  This instrument was invented by Paco Aguilar (member of the Aguilar Quartet) and was firstly built by the luthier Domingo Esteso in 1924 in Madrid. Instead of 6 double strings, it has 7 string orders (6 double strings and a single 7th string).
  Tuning:
  1st: G (sol), 2nd: D (re), 3rd: A (la), 4th : E (mi), 5th: B (si), 6th:F# (#fa), 7th: C (do)
  
  
• Bass lute:
  This is the lowest register instrument, and the most modern instrument. It is only used in big lute orchestras and has 4 single strings.
  Tuning:
  1st: G (sol), 2nd: D (re), 3rd: A (la), 4th: E (mi)

BANDURRIA´S METHODS:

During the century XIX are published several bandurria methods without a didactic base, as the methods of Tomás Damas, José de Campo and Matías de Jorge Rubio. The methods Cateura and Félix Santos provide us afterwards such base.

Cateura´s method:
It is edited in 1898 in Barcelona by his author Baldomero Cateura with the name La Escuela de la mandolina Española, instrument that it invents to improve the sonority of the bandurria.
It is the first method with solidity and though it is written for Spanish mandolin is applicable to the bandurria. Consist of several parts:

- Solfeo
- Preliminares
- Estudios progresivos y mecanismo esplicado
- Trino y notas de adorno
- Efectos
- Complemento

Félix de Santos´ method:
Félix de Santos provides maturity to the work of Cateura. Edit the Escuela moderna para mandolina española o banduria compound of several methods:

- Método Elemental (op.115)
- Escuela del trémolo (op.5)
- Escuela del mecanismo (op.11)
- Escuela de Alza-púa (op.9)
- Quince estudios fáciles y progresivos (op.5)
- Doce estudios artísticos (op.17)
- Estudios brillantes (op.18)
- Estudios para laud (op.131)

Manuel Grandío´s method:
Method for bandurria edited by Manuel Grandío in Madrid in 1961 and 1962. Consist of two volumes, one for the first and other for the second year.

Other Methods:
- F.Cimadevilla (1925). Madrid
- F.Collado (1965)
- A.Fuentes (1990). Madrid
- P.Galindo (1970). Madrid
- Método progresivo de mandolina española y bandurria. F.Haro (1979). Barcelona.
- M.de Jorge Rubio (1862). Madrid
- J.F.López
- Nuevo método teórico-práctico para bandurria y laúd. G.de Luz. Zaragoza
- M.B.Luz
- G.Lluquet (1943)
- E.Patierno (1903). París
- M.Pera Nebot
- J.Porta Ferrer (1933)
- F.Sousa (1976). Valencia

ORIGINAL MUSICAL FOR BANDURRIA:

Scores composed for the Cuarteto Aguilar (Spanish lutes quartet):
- La Oración del Torero. (Joaquín Turina)
- Gavota. (María Rodrigo)
- Dos Impromtus. (Adolfo Salazar)
- Tres Princesas Cautivas. (Carlos Pedrell)
- Tiempo de Habanera. (Joaquín Nin) (Spanish lutes quartet and piano)
- Serranilla. (Humberto Allende)
- Intermezo. (Herbert Bedford)
- Improvisación. (G.Alvarez Beigberder)
- Negrasca. (Federico Elizalde)
- Preludio Relámpago. (Luís Mondino)
- Fiesta Vasca. (Luís Mondino)
- Danza Arabe. (Luís Mondino)
- Responso de un Fantasma. (Ezequiel Aguilar)
- Petenera. (Ezequiel Aguilar)
- Tocatina en SiM. (Paco Aguilar)
- Rondino. (Paco Aguilar)
- Escarapela de colores. (Paco Aguilar)
- Suite Gallega. (Paco Aguilar)
- Las Doce Horas. (Paco Aguilar)
- Marcha Natal. (Paco Aguilar) For lute and Big lute (laudón).
- Cinco estudios (d'après Valéry) (José Luis Turina, 1993)

Scores composed for the Trío Albéniz (bandurria, lute and guitar):
- Cantos de mi Tierra. (Angel Barrios)
- Petenera. (Angel Barrios)
- Angelita. (Angel Barrios)
- Danza de la Pastora. (Angel Barrios)

Scores composed for the composition contests of Logroño:
- Spanish Lute´s Orchestra
- Bardulia. (Alejandro Yague)
- Concierto Póstumo. (Miguel Angel Martín Lladó)
- Spanish lutes quartet
- Cuarteto para laúdes. (José Fermín Gurbindo)
- Serenata para laúdes. (Claudio Prieto)

Scores composed for Antonio Saenz Ferrer (bandurria and piano):
- Estampa Andaluza. (Cabas Quiles)
- Tonada y danza. (Carlos Pedrell)

Scores composed for por Pedro Chamorro:
- Bandurria
- Fantasía nº1.
- Fantasía nº2.
- Fantasía nº3.
- Fantasía nº4.
- Luis Diego se divierte.
- Bandurria and guitar
- Por el Sur.
- Bandurria and lute
- Por el Sur.
- Bandurria, lute and guitar
- Villarejo Suite nº1.
- Spanish Lute´s Orchestra
- Estudio nº1.
- Estudio nº2.
- Villarejo Suite nº1.
- Invitación a un Viaje Sonoro.

Other scores :
- Suite Homenaje a Grandío. (Juan Miguel Villar)
- Noctámbulos. (J.M.Martínez Reyero)
- Fugaz. (Luis Barroso)
- Mazurca. (Santiago Nebot) (bandurria and guitar)
- Bigulín. Obra pedagógica (Ángel Oliver, 1986)
- Tema y Variaciones. (M. de Jorge Rubio) (bandurria)
- Estudio Capricho sobre un Motivo Andaluz. (Cateura) (bandurria and piano)
- Trío. (Félix de Santos) (trío of bandurrias)
- Tríos para cantar y tocar. (A. Ginés Abellán Acaraz), Ed. Diego Marín, 1998

GRANDES MAESTROS DE LA BANDURRIA:

Félix de Santos:
Born in Matapozuelos (Valladolid), 29 of July of 1874 and dies in 1946 in Barcelona. It was teacher of plectrum´s instruments in the conserving Liceo of Barcelona and directing of the Mandolinistas´ Philharmonic Orchestra. He was blind of birth and he began to study in a way self-taught, violin, accordion and guitar. Afterwards (1886) enters in the Escuela Munincipal de Ciegos, where he starts the music studies. He know master Cateura, the one which encourages to him to the Spanish mandolin study, giving to him one of his instruments for such effect. Thereinafter it accomplished various concerts with such success that remained few bandurristas in Barcelona that not adopt the system of the Spanish mandolin (simple strings and fund of the stunned instrument). He composed scores for violin and plectrum´s instruments as La escuela de la mandolina española, studies for lute and La escuela de la mandolina Italiana. His work constitutes a fundamental base for the training of any plectrum´s instrumentalist in Spain.

Cuarteto Aguilar:

They study music and plectrum´s instruments with Minguella and Germán Lago. In 1923 establish the quartet formed by Ezequiel (laudín), Pepe (laudete), Elisa (tenor lute) and Paco Aguilar (laudón). They are the first group of plectrum that incorporates the laudón and the laudete. They are the first in proposing the afinación of the sixth cord in G. Accomplish numerous concerts throughout the national geography and large part of the foreign, being stopped them musical activity in Argentina due to the Spanish civil war. Paco Aguilar continues his artistic life, forming a duo with Donato Oscar Colacelli (known Argentine pianist). Creates in 1943 together to the poet Rafael Alberti the cantata for verse and lute "Invitación a un Viaje Sonoro"

Manuel Grandío:
Born 28 of 1920s July in La Havana (Cuba) and dies 20 of April of 1979. He was member of Orquesta Ibérica in the one which becomes concertino. Afterwards form the Orchestra of the la Asociación Española de Pulso y Púa to the fact that afterwards it is will call Orquesta Gaspar Sanz. He Edit several methods for bandurria and adapts scores for the groups and the orchestra that he conducts. Though he is not the first, it proposes the tuning of the sixth string in G. Introduce the double-bass lute to the lutes orchestra.

Roberto Grandío:
He was son of Manuel Grandíor. He born 3 of June of 1951 and dies 23 of April of 1979. He studied violin, piano, guitar, orchestra´s conduct, etc. He was playing all the Spanish lutes and his objective principal was to form a orchestra constituted only by Spanish lutes. He will fulfil this objective upon creating cooperatively with his father and the luthier Andrés Martín the bass lute that he same inaugurates 1 of May of 1976 in the Teatr Real of Madrid to create that same year the lutes Orchestra, compound by bandurria, contralto lute, tenor lute, archilaúd and bass lute.

José Recuerda:
He was blind from child. Born in Granada, where finds the Tríor Albéniz. Beginning from very young to give concerts all over Spain with Eduardo Mañas (Tenor Lute) and Luís Sánchez (guitar). Afterwards they knows famous composer of Granada Angel Barrios who composes several scores for the trio and of whose friendship emerges the Cuarteto Iberia, that afterwards will disappear after of the Spanish civil war .

Antonio Saenz Ferrer:
Born in Málaga in 1906. He studied violin, piano and the bandurria, with the one which accomplishes numerous concers by Spain and París, city that designated to him 'The Casals of the Bandurria'. Several composers wrote scores devoted to him for bandurria and piano.

Master at present:
The master Grandío´s school originates a group of pupils that today constitute the elite of the plectrum in our country. These are some:

• José Luís Barroso. (laúd)
• Julián Carriazo. (band.)
• Jorge Casanova. (band.) (F.de Santos´ School)
• Pedro Chamorro. (band.)
• José Ramón García. (band.)
• Antonio Navarro. (band.)
• Caridad Simón. (laúd)
• José María Villagranca. (contralto)
• Araceli Yustas. (band.)

MUSICS´ SCHOOL:

The plectrum studies consist of eight courses.
Schools´ Music in those which is imparted official and free teaching of plectrum´s instruments:

- Elemental level: (First, second and third course)
Tafalla y Sangüesa (Navarra): bandurria.
Campo de Criptana (Ciudad Real): bandurria, laúd contralto, laúd tenor and laudón.

- Middle Level: (fourth, fifth and sixth course)
Plasencia (Cáceres): bandurria, laúd contralto, laúd tenor and laudón.
Barañain (Pamplona): bandurria, laúd contralto, laúd tenor and laudón.
Tarazona (Zaragoza): bandurria, laúd contralto, laúd tenor and laudón.

- Superior Level: (seventh and eighth course)
Liceo de Barcelona (Barcelona): bandurria, laúd tenor and italian mandolin. Murcia (Murcia): bandurria, laúd contralto, laúd tenor and laudón.

SPANISH PLECTRUM´S CDS:

This is the list of spanish plectrum´s cd at presente. Old recordings:

N.	Title	Author	Ref.	Format
1	ORQUESTA DE LAÚDES DE LA A.E.P.P.	Director: Manuel Grandío	QEN 7961 (1965)	SINGLE
2	ORQUESTA DE LA A.L.E.	Director: Roberto Grandío	FM-68-637 (1978)	LP

Contemporain cds:

N.	Title	Author	Ref.	Format
1	INTEGRAL PLECTRO Y PIANO	Pedro Chamorro (BAND.), Estaban Sánchez	SED-5027/D	LP/CS
2	ORQUESTA DE LAÚDES ESPAÑOLES "ROBERTO GRANDÍO"	Director: José Ramón Martínez Reyero	SED-5026/D	LP/CS
3	INVITACION A UN VIAJE SONORO	O.L.E. "ROBERTO GRANDÍO" Director: José Ramón Martínez Reyero	CAL 5001	CD
4	ORQUESTA DE LAÚDES ESPAÑOLES "ROBERTO GRANDÍO"	Director: Pedro Chamorro	640048	CD
5	MUSICA ESPAÑOLA	José Lostaló (BANDURRIA), Sergi Vicente (GUITARRA)	EKCD-9301	CD
6	DÚO PEDRO CHAMORRO (BAND.) MANUEL MUÑOZ (GUITAR.)		EPE-428	CD
7	TEMA CON VARIACIONES. 24 GRANDES ESTUDIOS	Pedro Chamorro (BAND.)	PL CD 022	CD
8	UN TRIBUTO A MANUEL GRANDIO	José Ramón García (BAND.), Mª José Valverde (GUITARRA)	PL CD 024	CD
9	HOMENAJE A CLAUDIO TABERNERO	Grupo de cámara "CITARAEDUS"	TG-94001	CD
10	OPERA PRIMA	CUARTETO DE PLECTRO ASSAI	PL CD-030	CD
11	SINFONIETTA LAUDALIA	Director: Jorge Casanova	EKCD-9706	CD
12	CUARTETO AGUILAR	Director: Antonio Navarro		CD
13	GRUPO IBERICO. VOL.I	Director: Fernando Osma	SPC-1012	LP/CS
14	GRUPO IBERICO. VOL.II	Director: Fernando Osma	KPD-10.706	CD
15	TRÍO ALBÉNIZ		CPD 4/503	CD
16	TRÍO ALBÉNIZ. VOL.II		CDP 4/575	CD
17	TANGOS Y MUSICA ROMANTICA	TRÍO IBERIA	CD-5601/T-C16	CD
18	FABRICAS DE SONS	Carlos Beceiro		CD
19	SIETE SIGLOS DE MUSICA ESPAÑOLA	Orq. de pulso y púa Sotomayor	CDF-407	CD
20	AGRUPACIÓN MUSICAL "SAN FRANCISCO"		GVC-002-CD	CD
21	ORQUESTA DE PULSO Y PÚA DE LA ONCE DE HUELVA. VOL III		CDF-232	CD
22	LA ORDEN DE LA TERRAZA		CD 1160	CD
23	ENTRAÑABLE	Grupo MOZART de plectro	SOCD 1114 S.G.A.E.	CD
24	ORQUESTA DE LAUDES VELASCO VILLEGAS		CDF-252	CD
25	CUANDO TERMINA LA RONDA.....II	ORQUESTA DE PULSO Y PUA	CD-001-T	CD
26	B.S.O. LIBERTARIAS/ LA PASIÓN TURCA	Orq. Roberto Grandío/ Orq. Arcata Minuta	CD-JMB 0006	CD
27	EVOCACION ESPAÑOLA	Trío Chamorro	PL CD-031	CD
28	TRIANGULO MANRIQUEÑO	Trío Vicente Espinel	PL CD-032	CD
29	MUSICA ORIGINAL PARA INSTRUMENTOS DE PLECTRO	Orquesta de Plectro Ciudad de Vila-Real	711-CD	CD
30	CAPRICHO ANDALUZ	Orquesta de Plectro de Córdoba	ANTAR 9004	CD
31	MUSICA Y POESIA DE FEDERICO GARCIA LORCA	Grupo Ibérico	EKPD-10506	CD
32	NACIONAL ENSEMBLE		PL-CD-047	CD
33	20 AÑOS	Dúo Pedro Chamorro-Manuel Muñoz	PL-CD-044	CD
34	EVOCACIÓN ANDALUZA-ANGEL BARRIOS	Trío Chamorro	PL-CD-049	CD
35	ALBÉNIZ	Viginti Palma		CD
36	TEMPUS FUGIT	Citaraedus		CD
37	HOMENAJE AL CUARTETO AGUILAR	Camerata Aguilar	JP003	CD
38	SCARAMOUCHE	Camerata Aguilar	JP006	CD
39	QUINTETO LA ORDEN DE LA TERRAZA	Quinteto La Orden de la Terraza	EKMP-0303	CD
40	LA NUEVA CUERDA	La Nueva Cuerda	CP-104-CD	CD
41	UNA DECADA	ORQUESTA DE LAUDES VELASCO VILLEGAS	CDF-644	CD
42	CONTRASTES	ORQUESTA DE PULSO Y PUA BALANGUIA	AMB-001	CD
43	AGRUPACIÓN LAUDISTICA CIERZO	AH-077		CD
44	1000 AÑOS DE MUSICA ESPAÑOLA	LAUDES ESPAÑOLES "GASPAR SANZ"	PL-CD-033	CD

BIBLIOGRAFIA:

• LOS INSTRUMENTOS DE PÚA EN ESPAÑA
  Bandurria, Cítola y "Laúdes españoles".
  The present book intends to fill a vacuum in plectrum instruments investigation in Spain; this empty is so much unwarranted by the long tradition that possess in our country as by the existence of plectrum´s groups of recognized quality. Juan José Rey, music´s investigating, and Antonio Navarro, instrumentalist and cognizant expert of the "Spanish lutes", trace with the greater rigor this instruments history, from its origins investigation until the baroque era, ending with the training of the most important plectrum´s groups of our era. Enrich the volume other usefulness sections that approach aspects as construction, methodology, didactic, digest, biographical notes and preserved instruments catalogue. Finally, it facilitates to reader direct information about the matter, a documents appendix that have been transcribe in a integrates way.
  Alianza Editorial. Ref.AM 64
  
  
  
• Arte musical a través de la Orquesta de Plectro, Miguel Ricardo Bañuls Artiga.
  
  Ed. Ayunt. Lliria, 1990 (Valencia)

BANDURRIA´S LUTHIERS:

Exist various Luthiers of bandurrias and lutes. These are the most prestige:

:

Javier Rojo Solar
(Viuda de Martín de Diego)
C/ Divino Pastor, 22
28004 Madrid
Tlf: (91) 445-72-19

Angel Benito Aguado
C/ Monteleón, 14,
28004 Madrid
Tlf: (91) 446-18-90

Vicente Carrillo Casas
C/ Daoiz y Velarde, 4
16239 Casasimarro (Cuenca)
Tlf: (967) 48-70-45
Fax: (967) 48-70-51
E-mail: carrillo@netvision.es

ASOCIATIONS:

• ALE. Asociación Laudística Española.
  C/ Palma, 20 2ºDerecha.
  28010 Madrid (España)
  Tlf. 91-532-66-37.
  
  
• FEGIP. Federación Española de Guitarra e Instrumentos de Plectro.
  C/ Servando Batanero 35, 3ºD.
  28017 Madrid (España)
  Tf/Fax 91- 408 82 06.

RECORDINGS STUDIES:

Recordings studies with experience in recordings to plectrum´s instruments:

PLECTRUM FACTOR

Plectrum Factor
C/ Factor,5 bajo Izq.
28013 Madrid (España)
Tlf-Fax: (91)541-61-69


KIKOS

Kikos
C/ Torres San Lamberto, 12
50011 Zaragoza (España)
Tlf: (976)31-15-15