How the Gitarrone is built To meet these requirements - especially the elongated fingerboard - we had to considerably modify the standard Torres model. The fingerboard, in its usual position, would have covered a great portion of the soundhole: it thus became necessary to relocate the soundhole to a less acoustically critical area, i. e. the body's upper edge. To maintain the higher frets as accessible as possible, the neck only meets the body's edge at the 14th fret. A large, extended cutaway makes it possible for a normally-positioned thumb to reach the 27th fret. This meant that we had to devise a thoroughly different type of body-neck connection on the Gitarrone, where the entire neck is incorporated in one piece, with the fingerboard, into the body. There is thus less vibratory surface on the top: to maintain an adequately low resonance frequency, the Gitarrone's sides are thus a bit deeper than those of a normal guitar. A second adjustable soundhole is featured laterally at the end of the corpus on the side. Depending on the acoustical space where you are playing, you can alter the soundhole's size to adjust both timbre and resonance frequency. Reinforced ribs ensure optimal stiffness and thus transmit a maximum amount of vibration to the soundboard. To highlight the extended range of open, resonant strings, the bridge and saddle are slanted: thus, the upper strings are considerably shorter than the lower ones. On the other hand, all strings can be played throughout their entire length without having to make any concessions. To help the soundboard vibrate as freely as possible in spite of this great quantity of strings, most of the tension they produce is absorbed by a permanently mounted tailpiece. Furthermore, we have chosen to use a "sandwiched" soundboard in two layers, for maximum projection and volume. The bridge is segmented and thus freely adjustable for each individual string. Playing technique This instrument presents new technical challenges: for instance, the possibility of playing five-part chords with the right hand, along with the extended playing area available to the right-hand thumb. It thus becomes a practical necessity to learn to use the right-hand little finger to play the strings as well. To dampen the lower strings, one has to considerably improve one's thumb damping technique. The concept