One of the holes is positioned just behind the nut, along the centre line of the peg head, at the same distances from the pegs above it as that in-between the rest of the pegs.Also the axis of this central peg hole appears to be noticeably tilted from the rest of the pegs towards the rear of the neck, providing some extra space for gripping the peg while tuning.The earliest surviving 5-course guitars mostly have rather deep bodies and hence their string length to body volume ratio is considerably lower than that of the Dias.Owing to the scarcity of surviving instruments, at the current stage of the research, one can only guess if the way the Dias instrument was designed was reserved, at the time of the advancement of the guitar in the 1580s, solely for the construction of vihuelas.These two parameters, or rather their correlation, determine, in most general terms, the output of specific frequencies in the sound of the musical instrument, the “frequency curve” of its spectrum.The consistency of this correlation is particularly notable within the individual members of plucked and / or bowed families of musical instruments (those of the viol or guitar, for example).
While the volume of the musical instrument’s body, with the amount of air enclosed in it, largely affects the body’s lowest air resonance frequency (so-called Helmholz resonator), the string length will define the maximum absolute pitch to which the instrument can be tuned.
But how likely is it that this hole remained there from the time of the instrument’s creation?
Can it be the result of conversion or some other reason yet unknown?
Could such a discrepancy in the design parameters between the Dias and the anonymous E.
0748 vihuela be an indication that the latter was constructed for a different musical purpose, i.e.