(7)th: The special
bronze-wound seventh string by Aranjuez Strings is compulsory. La Bella has (had?) a similar string in their "Ramirez" set. Silver-wound seventh strings may sound good in
C, but they perform less impressively when dropped down to B1 or A1, as is required for some repertoire. The Aranjuez 7th string can also be raised to D2 without excessive tension. This flexibility of tuning between A1 and D2 is required to play much of the repertoire, from transcriptions of baroque lute music to original compositions for 10-string guitar to 7-string guitar pieces. One can conveniently buy individual bronze-wound seventh strings from Strings by Mail.
(8)th: While the Aranjuez seventh string is a must, their eighth string is
not recommended, being too thin in the sets we have tested. (This matter may have been corrected in more recent sets. [?]) We suggest using any high quality, medium to
low tension fifth string (i.e. an A-string) raised to A#2/Bb2.
(9)th: For the G#2/Ab2, we recommend any good,
high tension fifth string.
(10)th: A good quality, low to
super-low tension sixth string (i.e. an E-string) can be raised to F#2/Gb2.
One may also refer to a string gauge calculator and place an order (for strings eight to ten) matching the exact dimensions required to tune to the Equal Tempered pitches of Bb2, Ab2, Gb2.
Aquila makes a "Yepes" 10-string set that is suitable for use; its silver 7th string can be retuned as required.
LaBella used to make a "Ramirez" set that contained the special 7th string (similar to Aranjuez's); this set can still be specially ordered.
Kazandjian, F. 1992. "The Concept and Development of the Yepes Ten-String Guitar: A Preliminary Investigation". Dissertation submitted in partial fulfilment of the requirements for the degree of Master of Music, University of Cape Town.
Reeder, S. 1984. "Face to Face with Narciso Yepes".
Magazine10(58): pp. 8-10.
Schneider, J. 1983. "Conversation with Narciso Yepes".
Soundboard, Spring: pp. 66-68.
Snitzler, L. 1978. "Narciso Yepes: The 10-String Guitar: Overcoming the Limitations of Six Strings".
Guitar Player 12(3): pp.
26, 42, 46, 48, 52.