D-28, part 1

1939 Martin D-28

In this blog post, I discussed the legendary, and, in my opinion, highly venerable, Martin D-28.  In this blog post, I discussed how I might utilize a D-28 in my music.  At the time I wrote that post, it was based on postulate and supposition.  

At the end of 2024, I was named as a Martin Artist, and in April 2025, I added a 2025 HD-28 to the arsenal.  Hence, I now have the D-28 voice available to me, and have been putting some of my unproven theorems regarding a D-28 in my music to the test.

It's rather exciting to me to be able to access the unique and hallowed D-28 voice to which I've been drawn for so long.

Yesterday, I recorded a solo duet piece consisting of the D-28 and the 26-string Double Subcontraguitar. "Solo duet" because I played both parts and I don't know how else to define it.  The  D-28 part came first, and as I suspected and predicted in the final paragraph of this blog post, using it as the first voice in a multi-part composition resulted in that composition going in a direction otherwise unobtainable.

1945 Martin D-28

I also really like the blend of the voices of the D-28 and one of my usual double-course instruments.  On the surface, these two voices are entirely unrelated: the D-28 is single-course and in concert E tuning; the 26-string is double-course and in C subcontra tuning.  Yet, this vast contrast makes for, in my opinion, a very interesting orchestrated combination and blending of disparate voices.  Certainly some new colors, textures, and fabric were discovered in this piece.

The piece I recorded yesterday was originally intended to be nothing more than a proof-of-concept.  However, it turned out far better than I expected.  This is both exciting and encouraging, as I'm starting work on two solo projects.  It's clear to me that the D-28 will be involved in at least one of those. Including additional future recording projects.

More info coming soon.

-kk