Small Mandolin Body Line Drawing

Musical instrument in the lute family unit

This article is nearly the musical instrument. For the kitchen tool, see Mandoline.

Mandolin

Archtop mandolin
String instrument
Classification	String instrument Plucked string instrument
Hornbostel–Sachs classification	321.321-six (Neapolitan) or 321.322-vi (flat-backed) (Chordophone with permanently attached resonator and neck, sounded past a plectrum)
Developed	Mid 18th century from the mandolino
Timbre	varies with the blazon: spruce carved-top, brilliant flatback, warm or mellow
Disuse	fast
Playing range
(a regularly tuned mandolin with xiv frets to body)
Related instruments
Listing Mod Family Mandolin Mandola Octave mandolin Mandocello Mandobass Ancestral instruments Gittern Mandore Related Bandurria Angélique (instrument) Archlute Balalaika Bouzouki Chitarra Italiana Domra Irish bouzouki Lute Mandriola Mandole Oud Pandura Tambura
Sound sample
East Tennessee Blues. The first 25 seconds feature mandolin equally the lead instrument. Bill Monroe on mandolin and Doc Watson on guitar.

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a stringed musical musical instrument in the lute family and is generally plucked with a plectrum. Information technology near commonly has iv courses of doubled metal strings tuned in unison, thus giving a total of 8 strings, although five (x strings) and six (12 strings) course versions also exist. The courses are typically tuned in an interval of perfect fifths, with the same tuning as a violin (G3, D4, A4, E5). Also, like the violin, it is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

There are many styles of mandolin, simply the 3 most mutual types are the Neapolitan or round-backed mandolin, the archtop mandolin and the apartment-backed mandolin. The round-backed version has a deep bottom, constructed of strips of wood, glued together into a bowl. The archtop, also known as the carved-tiptop mandolin has an biconvex top and a shallower, arched back both carved out of forest. The flat-backed mandolin uses thin sheets of wood for the body, braced on the within for strength in a similar mode to a guitar. Each style of instrument has its ain sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Archtop instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British, and Brazilian folk music.

Other mandolin varieties differ primarily in the number of strings and include four-cord models (tuned in fifths) such every bit the Brescian and Cremonese, six-string types (tuned in fourths) such as the Milanese, Lombard and the Sicilian and six form instruments of 12 strings (two strings per course) such as the Genoese.^[1] There has as well been a twelve-string (three strings per grade) type and an musical instrument with sixteen strings (four strings per course).

Much of mandolin development revolved around the soundboard (the height). Early instruments were quiet, strung with gut strings, and plucked with the fingers or with a quill. However, modern instruments are louder, using metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would interruption before instruments. The soundboard comes in many shapes—only mostly round or teardrop-shaped, sometimes with scrolls or other projections. At that place are commonly 1 or more than sound holes in the soundboard, either round, oval, or shaped similar a calligraphic f (f-hole). A round or oval sound pigsty may be covered or bordered with decorative rosettes or purfling.^{[2] [3]}

In 1787 Luigi Bassi played the role of Don Giovanni in Mozart's opera, serenading a woman with a mandolin. This used to be the common picture of the mandolin, an obscure instrument of romance in the hands of a Castilian nobleman.^[4]

History [edit]

Mandolins evolved from lute family unit instruments in Europe. Predecessors include the gittern and mandore or mandola in Italy during the 17th and 18th centuries. There were a variety of regional variants, but the two most widespread ones were the Neapolitan mandolin and the Lombardic mandolin. The Neapolitan style has spread worldwide.

Structure [edit]

Beefcake of a bowlback mandolin in schematic cartoon

Mandolins have a body that acts as a resonator, attached to a neck. The resonating trunk may be shaped equally a bowl (necked bowl lutes) or a box (necked box lutes). Traditional Italian mandolins, such equally the Neapolitan mandolin, meet the necked bowl description.^[5] The necked box instruments include archtop mandolins and the flatback mandolins.^[vi]

Strings run between mechanical tuning machines at the top of the neck to a tailpiece that anchors the other cease of the strings. The strings are suspended over the cervix and soundboard and pass over a floating bridge.^{[seven] [ amend source needed ]} The bridge is kept in contact with the soundboard by the downward pressure from the strings. The cervix is either apartment or has a slight radius, and is covered with a fingerboard with frets.^{[8] [nine] [10]} The activeness of the strings on the span causes the soundboard to vibrate, producing sound.^[xi]

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously every bit with a bowed note on a violin, and mandolin notes decay faster than larger chordophones similar the guitar. This encourages the utilise of tremolo (rapid picking of one or more than pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a unmarried string would.

Various design variations and distension techniques have been used to brand mandolins comparable in volume with louder instruments and orchestras, including the cosmos of mandolin-banjo hybrids with the drum-like torso of the louder banjo, adding metal resonators (virtually notably by Dobro and the National String Instrument Corporation) to make a resonator mandolin, and amplifying electrical mandolins through amplifiers.

Tuning [edit]

A diverseness of different tunings are used. Ordinarily, courses of 2 adjacent strings are tuned in unison. By far the near mutual tuning is the same as violin tuning, in scientific pitch notation Grand₃–D_four–A₄–E_v, or in Helmholtz pitch notation: g–d′–a′–e″.

• 4th (lowest tone) course: Grand₃ ( 196.00 Hz)
• 3rd course: D_iv ( 293.66 Hz)
• second form: A₄ ( 440.00 Hz; A above centre C)
• commencement (highest tone) course: E₅ ( 659.25 Hz)

Note that the numbers of Hz shown above assume a 440 Hz A, standard in almost parts of the western world. Some players utilize an A up to 10 Hz above or below a 440, mainly outside the Usa.

Other tunings exist, including cantankerous-tunings, in which the normally doubled string runs are tuned to different pitches. Additionally, guitarists may sometimes tune a mandolin to mimic a portion of the intervals on a standard guitar tuning to accomplish familiar fretting patterns.

Mandolin family [edit]

Clockwise from height left: 1920 Gibson F-four mandolin; 1917 Gibson H-2 mandola; 1929 Gibson mando-bass; and 1924 Gibson Chiliad-4 mandocello from Gregg Miner's drove.

Soprano [edit]

The mandolin is the soprano member of the mandolin family unit, equally the violin is the soprano member of the violin family. Similar the violin, its scale length is typically about 13 inches (330 mm). Mod American mandolins modelled after Gibsons take a longer calibration, about 13+ 7⁄8 inches (350 mm). The strings in each of its double-strung courses are tuned in unison, and the courses apply the same tuning every bit the violin: G₃–D₄–A₄–E_v.

Piccolo [edit]

The piccolo or sopranino mandolin is a rare member of the family, tuned i octave above the mandola and 1 fourth above the mandolin (C₄–Chiliad₄–D₅–A₅); the aforementioned relation as that of the piccolo (to the western concert flute) or violino piccolo (to the violin and viola). One model was manufactured by the Lyon & Healy company under the Leland brand. A handful of contemporary luthiers build piccolo mandolins.

Alto [edit]

The mandola, termed the tenor mandola in Britain and Ireland and liola or alto mandolin in continental Europe, is tuned a 5th below the mandolin, in the same relationship as that of the viola to the violin, or the alto flute to the flute. Some too call this musical instrument the "alto mandola". Its calibration length is typically about xvi+ 1⁄2 inches (420 mm). It is unremarkably tuned like a viola (perfect fifth beneath the mandolin) and tenor banjo: C₃–1000_three–D₄–A₄.

Tenor [edit]

A flatback octave mandolin

The octave mandolin (U.s. and Canada), termed the octave mandola in Britain and Ireland and mandola in continental Europe, is tuned an octave below the mandolin: G₂–D₃–A_iii–E₄. Its relationship to the mandolin is that of the tenor violin to the violin, or the tenor saxophone to the soprano saxophone. Octave mandolin scale length is typically well-nigh 20 inches (510 mm), although instruments with scales as short as 17 inches (430 mm) or as long equally 21 inches (530 mm) are not unknown.

The instrument has a variant off the coast of South America in Trinidad, where information technology is known as the bandol, a flat-backed instrument with 4 courses, the lower two strung with metallic and nylon strings.^[12]

Musician with cittern, RI Scottish Highland Festival, June 2012

A waldzither

The Irish bouzouki, although non strictly a fellow member of the mandolin family unit, bears a reasonable resemblance, and as well has a similar range, to the octave mandolin. It was derived from the Greek bouzouki (a long-necked lute), synthetic like a apartment-backed mandolin and uses 5th-based tunings, near often G₂–D_three–A₃–D₄. Other tunings include: A₂–D₃–A₃–D₄, Yard₂–D_iii–A₃–Eastward₄ (an octave below the mandolin—in which example it essentially functions as an octave mandolin), K₂–D_three–G₃–D_iv or A₂–D_iii–A_iii–E₄. Although the Irish bouzouki's bass course pairs are well-nigh often tuned in unison, on some instruments ane of each pair is replaced with a lighter cord and tuned in octaves, similar to the 12-string guitar. While occupying the aforementioned range as the octave mandolin/octave mandola, the Irish bouzouki is theoretically distinguished from the former musical instrument by its longer scale length, typically from 24 to 26 inches (610 to 660 mm), although scales equally long as 27 inches (690 mm), which is the usual Greek bouzouki scale, are non unknown. In modern usage, however, the terms "octave mandolin" and "Irish bouzouki" are frequently used interchangeably to refer to the same instrument.

The modernistic cittern may also be loosely included in an "extended" mandolin family, based on resemblance to the flat-backed mandolins, which it predates. Its own lineage dates information technology dorsum to the Renaissance. It is typically a five course (ten-cord) musical instrument having a scale length between 20 and 22 inches (510 and 560 mm). The instrument is virtually oft tuned to either D₂–Thousand₂–D₃–A_three–D₄ or G₂–D₃–A₃–D₄–A_iv, and is essentially an octave mandola with a 5th course at either the top or the lesser of its range. Some luthiers, such as Stefan Sobell, also refer to the octave mandola or a shorter-scaled Irish bouzouki as a cittern, irrespective of whether it has four or five courses.

Other relatives of the cittern, which might too be loosely linked to the mandolins (and are sometimes tuned and played as such), include the half-dozen-course/12-string Portuguese guitar and the 5-class/nine-cord waldzither.

Baritone/Bass [edit]

Neapolitan styled mandocello built to

26+ iii⁄8 -inch (670 mm) calibration

19th- and 20th-century laouta

Algerian mandole (flatback) from the side

The mandocello is classically tuned to an octave plus a fifth below the mandolin, in the same relationship as that of the cello to the violin, its strings being tuned to C₂–Yard_ii–D_three–A₃. Its calibration length is typically nearly 26 inches (660 mm). A typical violoncello scale is 27 inches (690 mm).

The mandolone was a Bizarre member of the mandolin family in the bass range that was surpassed by the mandocello. It was as function of the Neapolitan mandolin family.

The Greek laouto or laghouto (long-necked lute) is similar to a mandocello, ordinarily tuned C_iii/C₂–G₃/G₂–D₃/D₃–A₃/A₃ with one-half of each pair of the lower 2 courses beingness tuned an octave high on a lighter gauge string. The trunk is a staved basin, the saddle-less bridge glued to the flat face like most ouds and lutes, with mechanical tuners, steel strings, and tied gut frets. Modern laoutos, as played on Crete, have the entire lower course tuned to C₃, a reentrant octave in a higher place the expected low C. Its calibration length is typically about 28 inches (710 mm).

The Algerian mandole was adult by an Italian luthier in the early on 1930s, scaled up from a mandola until information technology reached a scale length of approximately 25-27 inches.^[13] It is a flatback musical instrument, with a wide neck and 4 courses (eight strings), 5 courses (10 strings) or 6 courses (12 strings), and is used in Algeria and Morocco. The instrument can be tuned every bit a guitar, oud, or mandocello, depending on the music it volition exist used to play and thespian preference. When tuning it as a guitar the strings will be tuned (Due east₂) (Due east_two) A₂ A₂ D_three D_three G₃ K₃ B₃ B₃ (Due east₄) (E₄);^[14] strings in parenthesis are dropped for a v or 4-form instrument. Using a common Arabic oud tuning D₂ D₂ G_ii Chiliad₂ A₂ A₂ D₃ D_three (K_iii) (G_three) (C₄) (C_iv).^[fifteen] For a mandocello tuning using fifths C₂ C_ii M_two G_ii D_three D_three A₃ A₃ (E₄) (East₄).^[16]

Mandobass [edit]

Gibson mando-bass from 1922 advertisement

The mandobass is the bass version of the mandolin, only every bit the double bass is the bass to the violin. Like the double bass, it most frequently has four single strings, rather than double courses, and also like the double bass, it is nigh commonly tuned to perfect fourths rather than fifths (a trait all other chordophones in the violin family possess): E₁–A₁–D_ii–M_2, which is also the same tuning every bit a bass guitar. These were made past the Gibson company in the early 20th century, merely appear to have never been very common. A smaller scale four-string mandobass, usually tuned in fifths: K_ane–D_ii–A_ii–E₃ (two octaves below the mandolin), though not every bit resonant as the larger instrument, was often preferred by players as easier to handle and more than portable.^[17] Reportedly, however, most mandolin orchestras preferred to use the ordinary double bass, rather than a specialised mandolin family unit instrument. Calace and other Italian makers predating Gibson also made mandolin-basses.

The relatively rare eight-string mandobass, or "tremolo-bass", also exists, with double courses like the rest of the mandolin family, and is tuned either M_ane–D₂–A₂–Due east₃, ii octaves lower than the mandolin, or C₁–Thousand₁–D₂–A₂, two octaves below the mandola.^{[18] [nineteen]}

Variations [edit]

Bowlback [edit]

Bowlback mandolins (too known as roundbacks), are used worldwide. They are well-nigh usually manufactured in Europe, where the long history of mandolin evolution has created local styles. However, Japanese luthiers also make them.

Owing to the shape and to the common construction from wood strips of alternate colors, in the The states these are sometimes colloquially referred to as the "potato bug" or "irish potato beetle" mandolin.^[20]

Neapolitan and Roman styles [edit]

The Neapolitan style has an almond-shaped trunk resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the eight metal strings arranged in 4 courses. A hardwood fingerboard sits on top of or is affluent with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to utilize geared metallic tuners. The span is a movable length of hardwood. A pickguard is glued beneath the audio hole under the strings.^{[21] [22] [23]} European roundbacks commonly employ a 13-inch (330 mm) scale instead of the 13+ seven⁄8 inches (350 mm) common on archtop Mandolins.^[24]

Intertwined with the Neapolitan style is the Roman fashion mandolin, which has influenced it.^[25] The Roman mandolin had a fingerboard that was more curved and narrow.^[25] The fingerboard was lengthened over the sound hole for the East strings, the high pitched strings.^[25] The shape of the back of the cervix was unlike, less rounded with an edge, the bridge was curved making the G strings higher.^[25] The Roman mandolin had mechanical tuning gears earlier the Neapolitan.^[25]

Manufacturers of Neapolitan-fashion mandolins [edit]

Mod bowlback mandolin manufactured by the Calace family workshop

1897 Advertising for a Lyon and Healy made, Washburn brand mandolin

Martin mandolins and harp mandolin on brandish at the Martin Guitar Factory

Prominent Italian manufacturers include Vinaccia (Naples), Embergher^[26] (Rome) and Calace (Naples).^[27] Other modern manufacturers include Lorenzo Lippi (Milan), Hendrik van den Broek (Netherlands), Brian Dean (Canada), Salvatore Masiello and Michele Caiazza (La Bottega del Mandolino) and Ferrara, Gabriele Pandini.^[24]

In the Us, when the bowlback was existence fabricated in numbers, Lyon and Healy was a major manufacturer, especially nether the "Washburn" brand.^[27] Other American manufacturers include Martin, Vega, and Larson Brothers.^[27]

In Canada, Brian Dean has manufactured instruments in Neapolitan, Roman, German and American styles^[28] but is also known for his original 'Grand Concert' design created for American virtuoso Joseph Brent.^[29]

German manufacturers include Albert & Mueller, Dietrich, Klaus Knorr, Reinhold Seiffert and Alfred Woll.^{[24] [27]} The High german bowlbacks use a style developed by Seiffert, with a larger and rounder torso.^[24]

Japanese brands include Kunishima and Suzuki.^[xxx] Other Japanese manufacturers include Oona, Kawada, Noguchi, Toichiro Ishikawa, Rokutaro Nakade, Otiai Tadao, Yoshihiko Takusari, Nokuti Makoto, Watanabe, Kanou Kadama and Ochiai.^{[24] [31]}

Other bowlback styles [edit]

Lombardic mandolin with twelve strings in six courses. The bridge is glued to the soundboard, like a guitar's bridge.

Giovanni Vailati, "Blind mandolinist of Cremona," toured Europe in the 1850s with a 6-string Lombardy mandolin.^[32]

Genoese mandolin with twelve strings in six courses. The span is held to the soundboard by the strings.

Another family unit of bowlback mandolins came from Milan and Lombardy.^[33] These mandolins are closer to the mandolino or mandore than other modern mandolins.^[33] They are shorter and wider than the standard Neapolitan mandolin, with a shallow dorsum.^[34] The instruments take half-dozen strings, iii wire treble-strings and 3 gut or wire-wrapped-silk bass-strings.^{[33] [34]} The strings ran between the tuning pegs and a span that was glued to the soundboard, every bit a guitar'south. The Lombardic mandolins were tuned g–b–e′–a′–d″–g″ (shown in Helmholtz pitch notation).^[34] A developer of the Milanese style was Antonio Monzino (Milan) and his family who made them for half dozen generations.^[33]

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with vi single strings to the regular mandolin's set up of 4.^[35] The Lombardi was tuned C–D–A–E–B–G.^[35] The strings were attached to the bridge like a guitar's.^[35] There were 20 frets, covering iii octaves, with an additional 5 notes.^[35] When Adelstein wrote, there were no nylon strings, and the gut and single strings "practise not vibrate so conspicuously and sweetly as the double steel string of the Neapolitan."^[35]

Brescian mandolin or Cremonese mandolin [edit]

Brescian mandolins (too known every bit Cremonese) that take survived in museums have 4 gut strings instead of six and a fixed span.^{[36] [37]} The mandolin was tuned in fifths, like the Neapolitan mandolin.^[36] In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached.^{[38] [37]} Bortolazzi said in this volume that the new wire-strung mandolins were uncomfortable to play, when compared with the gut-string instruments.^[38] Likewise, he felt they had a "less pleasing...hard, zither-like tone" every bit compared to the gut string's "softer, full-singing tone."^[38] He favored the four single strings of the Cremonese instrument, which were tuned the aforementioned every bit the Neapolitan.^{[38] [37]}

Genoese mandolin, a blend of styles [edit]

Like the Lombardy mandolin, the Genoese mandolin was not tuned in fifths. Its 6 gut strings (or vi courses of strings) were tuned every bit a guitar only ane octave college: e-a-d'-g'-b natural-due east".^{[39] [40]} Like the Neapolitan and different the Lombardy mandolin, the Genoese does non have the span glued to the soundboard, but holds the bridge on with down tension, from strings that run between the bottom and neck of the instrument. The neck was wider than the Neapolitan mandolin'south neck.^[39] The peg-head is similar to the guitar's.^[40]

Archtop [edit]

1916 Gibson F4 with arched and carved pinnacle, curled curlicue and oval soundhole

1924 Gibson F-v mandolin, with f-shaped soundholes designed by Lloyd Loar

1921 Gibson A4 mandolin

At the very end of the 19th century, a new style, with a carved meridian and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. This new style is credited to mandolins designed and congenital by Orville Gibson, a Kalamazoo, Michigan, luthier who founded the "Gibson Mandolin-Guitar Manufacturing Co., Limited" in 1902. Gibson mandolins evolved into two basic styles: the Florentine or F-style, which has a decorative whorl nearly the neck, two points on the lower body and usually a roll carved into the headstock; and the A-style, which is pear-shaped, has no points and usually has a simpler headstock.

These styles generally have either two f-shaped soundholes like a violin (F-5 and A-5), or a single oval audio pigsty (F-4 and A-4 and lower models) straight under the strings. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the The states, Gibson F-hole F-five mandolins and mandolins influenced past that design are strongly associated with bluegrass, while the A-style is associated with other types of music, although it too is most often used for and associated with bluegrass. The F-v's more complicated woodwork as well translates into a more expensive instrument.

Internal bracing to support the acme in the F-style mandolins is unremarkably achieved with parallel tone bars, similar to the bass bar on a violin. Some makers instead employ "Ten-bracing", which is two tone-confined mortised together to grade an X. Some luthiers now using a "modified x-bracing" that incorporates both a tone bar and X-bracing.

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Creative person models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and before include Lyon and Healy, Vega and Larson Brothers.

Pressed archtops [edit]

The ideal for archtops has been solid pieces of wood carved into the correct shape. Nonetheless, another archtop exists, the tiptop fabricated of laminated wood or sparse sheets of solid forest, pressed into the arched shape. These have become increasingly common in the world of internationally constructed musical instruments in the 21st century.

The pressed-height instruments are fabricated to appear the aforementioned every bit the carved-top instruments; notwithstanding, the pressed tops do not sound the same as the carved-woods tops. Carved-wood tops when carved to the ideal thickness, produce the sound which consumers look. Not carving them correctly can atomic number 82 to a dull sound. The sound of a carved-woods instrument changes the longer information technology is played, and older instruments are sought out for their rich audio.

Laminated-wood presstops are less resonant than carved wood, the wood and glue vibrating differently than forest grain. Presstops made of solid forest have the wood'south natural grain compressed, creating a sound that is not equally total as on a well-made, carved-top mandolin.

Flatback [edit]

The bandolim is a Portuguese variant of the mandolin family. Instruments are apartment on superlative and back.

Regular army-Navy mode mandolin

Flatback mandolins use a thin sheet of wood with bracing for the back, as a guitar uses, rather than the bowl of the bowlback or the arched back of the carved mandolins.

Similar the bowlback, the flatback has a round sound hole. This has been sometimes modified to an elongated hole, called a D-hole. The body has a rounded almond shape with flat or sometimes canted soundboard.^[41]

The blazon was developed in Europe in the 1850s.^[41] The French and Germans called it a Portuguese mandolin, although they as well developed it locally.^[41] The Germans used information technology in Wandervogel.^[42]

The bandolim is commonly used wherever the Castilian and Portuguese took it: in South America, in Brazil (Choro) and in the Philippines.^[42]

In the early 1970s English language luthier Stefan Sobell adult a large-bodied, apartment-backed mandolin with a carved soundboard, based on his own cittern design; this is often called a 'Celtic' mandolin.^{[43] [44]}

American forms include the Army-Navy mandolin, the flatiron and the pancake mandolins.

Tone [edit]

The tone of the flatback is described equally warm or mellow, suitable for folk music and smaller audiences. The instrument sound does not dial through the other players' sound like a carved height does.

Double superlative, double back [edit]

The double top is a feature that luthiers are experimenting with in the 21st century, to get better sound.^[45] However, mandolinists and luthiers have been experimenting with them since at to the lowest degree the early 1900s.

Back in the early 1900s, mandolinist Ginislao Paris approached Luigi Embergher to build custom mandolins.^[46] The sticker inside one of the four surviving instruments indicates the build was called subsequently him, the Sistema Ginislao Paris).^[46] Paris' circular-dorsum double-tiptop mandolins use a false back beneath the soundboard to create a second hollow space within the instrument.^[46]

Mod mandolinists such as Joseph Brent and Avi Avital utilize instruments customized, either by the luthier's choice or at the asking of the role player.^{[47] [45]} Joseph Brent's mandolin, made by Brian Dean too uses what Brent calls a false back.^[48] Brent's mandolin was the luthier'south solution to Brent'south request for a loud mandolin in which the woods was clearly audible, with less metallic sound from the strings.^[45] The type used by Avital is variation of the flatback, with a double summit that encloses a resonating chamber, sound holes on the side, and a convex back.^[49] It is fabricated by i manufacturer in State of israel, luthier Arik Kerman.^[50] Other players of Kerman mandolins include Alon Sariel,^{[51] [52]} Jacob Reuven,^[50] and Tom Cohen.^[53]

Others [edit]

The bulge on the musical instrument's back side is visible in this photo of a Vega cylinder-back mandolin.

Howe-Ormes mandolinettos

1926 Paramount Style A banjo mandolin

1930 National Triolian resonator mandolin

Mandolinetto [edit]

Other American-fabricated variants include the mandolinetto or Howe-Orme guitar-shaped mandolin (manufactured by the Elias Howe Company betwixt 1897 and roughly 1920), which featured a cylindrical bulge along the top from fingerboard end to tailpiece and the Vega mando-lute (more than commonly called a cylinder-dorsum mandolin manufactured by the Vega Company betwixt 1913 and roughly 1927), which had a similar longitudinal bulge but on the back rather than the front of the musical instrument.

Mandolin-banjo [edit]

An instrument with a mandolin cervix paired with a banjo-style torso was patented by Benjamin Bradbury of Brooklyn in 1882 and given the proper name banjolin past John Farris in 1885.^[54] Today banjolin is sometimes reserved to describe an musical instrument with four strings, while the version with the 4 courses of double strings is called a mandolin-banjo.

Resonator mandolin [edit]

A resonator mandolin or "resophonic mandolin" is a mandolin whose sound is produced by one or more metal cones (resonators) instead of the customary wooden soundboard (mandolin height/confront). Historic brands include Dobro and National.

Electric mandolin [edit]

A solid-body electric mandolin

Equally with almost every other contemporary chordophone, another modern variant is the electrical mandolin. These mandolins can take four or five private or double courses of strings. They were developed in the early 1930s, contemporaneous with the development of the electrical guitar. They come in solid body and audio-visual electric forms.

Specific instruments have been designed to overcome the mandolin's rapid decay with its plucked notes.^[55] Fender released a model in 1992 with an additional cord (a high A, above the E cord), a tremolo bridge and extra humbucker pickup (total of two).^[55] The consequence was an musical instrument capable of playing heavy metal style guitar riffs or violin-similar passages with sustained notes that can be adjusted as with an electric guitar.^[55]

Playing traditions worldwide [edit]

Mandolin Club from Napoleon, Ohio, approximately 1892

Italian mandolin virtuoso and kid prodigy Giuseppe Pettine (here pictured in 1898) brought the Italian playing style to America where he settled in Providence, Rhode Island, every bit a mandolin instructor and composer. Pettine is credited with promoting a way where "ane player plays both the rhythmic chords and the lyric melodic line at once, combining unmarried strokes and tremolo."^[56]

The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. This is especially true of violin music, since the mandolin has the same tuning as the violin. Following its invention and early evolution in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a classical tradition with Mandolin orchestras, so-called Estudiantinas or in Germany Zupforchestern appearing in many cities. Following this continental popularity of the mandolin family local traditions appeared outside Europe in the Americas and in Nihon. Travelling mandolin virtuosi like Carlo Curti, Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early on 20th century.^[56] This "mandolin craze" was fading by the 1930s, but just as this practise was falling into disuse, the mandolin found a new niche in American state, onetime-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised sensation of and interest in Early on music, with media attention to classical players such equally Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent. In Republic of india, the mandolin is played in classical Carnatic music. The musician U. Srinivas was perhaps the greatest mandolin actor in this way.^[57] Lauded beyond the world for his virtuosity with the instrument, he died immature.^[58]

Notable literature [edit]

Fine art or "classical" music [edit]

The tradition of and so-called "classical music" for the mandolin has been somewhat spotty, due to its being widely perceived as a "folk" instrument. Significant composers did write music specifically for the mandolin, only few large works were composed for it by the well-nigh widely regarded composers. The total number of these works is rather pocket-size in comparison to—say—those composed for violin. I result of this dearth being that there were few positions for mandolinists in regular orchestras. To make full this gap in the literature, mandolin orchestras accept traditionally played many arrangements of music written for regular orchestras or other ensembles. Some players take sought out contemporary composers to solicit new works.

Furthermore, of the works that accept been written for mandolin from the 18th century onward, many take been lost or forgotten. Some of these await discovery in museums and libraries and archives. One example of rediscovered 18th-century music for mandolin and ensembles with mandolins is the Gimo collection, collected in the beginning half of 1762 by Jean Lefebure.^[59] Lefebure collected the music in Italy, and information technology was forgotten until manuscripts were rediscovered.^[59]

Vivaldi created some concertos for mandolinos and orchestra: one for 4-chord mandolino, string bass & continuo in C major, (RV 425), and one for 2 v-chord mandolinos, bass strings & continuo in G major, (RV 532), and concerto for 2 mandolins, 2 violons "in Tromba"—2 flûtes à bec, 2 salmoe, two théorbes, violoncelle, cordes et basse continuein in C major (p. sixteen).

Beethoven composed mandolin music^[60] and enjoyed playing the mandolin.^[61] His 4 small-scale pieces date from 1796: Sonatine WoO 43a; Adagio ma non troppo WoO 43b; Sonatine WoO 44a and Andante con Variazioni WoO 44b.

The opera Don Giovanni by Mozart (1787) includes mandolin parts, including the accessory to the famous aria Deh vieni alla finestra, and Verdi's opera Otello calls for guzla accompaniment in the aria Dove guardi splendono raggi, simply the role is commonly performed on mandolin.^[62]

Gustav Mahler used the mandolin in his Symphony No. 7, Symphony No. 8 and Das Lied von der Erde.

Parts for mandolin are included in works past Schoenberg (Variations Op. 31), Stravinsky (Agon), Prokofiev (Romeo and Juliet) and Webern (opus Parts ten)

Some 20th-century composers also used the mandolin equally their instrument of choice (amongst these are: Schoenberg, Webern, Stravinsky and Prokofiev).

Amid the most of import European mandolin composers of the 20th century are Raffaele Calace (composer, performer and luthier) and Giuseppe Anedda (virtuoso concert pianist and professor of the outset chair of the Conservatory of Italian Mandolin, Padua, 1975). Today representatives of Italian classical music and Italian classical-contemporary music include Ugo Orlandi, Carlo Aonzo, Dorina Frati, Mauro Squillante and Duilio Galfetti.

Japanese composers also produced orchestral music for mandolin in the 20th century, just these are non well known outside Japan.^{[ commendation needed ]}

Traditional mandolin orchestras remain especially popular in Nihon and Germany, only besides exist throughout the United States, Europe and the rest of the world. They perform works composed for mandolin family unit instruments, or re-orchestrations of traditional pieces. The structure of a contemporary traditional mandolin orchestra consists of: first and second mandolins, mandolas (either octave mandolas, tuned an octave below the mandolin, or tenor mandolas, tuned like the viola), mandocellos (tuned similar the cello), and bass instruments (conventional string bass or, rarely, mandobasses). Smaller ensembles, such as quartets composed of two mandolins, mandola, and mandocello, may as well exist found.

Unaccompanied solo [edit]

• Niccolò Paganini

Minuet

• Silvio Ranieri

Variations on a Theme by Haydn

Song of summer

• Raffaele Calace

Prelude No. 1

Prelude No. 2

Prelude No. iii

Prelude No. v

Prelude No. ten

Prelude No. 11

Prelude No. xiv

Prelude No. fifteen

Big prelude

Collard

Sylvia

Minuet of rose

• Ugo Bottacchiarri

I have stood on the banks

• Heinrich Koniettsuni

Partita No. i, etc.

• Herbert Baumann

Sonatine, etc.

• Siegfried Behrend

Sense – construction

• John Craton

The Gray Wolf

Perpetuum Mobile

Variations from Der Fluyten Lust-hof

• Sakutarō Hagiwara

Hataoriru maiden

• Takei Shusei

Spring to go

• Seiichi Suzuki

Variations on Schubert lullaby

City of Elm

Variations on Kojonotsuki of subject thing

• Gilad Hochman

Two Episodes for solo mandolin

• Jiro Nakano

"Bound has come" Variations

Prayer

Fantasia second No.

Serenata

Beautiful my child and where

Prayer of the evening

Variations on September Affair of the subject thing

• Makino YukariTaka

Spring snowfall of ballads

• Jo Kondo

In early spring

• Takashi Kubota

Nocturne

Etude

Fantasia offset No.

• Yasuo Kuwahara

Moon and mountain witch

Impromptu

Winter Light

Mukyu motion

Jon-gara

Silent door

• Victor Kioulaphides

Accompaniment with solo [edit]

Duo and musical ensemble [edit]

A duet or duo is a musical composition for two performers in which the performers have equal importance to the slice. A musical ensemble with more than 2 solo instruments or voices is called trio, quartet, quintet, sextet, septet, octet, etc.

• Ella Von Adajewska-Schultz (1846-1926)

Venezuelan Serenade^[64]

• Valentine Abt (1873-1942)

In Venice Waters^[64]

• Charles Acton

Chants Des Gondoliers^[64]

• Hermann Ambrosius

Duo

• Emanuele Barbella

Sonata in D major for Mandolin and Basso Continuo^[64]

• Ignazio Bitelli (c. 1880–1956)

L'Albero di Natale, pastorale for mandolin & guitar^[64]

Il Gondoliere, valse for 2 mandolins & guitar^[64]

• Costantino Bertucci

Il Carnevale Di Venezia Con Variazioni^[64]

• Pietro Gaetano Boni (1686-1741)

Sonate pour mandoline en la, Op. two n° one^[64]

Sonate pour mandoline en ré mineur, Op. ii northward° 2

Sonate pour mandoline en ré, Op. 2 n° 9^[64]

• Antonio Del Buono

"In Gondola" Serenata Veneziana "Ai Mandolnisti Di Venezia^[64]

• Raffaele Calace

Barcarola Op. 100 Per Chitarra^[64]

Barcarola Op. 116 Per Liuto "A Mio Figlio Peppino"^[64]

• Gioacchino Cocchi

• Sinfonia for two Mandolins & Continuo, (Gimo 76)^[65]

• Jules Cottin

Au Fil De 50'Eau^[64]

• John Craton

Charon Crossing the Styx (mandolin & double bass)

4 Whimsies (mandolin & octave mandolin)

Les gravures de Gustave Doré (mandolin & guitar)

Six Pantomimes for Two Mandolins

Sonatina No. 3 for Mandolin & Violin

• Hans Gál

Op. 59a Sonatina for ii mandolins (1952)

• Giovani Battista Gervasio

Sonata for Mandolin & Continuo (Gimo 141)^{[65] [66]}

Sonata per camera (Gimo 143)^{[65] [66]}

Sinfonia for 2 Mandolins & Continuo, (Gimo 149)^{[65] [66]}

Trio for 2 Mandolins & Continuo, (Gimo 150)^{[65] [66]}

Sonata in D major for Mandolin and Basso Continuo^[64]

Sonata in G major for Mandolin and Basso Continuo^[64]

• Giuseppe Giuliano

Sonata in D major for Mandolin and Basso Continuo

• Geoffrey Gordon

Interiors of a Courtyard (mandolin & guitar)

• Addiego Guerra

Sonata in One thousand major for Mandolin and Basso Continuo

• Positive Hattori

Concerto for two mandolin and piano

• Sean Hickey

Mandolin Canons (mandolin & guitar)

• Giovanni Hoffmann

iii Duets for Mandolin and Violin

Serenade for Viola and Mandolin

• Tyler Kaier

Den lille Havfrue (mandolin & guitar)

• Peter Machajdík

Mit den Augen eines Falken for mandolin & guitar (2016)

• Giovanni Battista Maldura

Barcarola Veneziana Di Mendelssohn^[64]

• Edward Mezzacapo (1832-1898)

Le Chant Du Gondolier^[64]

• Heinrich Molbe (1835–1915)

Gondolata Op. 74 Per Mandolino, Clarinetto Due east Pianoforte^[64]

• Carlo Munier (1859-1911)

"In Gondola" Ricordi di Mendelssohn^[64]

Notturno Veneziano Per Quartetto Romantico^[64]

• Jiro Nakano

Medaka, revolving lantern

• Giuseppe Pettine (1874-1966)

Barcarola Per Mandolino^[64]

• Hideo Saito, Jiro Nakano

Du edge Martino

• Domenico Scarlatti

Sonata in D small-scale (K77)

Sonata in E minor (K81)

Sonata in G minor (K88)

Sonata No. 54 (Chiliad. 89) in D minor for Mandolin and Basso Continuo

Sonata in D pocket-size (K89)

Sonata in D minor (K90)

Sonata in G (K91)

• Mari Takano

Silent Light for mandolin & harpsichord (2001)

Ii Pieces for Two Mandolins (2002)

• Sergeij Taneev (1856-1913)

Venezia Di Notte, Barcarola Op. 9 No. 1^[64]

Serenata Per Voce, Mandolino E Piano Op. 9 No. 2 Alla Contessa Tat'jana L'vovna Tolstaja^[64]

• Roberto Valentini (1674-1747)

Sonate pour mandoline en la, Op. 12 n° 1

Sonate pour mandoline en ré mineur, Op. 12 n° 2

Sonate pour mandoline en sol, Op. 12 n° 3

Sonate cascade mandoline en sol mineur, Op. 12 n° 4

Sonate pour mandoline en mi mineur, Op. 12 n° 5

Sonate pour mandoline en ré, Op. 12 n° 6

Concerto [edit]

Concerto: a musical composition generally composed of iii movements, in which, usually, i solo musical instrument (for case, a piano, violin, cello or flute) is accompanied past an orchestra or concert ring.

• Anna Clyne

Three Sisters, for mandolin and chamber orchestra

• Giovanni Hoffmann

Concerto for Mandolin and Orchestra in D Major

• Antonio Vivaldi

Mandolin Concerto in C major,

Concerto for 2 mandolinos in G major

Concerto for 2 mandolinos, 2 violons " in Tromba"—ii flûtes à bec, 2 salmoe, 2 théorbes, violoncelle, cordes et basse continuein in C major

• Francisco Rodrigo Arto (Venezuela)

Mandolin Concerto (1984)^[67]

• Dominico Caudioso

Mandolin Concerto in G Major

• John Craton

Mandolin Concerto No. 1 in D Minor

Mandolin Concerto No. 2 in D Major

Mandolin Concerto No. 3 in E Minor

Mandolin Concerto No. 4 in Chiliad Major

Concerto for Ii Mandolins ("Rromane Bjavela")

• Gerardo Enrique Dirié (Argentina)

Los ocho puentes for four recorders, mandolin and percussion (1984)^[68]

• Johann Adolph Hasse

Mandolin Concerto in Thousand major

• Leopold Kozeluch

Concerto for pianoforte, mandolin, trumpet and double bass in Eastward ♭ major

• Giovanni Battista Pergolesi

Mandolin Concerto in B ♭ major

• Giovanni Paisiello

Mandolin Concerto in E ♭ major

Mandolin Concerto in C major

Mandolin Concerto in M major

• Johann Nepomuk Hummel

Mandolin Concerto in Thousand major

• Armin Kaufmann

Mandolin Concerto

• Dietrich Erdmann

Mandolin Concerto

• Herbert Baumann

Mandolin and the Concerto for Strings

• Brian Israel (1951-1986)

Concerto for Mandolin (1985)

Sonatinetta (1984)

Surrealistic Serenade (1985)

• Makino YukariTaka

Mandolin Concerto

• Julian Dawes

Mandolin and the Concerto for Strings

• Tanaka Ken

"Arc" for mandolin and orchestra

• Vladimir Kororutsuku

Suite "positive and negative"

• Avner Dorman

Mandolin Concerto

• Gilad Hochman

"Nedudim" ("Wanderings") Fantasia-Concertante for mandolin and cord orchestra (2014)

Mandolin in the orchestra [edit]

Orchestral works in which the mandolin has a limited role.

See besides [edit]

• List of mandolinists
• List of mandolinists (sorted)
• List of cord instruments
• Stringed instrument tunings
• Pandura
• Greek bouzouki
• Bluegrass mandolin
• Mandola
• Octave Mandolin
• Mandocello
• Mandobass
• Cittern
• Irish bouzouki
• Portuguese guitar

References [edit]

1. ^ Dave Hynds. "Mandolins: A Cursory History". Mandolinluthier.com . Retrieved 2010-10-31 .
2. ^ Musical Instruments: A Comprehensive Dictionary, by Sibyl Marcuse (Corrected Edition 1975)
3. ^ The New Grove Dictionary of Music and Musicians, Second Edition, edited past Stanley Sadie and others (2001)
4. ^ Sparks 2003, pp. 3–4
5. ^ Roger Vetter. "Mandolin – Neapolitan". Grinnell College Musical Musical instrument Collection . Retrieved September v, 2015.
6. ^ Roger Vetter. "Mandolin – flat-dorsum". Grinnell College Instrument Collection . Retrieved September 5, 2015. a newly adult resonator pattern pioneered past the Gibson Company with arched meridian and back boards with f-shaped soundholes, similar violin resonators
7. ^ "OM floating bridge?". Mandolin Cafe. Apr twenty, 2012. Retrieved September 5, 2015.
8. ^ McDonald 2008, p. ane
9. ^ Schlesinger, Kathleen (1911). "Mandoline". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 17 (11th ed.). Cambridge University Printing. pp. 565–566.
10. ^ "Radiused vs. flat fingerboard on mandolin?". May 3, 2010. Retrieved March 28, 2015.
11. ^ Siminoff, Roger H. (2002). The Luthier'south Handbook. Milwaukee, Wisconsin: Hal Leonard Corporation. p. 13. ISBN978-0-634-01468-0.
12. ^ Lise Winer (sixteen January 2009). Dictionary of the English/Creole of Trinidad & Tobago: On Historical Principles. McGill-Queen'due south Press – MQUP. pp. fifty–. ISBN978-0-7735-7607-0 . Retrieved v May 2013.
13. ^ Bendamèche, Abdelkader (25 July 2014). "Mr Abdelkader Bendamèche répond à l'APS au sujet du mandole (Translation: Mr Abdelkader Bendamèche responds to the APS about the mandola)". abdelkaderbendameche.skyrock.com . Retrieved 25 July 2017. ABDELKADER BENDAMECHE President of the National Council Arts and Letters, Algiers, 21 July 2014
14. ^ Richards, Tobe A. The Musician'due south Workbook VI, Fretted Musical instrument Octave Designation Diagram & Charts (PDF). p. four. Guitar – Standard Tuning E_ii A_two D₃ Yard_iii B_three East₄
15. ^ Parfitt, David. "Arab tuning". oud.eclipse.co.britain. Archived from the original on eighteen September 2016. Retrieved 29 July 2017.
16. ^ "Thomann Algerian Mondol 10 Standard". thomannmusic.com. Archived from the original on 2017-07-29. Retrieved 29 July 2017. tuning: C – G – D – A – E, lower width ca. 35,2cm, body length ca. 54,2cm, full length thomann ca. 104,5cm, height incl. bridge ca. 13cm, acme of the sides ca. 10cm, width upper nut ca. iv,4cm, scale length 32,4cm.
17. ^ Ruppa, Paul. "American Mando-Bass History 101" (PDF). Mandolin.co.uk . Retrieved 29 April 2019.
18. ^ Marcuse, Sibyl; Musical Instruments: A Comprehensive Dictionary; W. W. Norton & Company (1975). (run into entries for mandolin, and for private mandolin family members.)
19. ^ Johnson, J. R.; 'The Mandolin Orchestra in America, Part iii: Other Instruments', American Lutherie, No. 21 (Spring) 1990, pp. 45–46.
20. ^ Cohen, David J.; Rossing, Thomas D. (January ane, 2001). "Mandolin Family Instruments". In Rossing, Thomas D. (ed.). The Scientific discipline of Cord Instruments. Springer. pp. 77–98. ISBN978-1-4419-7110-4.
21. ^ Tyler & Sparks 1996
22. ^ Sparks 2003, p. xv–xvi
23. ^ Tyler & Sparks 1989
24. ^ ^{a b c d east} "Who are the top classical builders?". Mandolincafe.com . Retrieved 21 Dec 2014.
25. ^ ^{a b c d east} Sparks 2003, p. 37–38
26. ^ The Embergher mandolin. [Place of publication not identified]: R. Leenen and B. Pratt. 2004. ISBN9073838312. OCLC 863486060.
27. ^ ^{a b c d} "Mandolin Glossary". Mandolincafe.com . Retrieved 21 December 2014.
28. ^ "The Latest from the Shop". Labraid.ca. 21 April 2019. Archived from the original on 2019-05-17. Retrieved 17 May 2019.
    "How-do-you-do, my name is Brian Dean. I build classical mandolin". Labraid.ca. Archived from the original on 2018-06-30. Retrieved 16 March 2018.
29. ^ "Yard Concert". Labraid.ca. Archived from the original on 2015-eleven-25.
30. ^ "Mandolin (neapolitan, Round Back, Basin Back...)". Archived from the original on 21 December 2014. Retrieved 21 December 2014.
31. ^ "Japanese Mandolin Makers". Mandolinluthier.com . Retrieved 21 Dec 2014.
32. ^ Dossena, Luigi (7 September 2014). "Historia et imago Cremae. La vita di Giovanni Vailati, il Paganini del mandolino: dai caffè cremaschi ai teatri d'Europa [translation: Historia et imago Cremae. The life of Giovanni Vailati, the Paganini of the mandolin: from the cremaschi cafés to the theaters of Europe]". cremonaonline.it . Retrieved 11 June 2018. ...on December 2, 1852 in Parma at the Regio theater he performed a single string music from his mandolin, on a Lombard-type mandolin inspired past sixteenth-century instruments withal unformed and rough. It was a soprano lute, very small, having the semblance of a paunchy one-half-egg which he later replaced with a mandolin inspired past Hispanic Bandurria- type models...
33. ^ ^{a b c d} "Milanese Mandolin Makers". Mandolinluthier.com . Retrieved 21 Dec 2014.
34. ^ ^{a b c} Sparks 2003, p. 206
35. ^ ^{a b c d e} Adelstein 1893, p. 14
36. ^ ^{a b} "Thread: Plans of Brescian mandolin..." Mandolin Cafe . Retrieved September 5, 2015.
37. ^ ^{a b c} Sparks 2003, p. 205
38. ^ ^{a b c d} Bortolazzi, Bartolomeo (1805). Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi (in German). Leipzig, Germany: Breitkopf and Härtell. p. 1.
39. ^ ^{a b} Midgley, Ruth, ed. (1997). Musical Instruments of the World . New York: Sterling Publishing Visitor, Inc. p. 188. ISBN0-8069-9847-4. ...half-dozen pairs of string, and a wider neck than the Neapolitan instrument...
40. ^ ^{a b} "Mandolin,19th century Italian". Metropolitan Museum of Art. Retrieved 4 April 2018. "mandola o mandolino alla Genovese", this mandoline has six pairs of gut strings, fifteen rosewood ribs, and mother-of-pearl and tortoiseshell inlays. It differs from other gut-strung mandolins in existence tuned an octave higher than the modern guitar (e, a, d', chiliad' b-natural, eastward") and having a guitar-like peg block
41. ^ ^{a b c} McDonald 2008, p. 16
42. ^ ^{a b} McDonald 2008, p. xviii
43. ^ "Stefan Sobell Guitars » Mandolins and Mandola". Sobellguitars.com . Retrieved 25 Apr 2019.
44. ^ McDonald 2008, p. 30
45. ^ ^{a b c} "Joseph Brent'south Brian N. Dean Grand Concert Mandolin". mandolincafe.org. 20 November 2011. Retrieved 29 May 2017. [He told the luthier:]..."I want to hear the wood, and not the metal." And, "I want it big and dark and loud, like the engine note on a Ford GT." ...I know there are lots of musicians like me who would honey the gamble to create an instrument that'due south more than geared to the music they're making...It'southward got a lot of crazy features, similar that aforementioned imitation back...
46. ^ ^{a b c} Speranski, Victor (Nov 2014). "The Russian Embergher". Retrieved 29 May 2017.
47. ^ Daniel, Bernie; Garber, Jimi. "Re: Avi Avital and the Arik Kerman mandolin". mandolincafe.org . Retrieved 29 May 2017. ...What is [the luthier] Kerman doing so unlike from the approach taken by American luthiers...The difference from the German models is that it has the sound holes on the edges and, fifty-fifty more than important(?) has a double top.
48. ^ "Joseph Brent'due south Brian N. Dean Grand Concert Mandolin". mandolincafe.org. 20 November 2011. Retrieved 29 May 2017. [Brent's musical instrument has] ...maple sides/false dorsum, spruce truthful back...It'southward got a lot of crazy features, like that aforementioned false back...
49. ^ Artist To Creative person: 10 Minutes With Avi Avital. The Bluegrass Special, January 2011 past Joe Brent.
50. ^ ^{a b} "Thread: Avi Avital and the Arik Kerman mandolin". mandolincafe.com . Retrieved September three, 2015. This thread digressed into the topic of Avi'southward Kerman, where information technology was established that information technology has a double height and a convex dorsum. … it looks like it is based on the modern German flatback as made past makers such every bit Seifert, a little deep-bodied. The difference from the German language models is that information technology has the sound holes on the edges and, even more important(?) has a double pinnacle.
51. ^ "Alon Sariel interview". Mandolin.org.uk . Retrieved September 3, 2015. What mandolins do you own? Which one(south) is(are) your favourite(s)? Whoever knows the Beer-Sheva schoolhouse of mandolin must have heard of the Israeli type of modern mandolins. A mandolin maker called Arik Kerman who lives in Tel-Aviv, invented a formula to brand the mandolin in a fashion for which information technology has a much of a circular and sweetness sound, and tin can easily produce a very soft sound other than the metallic Neapolitan one...
52. ^ "Instrumentarium". Alon Sariel – mandolinist, conductor, lutenist . Retrieved 16 March 2018.
53. ^ "Concert artists: Tom Cohen". frusion.co.uk . Retrieved September 3, 2015. The mandolin that Tom plays was built especially for him by Israeli creative person Arik Kerman and new instrument is currently existence built for, and inspired by him, by internationally-known luthier Boaz Elkayam.
54. ^ "The Irish Tenor Banjo past Don Meade" (PDF). blarneystar.com . Retrieved 16 March 2018.
55. ^ ^{a b c} Gregory, Alex. "Heavy Metallic Electric Mandolin, inventions". maestroalexgregory.com . Retrieved September 13, 2015.
56. ^ ^{a b} Jean Dickson, University at Buffalo (SUNY) (2006). "Mandolin Mania in Buffalo's Italian Community, 1895 to 1918" (PDF). Journal of Earth Anthropology: Occasional Papers. II (two): ane–15. Archived from the original (PDF) on 2015-04-02. Retrieved 2015-03-30 .
57. ^ Tsioulcas, Anastasia (2014-09-25). "Remembering Mandolin Hero U. Srinivas". NPR . Retrieved 2021-11-07 .
58. ^ Martin, Douglas (2014-10-01). "U. Shrinivas, 45, Indian Mandolin Virtuoso With Global Accomplish, Dies". The New York Times. ISSN 0362-4331. Retrieved 2021-11-07 .
59. ^ ^{a b} Sandberg, Erik (2002). "The Gimo Music Collection". ibiblio.org . Retrieved 26 September 2016.
60. ^ "Gamut Musical Strings Dwelling house Page". Daniellarson.com. Archived from the original on 4 Apr 2010. Retrieved 21 Dec 2014.
61. ^ "DawgTab". Mandozine.com. Archived from the original on 2012-06-19. Retrieved 2012-06-10 .
62. ^ Orchestral and Chamber Excerpts by Joseph Brent. Lulu. December 2007. ISBN9780615182254.
63. ^ "Work list". Rikuya Terashima. February 28, 2015. Retrieved February 7, 2018. マンドリンとピアノのためのソナタ (translation: Sonata for Mandolin and Piano)
64. ^ ^{a b c d e f g h i j k l thou north o p q r s t u 5 w} "Quintetto A Plettro "Raffaele Calace" Ensemble "Quadro Raro" – Serenata Veneziana With Mandolin". discogs.com . Retrieved 30 April 2019.
65. ^ ^{a b c d e} Sandberg, Eric. "The Gimo Music Collection". mutopiaproject.org . Retrieved 18 May 2019. Gimo 76: Thou. Cocchi, Allegro assai – Largo – Allegro (annotation: there are two mandolin parts, but they are near identical)
66. ^ ^{a b c d} Gimo-Samling: 18Th Century Sonatas & Trio Sonatas (album back cover). Centaur Records. Retrieved eighteen May 2019.
67. ^ Ficher, Schleifer & Furman 2002, pp. 47–48.
68. ^ Ficher, Schleifer & Furman 2002, p. 167.
69. ^ ^{a b c d} Braunstein, Joseph (1969). Mandolin Music, Beethoven, Hummel (Media notes). New York: Nonesuch Records. Retrieved 24 May 2019.

• Adelstein, Samuel (8 June 1893). "The Mandolin, One of the Sweetest Stringed Instruments". The Morning Call. San Francisco. Archived from the original on 15 March 2015. Retrieved 15 March 2015.
• Dumbrill, Richard J. (1998). The Archaeomusicology of the Aboriginal Near Due east. London: Tadema Printing.
• Ficher, Miguel; Schleifer, Martha Furman; Furman, John M., eds. (2002). Latin American Classical Composers: A Biographical Dictionary. Lanham, Maryland: Scarecrow Press. ISBN9781461669111.
• McDonald, Graham (2008). The Mandolin Project. Australia: Jamison, A.C.T., Graham McDonald Stringed Instruments. ISBN978-0-9804762-0-0.
• Sparks, Paul (2003). The Classical Mandolin. Oxford: Oxford University Press. ISBN9780195173376.
• Tyler, James; Sparks, Paul (1989). The Early Mandolin .
• Tyler, James; Sparks, Paul (1996). "The Mandolin: Its Structure and Operation (Sixteenth to Twentieth Centuries)". Performance Practice Review. nine (ii): 166–177. doi:x.5642/perfpr.199609.02.05.
• Woll, Alfred (2021). The Art of Mandolin Making. Welzheim: Mando. Edition MANDO – Edition MANDO Verlags-Bestellung

Farther reading [edit]

Chord dictionaries

• Johnson, Chad (2003). Hal Leonard Mandolin Chord Finder. United States: Hal Leonard. ISBN978-0-634-05422-8. A comprehensive chord dictionary.
• Major, James (2002). Mandolin Chord Book. United States: Music Sales Ltd. ISBN978-0-8256-2296-0. A example-mode chord dictionary.
• Richards, Tobe A. (2007). The Mandolin Chord Bible: 2,736 Chords. Great britain: Cabot Books. ISBN978-one-906207-01-4. A very comprehensive chord dictionary.

Method and instructional guides

• Bay, Mel (1987). Consummate Mandolin Method. United States: Mel Bay. ISBN978-0-87166-763-2. Instructional guide.

External links [edit]

Wikimedia Commons has media related to Mandolins.

• Accademia Mandolinistica Pugliese (Puglia-Italy)
• Mandolin at Curlie
• List of mandolin method books from 1629 to nowadays
• Listing of composers for the mandolin with more 1900 names. Includes mandolin solos, ensembles, concertos, chamber music, and bluegrass. Japanese website, merely needed parts are in English language
• Works for orchestras that contain small parts for mandolin. Japanese website, only needed parts are in English language.
• Works for mandolin or with major parts for mandolin.
• 19 works from Italian composers, during the mandolins first rise, copies from manuscript into modern notation.

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Source: https://en.wikipedia.org/wiki/Mandolin

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