Greece in the early how to play bouzouki pdf it was modified by the addition of a staved back borrowed from the Neapolitan mandola, and the top angled in the manner of a Neapolitan mandolins so as to increase the strength of the body to withstand thicker steel strings. From a construction point of view, the bouzouki can have differences, not only in the number of strings but also in other features, e. These differences are determined by the manufacturer who in his experience and according to the sound that the instrument should make, modifies his functional elements to achieve a more acidic, deeper or heavier sound. The size and type of the speaker play a key role in the instrument’s tonicity, while the length of the hose and by extension the chords, make the difference in the instrument’s tonality.
Each hose length has a different width of braces since all bouzoukis’ have the same number of braces. The quality of the wood from which the instrument is made is of great importance to the sound. For the construction of the main body, mulberry, apricot, cherry, acacia, elm are considered to be the best woods with walnut, the plane tree, the chestnut tree being a bit inferior. The board’s wood must be solid, possessing those woods from slow growth trees. The lid plays major role in the sound because it throbs and strengthens and prolongs the pulse of the strings. Another factor that affects the quality of the sound is the glaze and the processing of the lustration. The best glaze is the natural one made of gummalaka, which is hand-woven in many layers in the traditional way.
So wood surfaces become more compact and more reflective, in addition to the best aesthetic effect. The hose must be of very dry and hardwood in order not to scratch and remove the strings from the fret board which as a result makes the instrument burly and difficult to play. To achieve this, the manufacturers use different techniques and each one has its own secrets. Some put a metal rod in the hose that can increase stamina but adds a lot of weight to the bouzouki. Such construction is the so-called “industrial” bouzouki. Iranian musician Abdollah Alijani Ardeshir playing prefesional with bouzouki.
320 BC, shows a muse playing a variant of the pandoura. Greece and Turkey, the ethnic Greeks fled to Greece. However it allowed for greater virtuosity and helped elevate the bouzouki into a truly popular instrument capable of a wide range of musical expression. Recently the three-course bouzouki has gained in popularity. The first recording with the 4-course instrument was made in 1956.
Two of these eight tuners are not strung. It has fixed frets and 6 strings in three pairs. The absence of the heavy mother-of-pearl ornamentation often seen on modern bouzoukia is typical of bouzoukia of the period. It has tuners for eight strings, but has only six strings, the neck being too narrow for eight. The luthiers of the time often used sets of four tuners on trichordo instruments, as these were more easily available, being also used on mandolins. In addition to developing the modern tetrachordo bouzouki, Manolis Hiotis was a pioneer the use of amplification for the instrument, which he may have been using as early as 1945. However, the earliest documented use of amplification for the bouzouki comes from a 1952 photograph, showing Vasilis Tsitsanis and Yiannis Papaioannou playing bouzoukis, each with an electric guitar-style pick-up attached in the soundhole.