MANDOLIN TYPES
WHICH TENOR MODEL SHOULD I PLAY?
“I’m a farmer with a mandolin and a high tenor voice.” -Bill Munroe
The mandolin, often written in French way “mandoline”, encompasses four pairs of metal strings utilizing the tuning of perfect intervals. The first set of strings are tuned to “E” unisons on E2 above middle C. The second pair of strings are tuned to A above middle C. The third pair of stings are tuned to D above middle C, and the 4th pair of strings are tuned G below middle C. The strings are then established as E-1, A-2, D-3, G-4.
The mandolin is essentially a melodic type of instrument like the violin and sustains long notes by the rapid succession of the technique called “tremolando”. This tremolando is produced by using a ‘pick’, made of plastic to strike both strings of either one set or all the four strings in a rapid up and down motion. The traditional mandolin pick was a pliable plectrum made from tortoiseshell, whalebone, horn, or ostrich quill, which is held in the right hand with the left hand being employed to stop the strings, for which purpose there are seventeen frets across the fingerboard.
There are basically three types of mandolins. They are the American Mandolin, the Neapolitan Mandolin and the Portuguese Mandolin.
The American mandolin is basically pear-shaped. Most follow Gibson’s arched-top model of the early 1900’s, with carved plates, round or F-shaped sound holes, and ‘sunburst’ finish.
Some mandolins have “cut-away “shoulders (giving a pointed appearance, as in many guitars), and then have 24 frets, reaching E’’’’’. There are also electric mandolins with pick-ups and tone-controls.
The Neapolitan Mandolin is round-backed. It is the older form, with a deep rounded body (13” long), built up in a lute fashion with many ribs. It is most often made using rosewood; older ones are maple and satinwood. The belly is very slightly convex and bends inward at the level of the bridge and at an angle of about 10 degrees. The low bridge is normally held in position by the pressure of the strings, which are fastened at the foot of the body. The fingerboard has 17 frets (the tenth fret at the end of the body), bringing the compass up to “A”.
The Portuguese Mandolin is flat backed. It is composed of the top, back and sides like a guitar. The pear-shaped outline is broader than in the preceding American mandolin, but the volume of the internal air-deep space comes to be much the same. Some of the prettiest designs are equipped with a black and white ‘barber’s pole’ inlay around the edge of the instrument.
The mandolin is characteristically used in traditional folk music. The flat-backed designs are better suited for this style of music, being that the sound produced is brighter and are far easier to hold, especially if the performer is standing.
Most solo mandolin performers of the last sixty years preferred the American design mandolin. Among these artists are Dave Apollon of the 1930’s, and the father of the Blue Grass, Bill Munroe.
In the Neapolitan design, the mandolin was also scored in orchestral music. Given the abrupt sound of the mandolin, and an ownership to orchestral colors of its own sound, the mandolin was introduced as a solo instrument in orchestral works. Thus, composers such as Mahler, at the end of “Das lied non der Erda, Schoenberg, “Serenade, Opus 24”, “Moses Und Aron”, Weber in “Barcarolle from Oberon”, Webern in “Five Pieces for Orchestra, Opus 10”, and Stravinsky in “The Gillard in Agnon” utilized the mandolin as an orchestral instrument.
The style of music to be played will determine the choice of mandolin but whatever the choice, the mandolin is a versatile and enjoyable instrument to play.
Flavio and Louise Cianflone
Music Transcends All Life Publication
Flavio Cianflone (Nanaimo)
B.Sc. Ed. M.Ed. P.B.C.E.
COPYRIGHT DISCLOSURE
“All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recorded, scanning, displaying, modifying, republication, republishing, posting on any website, platform, social media, RSS feeds or otherwise without the prior written permission of the publisher or author.” — Copyright 2021, Flavio & Louise Cianflone Music Transcends All Life Publication
DISCLAIMER
While the designers, contributors, and author have used their best efforts in preparing this publication, they make no warranty or representation with respect to accuracy or completeness of the contents of this material and specifically disclaim any implied warranties of merchantability, finances, personal or medical remedy for a particular purpose. It is further acknowledged that no warranty, of any kind, may be created or extended by any written sales materials or sales representatives.
The advice and strategies contained herein might not be suitable for your situation and do contain risk including the risk of loss. You should always consult with a financial, medical, or legal professional where appropriate before undertaking any action and users of this material assume all risk. Neither the designers, editors, contributors nor the author shall be liable for any loss of profit or any other commercial damages, including but not limited to financial, special, incidental, consequential or other damages.
