A mandolin is a musical instrument in the lute family (plucked, or strummed). It is descended from the mandore, a soprano member of the lute family. It has a body with a teardrop-shaped soundboard, or one which is essentially oval in shape, with a soundhole, or soundholes, of varying shapes which are open and are not decorated with an intricately carved grille like the Baroque era mandolins.
Originally mandolins had six double courses of gut strings tuned similarly to lutes, and plucked with the fingertips, while the design common today has eight metal strings in four pairs (courses) which are plucked with a plectrum. The latter originated in Naples, Italy during the 3rd quarter of the 18th century.
There were and still are many variants. These include Milanese, Lombard, Brescian and other 6-course types, as well as four-string (one string per course), twelve-string (three strings per course), and sixteen-string (four strings per course).
A mandolin's typically hollow wooden body has a neck with a flat (or slight radius) fretted fingerboard, a nut and floating bridge, a tailpiece or pinblock at the edge of the face to which the strings are attached, and mechanical tuning machines, rather than friction pegs, to accommodate metal strings. Like the guitar, the mandolin has relatively poor sustain; that is, the sound from a plucked string decays quickly. A note cannot be maintained for an arbitrary length of time as with a bowed note on a violin. Its small size and higher pitch makes this problem more severe than with the guitar, and the use of tremolo (rapid picking of one or more pairs of strings) is often used to create a sustained note or chords. This technique works particularly well with a mandolin's paired strings, where one of the pair is sounding while the other is being struck by the pick, giving a more rounded and continuous sound than is possible with a single coursed instrument.
The small body also contributes to a relatively low sound volume relative to other instruments. Various amplification techniques have been used to overcome this. Hybridization with the louder banjo creates the banjo mandolin, and resonators have been used, most notably by Dobro and the National String Instrument Corporation. Some musicians will even use electric mandolins played through guitar amplifiers.
Mandolins come in several forms. The Neapolitan style, known as a round-back or bowl-back (or "tater-bug", colloquial American) has a vaulted back made of a number of strips of wood in a bowl formation, similar to a lute, and usually a canted, two-plane, uncarved top. Another form has a banjo-style body.
At the very end of the nineteenth century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments, especially in the United States. This new style is credited to mandolins designed and built 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 scroll near the neck, two points on the lower body, and usually a scroll 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 an oval sound hole (F-4 and A-4 and lower models) directly under the strings. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. The Gibson F-hole F-5-style mandolins have come to be considered the most typical and traditional for playing American bluegrass music, while the A-style is generally more associated with Irish, folk, or classical music. The more complicated woodwork also translates into a more expensive instrument.
Internal bracing in the F-style mandolins was usually achieved with parallel tone bars, similar to a violin's bassbar. Some makers instead employ "x-bracing" which is simply two tone bars mortised to each other to cross into an X supporting the top. Some luthiers are now using a "modified x-bracing", which incorporates both a tone bar and x-bracing.
Numerous modern mandolin makers build instruments which are largely replicas of the Gibson F-5 Artist 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 American-made variants include the Howe-Orme guitar-shaped mandolin (manufactured by the Elias Howe Company between 1897 and roughly 1920), which featured a cylindrical bulge along the top from fingerboard end to tailpiece; the Army-Navy style with a flat back and top; and the Vega mando-lute (more commonly called a cylinder-back mandolin manufactured by the Vega Company between 1913 and roughly 1927), which had a similar longitudinal bulge but on the back rather than the front of the instrument.
As with almost every other contemporary string instrument, another modern variant is the electric mandolin. These mandolins can have four (single), five (single) or eight (double) strings.
Further back, dating to around 15,000 BC to 8,000 BC, single-stringed instruments have been seen in cave paintings and murals. They were struck, plucked, and eventually bowed. From these, the families of stringed instruments developed. Single strings were long and gave a single melody line. To shorten the scale length, other strings were added with a different tension and pitch so one string took over where another left off. In turn, this led to being able to play dyads and chords. The bowed family became the rabob, and then the rebec fiddle, evolving into the modern violin family by 1520 (incidentally also in Italy). The plucked family led to lute-like instruments in 2000 BC Mesopotamia, and developed into the oud or ud before appearing in Spain, first documented around 711 AD, courtesy of the Moors.
Over the next centuries, the strings were doubled to courses, and eventually (in Europe) frets were added, leading to the first lute appearing in the thirteenth century. The history of the lute and the mandolin are intertwined from this point. The lute gained a fifth course by the fifteenth century, a sixth a century later, and up to thirteen courses in its heyday. As early as the fourteenth century a miniature lute or mandora appeared. Similar to the mandola, it had counterparts in Assyria (pandura), the Arab countries (dambura), and Ukraine (kobza-bandura). From this, the mandolino (a small gut-strung mandola with six strings tuned g b e' a' d g sometimes called the Baroque mandolin and played with a quill, wooden plectrum or finger-style) was developed in several places in Italy. The mandolino was sometimes called a mandolin in the early eighteenth century (around 1735) Naples. At this point, all such instruments were strung with gut strings.
The first evidence of modern steel-strung mandolins is from literature regarding popular Italian players who traveled through Europe teaching and giving concerts. Notable is Signor Leone and G. B. Gervasio who traveled widely between 1750 and 1810. This, with the records gleaned from the Italian Vinaccia family of luthiers in Naples, Italy, lead some musicologists to believe that the modern steel-strung mandolin was developed in Naples by the Vinaccia family. Gennaro Vinaccia was active circa 1710 to circa 1788, and Antonio Vinaccia was active circa 1734 to circa 1796. An early extant example of a mandolin is one built by Antonio Vinaccia in 1772 which resides at the Victoria and Albert Museum in London, England. Another is by Giuseppe Vinaccia built in 1763, residing at the Kenneth G. Fiske Museum of Musical Instruments in Claremont, California. The earliest extant mandolin was built in 1744 by Gaetano Vinaccia. It resides in the Conservatoire Royal de Musique in Brussels, Belgium.
These early mandolins are termed Neapolitan mandolins, because of their origin from Naples. They are distinguished by an almond-shaped body with a bowled back which is constructed from curved strips of wood along its length. The soundtable is bent just behind the bridge, the bending achieved with a heated bending iron. This "canted" table aids the body to support a greater string tension. A hardwood fingerboard is flush with the soundtable. Ten metal or ivory frets are spaced along the neck in semitones, with additional frets glued upon the soundtable. The strings are brass except for the lowest string course which are gut or metal wound onto gut. The bridge is a movable length of hardwood or ivory placed in front of ivory pins which hold the strings. Wooden tuning pegs are inserted through the back of a flat pegboard. The mandolins have a tortoise shell pickguard below the soundhole under the strings. A quill or shaped piece of tortoise shell is used as a plectrum.
Other luthiers who built mandolins included Calace (1863 onwards) in Naples, Luigi Embergher (1856–1943), the Ferrari family (1716 onwards, also originally mandolino makers), and De Santi (1834–1916) in Rome. The Neapolitan style of mandolin construction was adopted and developed by others, notably in Rome, giving two distinct but similar types of mandolin — Neapolitan and Roman.
The twentieth century saw the rise in popularity of the mandolin for Celtic, bluegrass, jazz, and classical styles. Much of the development of the mandolin from Neapolitan bowl-back to the flat-back style (actually, gently rounded and carved like a violin) is attributable to Orville Gibson (1856–1918). See above.
Other tunings exist, including "cross-tunings" in which the usually doubled string runs are tuned to discrete pitches. Additionally, guitarists may sometimes tune a mandolin to mimic a portion of the intervals on a standard guitar tuning to achieve familiar fretting patterns.
The mandolin is the soprano member of the mandolin family, as the violin is the soprano member of the violin family. Like the violin, its scale length is typically about 13 inches (330 mm). Modern American mandolins modeled after Gibsons have a longer scale, about 13-7/8" (352mm).
Other members of the mandolin family are:
Mandolins were a fad instrument from the turn of the century to the mid-twenties. Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often these teacher-dealers would conduct mandolin orchestras: groups of 4-50 musicians who would play various mandolin family instruments together. One musician and director who made his start with a mandolin orchestra was pioneer African-American composer James Reese Europe. The instrument was primarily used in an ensemble setting well into the 1930s, although the fad died out at the beginning of the 1930s; the famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. The true destiny of the "Loar" as the defining instrument of bluegrass music didn't appear until Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization which represents these groups is the Classical Mandolin Society of America.
Single mandolins were first used in southern string band music in the 1930s, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders. Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys which had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
The other major original bluegrass stylists, both emerging in the early 1950s and active still, are generally acknowledged to be Jesse McReynolds (of Jim and Jesse) who invented a syncopated banjo-roll style of crosspicking and Bobby Osborne of the Osborne Brothers, who is a master of clarity and sparkling single-note runs. Highly-respected and influential modern bluegrass players include Herschel Sizemore, Doyle Lawson, and the multi-genre Sam Bush, who is equally at home with old-time fiddle tunes, rock, reggae, and jazz. Ronnie McCoury of the Del McCoury Band has won numerous awards for his Monroe-influenced playing. The late John Duffey of the original Country Gentlemen and later the Seldom Scene did much to popularize the bluegrass mandolin among folk and urban audiences, especially on the east coast and in the Washington, D.C. area.
Jethro Burns, best known as half of the comedy duo Homer and Jethro, was also the first important jazz mandolinist. Tiny Moore popularized the mandolin in Western swing music. He initially played an 8-string Gibson but switched after 1952 to a 5-string solidbody electric instrument built by Paul Bigsby. Modern players David Grisman, Sam Bush, and Mike Marshall, among others, have worked since the early 1970s to demonstrate the mandolin's versatility for all styles of music. Chris Thile of California is a well known player; the band Nickel Creek features his playing in its blend of traditional and pop styles.
Some rock musicians use mandolins, typically single-stringed electric models rather than double-stringed acoustic mandolins. One example is Tim Brennan of the Irish-American punk rock band Dropkick Murphys. In addition to electric guitar, bass, and drums, the band uses several instruments associated with traditional Celtic music, including mandolin, tin whistle, and Great Highland bagpipes. The band explains that these instruments accentuate the growling sound they favor. Levon Helm of The Band occasionally moved from his drum kit to play mandolin, most notably on 'Evangeline' and 'Rockin' Chair. The 1991 R.E.M. hit "Losing My Religion" also featured a simple mandolin lick played by guitarist Peter Buck, who also played the mandolin in nearly a dozen other songs. Rod Stewart's still-played 1971 hit "Maggie May" features a significant mandolin riff in its motif. Every song on Mark Heard's final album, 1992's Satellite Sky, was written on a mandolin, Heard's antique National Silvo electric mandolin was prominently featured on every track of the recording. Jack White of The White Stripes played mandolin for the film Cold Mountain, and plays mandolin on the song "Little Ghost" on the White Stripes album Get Behind Me Satan; he also plays mandolin on "Prickly Thorn, But Sweetly Worn" on "Icky Thump". David Immerglück of the Counting Crows, Monks of Doom, and Glider is also known to feature the mandolin in many of his recordings, especially those with the Counting Crows. Rock superstar Tommy Shaw of STYX has used the mandolin in the their international hit "Boat on the River" (1979) and on the Shaw/Blades album Influence in the song "Dance with Me". The Country band Sugarland's own Kristian Bush has been known to play the mandolin from time to time. Pop rock band Green Day has used a mandolin in several occasions, especially on their 2000 album, Warning. Boyd Tinsley, violin player of the Dave Matthews Band has been using an electric mandolin since 2005. Nancy Wilson, rhythm guitarist of Heart, uses a mandolin in Heart's Dream Of The Archer from the album Little Queen, as well as in Heart's cover of Led Zeppelin's song Battle Of Evermore. Mandolin has also been used in blues music, such as by Johnny 'Man' Young and Gerry Hundt.
Very rarely mandolins are played with bottlenecks or slides. Sam Bush plays with a slide, mostly on a four string mandolin.
Although almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. Greatly preferred are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s. Noteworthy Irish mandolinists include Andy Irvine (who almost always tunes the E down to D), Mick Moloney, Paul Kelly, and Claudine Langille. John Sheahan and Barney McKenna, fiddle player and tenor banjo player respectively, with The Dubliners are also accomplished Irish mandolin players. The Dubliners 'Live at the Gaiety' DVD features an extensive mandolin duet of a three-tune 'set', two hornpipes and a reel. The instruments used are flat-backed, oval hole examples as described above: in this case made by UK luthier Fylde. The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song 'Going To My Hometown'.
The mandolin is used almost exclusively as a melody instrument in Brazilian folk music - the role of chordal accompaniment being taken over by the cavaquinho and nylon-strung violão, or Spanish-style guitar. Its popularity, therefore, has risen and fallen with instrumental folk music styles, especially choro. The later part of the 20th century saw a renaissance of choro in Brazil, and with it, a revival of the country's mandolinistic tradition.
On the island of Crete, along with the lyra and the laouto, the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the mantola, were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpougari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
Western mandolinists tend to like solos, duets, trios, quartets, or concertos performed by few players, but nearly all Japanese mandolinists prefer orchestras with many players, perhaps reflecting Japanese cultural tendencies. These orchestras can consist of up to 40 or even 50 members, and may include wind or percussion instruments.
Jiro Nakano (1902-2000) arranged many of the Italian works for regular orchestras or winds composed before World War II as new repertoires for Japanese mandolin orchestras.
Original compositions for mandolin orchestras were composed after World War II. Seiichi Suzuki (1901-1980), who is renowned as the composer for early Kurosawa films, composed many symphonic poems for mandolin orchestras; his works have quite a Japanese flavor. Hiroshi Ohguri (1918-1982) was influenced by Béla Bartók, so his works are powerful and quite racial. They were representative of contemporary Japanese composers who also composed many works out of mandolins. Yasuo Kuwahara (1946-2003) succeed to their exotic worlds by the German techniques.
Hiroyuki Fujikake (1949- ) introduced swings or counterpoints or the chords from folk guitars to compose new works for mandolin orchestras, which caught on with Japanese mandolinists. Yoshinao Kobayashi (1961- ), Hidenori Yoshimizu (1961- ), Hiromitsu Kagajo (1961- ), and many other amateur composers have imitated Fujikake in this way.
Another trend of Japanese mandolin music is to perform arrangements of famous classic works originally for regular orchestras. Tadashi Hattori (1908-2008), Jun Akagi (1919-2007), and Takashi Kubota (1942- ) have added many such arrangements as new repertoires for mandolin orchestras.
Japanese mandolinists tend to like melodic works mainly performed by trembles, but they are poor at rhythmic works mainly performed by pickings, due to the peculiar condition of Japanese musical education. Japan adopted education in Western music following the Meiji Restoration in 1868. However, their government ill-advisedly separated songs from musics including dances, and they taught their people only songs as the Western music in schools. The Japanese loved melodic Italian works, but could not understand rhythmic compositions originally created for dances.
METHOD & INSTRUCTIONAL GUIDES