music instruments bouzouki instrument baglama instrument tampoura instrument
the bouzouki story
In Greece, this instrument was known as the pandura or pandourion, also called the "trichordo" because it had three strings; it was the first fretted instrument known, forerunner of the various families of lutes worldwide. The source of our knowledge about this instrument is the Mantineia marble (4th century BC, now exhibited at the [[National Archaeological Museum of Athens]]), depicting the mythical contest between Apollo and[Marsyas, where a pandouris is being played by a muse seated on a rock.
From Byzantine times it was called the tambouras. The modern Turkish Tanbur is practically identical to the ancient Greek pandouris. On display in the National Historical Museum of Greece is the tambouras of a hero of the Greek War of Independence Greek revolution of 1821, General Makriyiannis. This tambouras bears the main morphological characteristics of the bouzouki used by the Rebetes.
The Turkish ''Baglama|saz'' belongs to the same family of instruments as the bouzouki. A medium-sized kind of saz is called a ''bozouk saz''. ''Bozuk'' in Turkish language Turkish means "broken, not functioning, modified." Here it is used in order to specify the size of the instrument. It is concluded, therefore, that the bouzouki has been named after the jargon of the Turkish saz. An alternative popular etymology maintains that the word ''bozouk'' was used because different tunings (the Turkish 'düzen') are required for the instrument to play in different musical scales known as Dromoi in Greek, Maqam (pl. Maqamat) in Arabic. A tuning known as the ''bozuk düzen'' (broken tuning) still exists in Greek folk music.
The bouzouki is also related to the Arabic ''buzuq''.
The early bouzoukia were mostly three-string ''trichordo'', with three courses six strings in three pairs and were tuned in different ways, as to the scale one wanted to play.
After the late 1950s, four-course ''Tetrachordo'' bouzoukia started to appear. The four-course bouzouki was made popular by Manolis Chiotis. Chiotis also used a tuning akin to standard guitar tuning, which made it easier for guitarists to play bouzouki, even as it angered purists.
The Irish bouzouki, with four courses, a flatter back, and differently tuned from the Greek bouzouki, is a more recent development, dating back to the 1960s.
The three-course bouzouki (trichordo)
This is the classical type of bouzouki, that was the mainstay of most Rebetiko music. It has fixed frets and it has 6 strings in three pairs. In the lower-pitched (bass) course, the pair consists of a thick wound string and a thin string tuned an octave apart. The conventional modern tuning of the trichordo bouzouki is Dd-aa-dd. This tuning was called the European tuning by Markos Vamvakaris, who described several other tunings, or douzenia, in his autobiography. The illustrated bouzouki was made by Karolos Tsakirian of Athens, and is a replica of a trichordo bouzouki made by his grandfather for[Markos Vamvakaris. The absence of the heavy mother of pearl ornamentation often seen on modern bouzoukis is typical of bouzoukis 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, since they were used on mandolins.
The Baglama
The little Greek '''Baglama''', named after the Turkish Bağlama is a version of the bouzouki pitched an octave higher (nominally D-A-D), with unison pairs on the four highest strings and an octave pair on the lower D. Musically, the baglama is most often found supporting the bouzouki in the ''Pireas'' style of Rembetika.
The body is often hollowed out from a piece of wood (skaftos construction) or else made from a gourd but there are also baglamas with staved backs. Its small size made it particularly popular with musicians who needed an instrument transportable enough to carry around easily or small enough to shelter under a coat. During parts of the 20th Century, players of the bouzouki and baglama were persecuted by the government, and the instruments were smashed by the police
From Byzantine times it was called the tambouras. The modern Turkish Tanbur is practically identical to the ancient Greek pandouris. On display in the National Historical Museum of Greece is the tambouras of a hero of the Greek War of Independence Greek revolution of 1821, General Makriyiannis. This tambouras bears the main morphological characteristics of the bouzouki used by the Rebetes.
The Turkish ''Baglama|saz'' belongs to the same family of instruments as the bouzouki. A medium-sized kind of saz is called a ''bozouk saz''. ''Bozuk'' in Turkish language Turkish means "broken, not functioning, modified." Here it is used in order to specify the size of the instrument. It is concluded, therefore, that the bouzouki has been named after the jargon of the Turkish saz. An alternative popular etymology maintains that the word ''bozouk'' was used because different tunings (the Turkish 'düzen') are required for the instrument to play in different musical scales known as Dromoi in Greek, Maqam (pl. Maqamat) in Arabic. A tuning known as the ''bozuk düzen'' (broken tuning) still exists in Greek folk music.
The bouzouki is also related to the Arabic ''buzuq''.
The early bouzoukia were mostly three-string ''trichordo'', with three courses six strings in three pairs and were tuned in different ways, as to the scale one wanted to play.
After the late 1950s, four-course ''Tetrachordo'' bouzoukia started to appear. The four-course bouzouki was made popular by Manolis Chiotis. Chiotis also used a tuning akin to standard guitar tuning, which made it easier for guitarists to play bouzouki, even as it angered purists.
The Irish bouzouki, with four courses, a flatter back, and differently tuned from the Greek bouzouki, is a more recent development, dating back to the 1960s.
The three-course bouzouki (trichordo)
This is the classical type of bouzouki, that was the mainstay of most Rebetiko music. It has fixed frets and it has 6 strings in three pairs. In the lower-pitched (bass) course, the pair consists of a thick wound string and a thin string tuned an octave apart. The conventional modern tuning of the trichordo bouzouki is Dd-aa-dd. This tuning was called the European tuning by Markos Vamvakaris, who described several other tunings, or douzenia, in his autobiography. The illustrated bouzouki was made by Karolos Tsakirian of Athens, and is a replica of a trichordo bouzouki made by his grandfather for[Markos Vamvakaris. The absence of the heavy mother of pearl ornamentation often seen on modern bouzoukis is typical of bouzoukis 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, since they were used on mandolins.
The Baglama
The little Greek '''Baglama''', named after the Turkish Bağlama is a version of the bouzouki pitched an octave higher (nominally D-A-D), with unison pairs on the four highest strings and an octave pair on the lower D. Musically, the baglama is most often found supporting the bouzouki in the ''Pireas'' style of Rembetika.
The body is often hollowed out from a piece of wood (skaftos construction) or else made from a gourd but there are also baglamas with staved backs. Its small size made it particularly popular with musicians who needed an instrument transportable enough to carry around easily or small enough to shelter under a coat. During parts of the 20th Century, players of the bouzouki and baglama were persecuted by the government, and the instruments were smashed by the police
