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also known as the liuto moderno, had five courses of strings tuned in fifths to C C-G G-d d-a a-e' e'. It resembled the
Neapolitan mandolin, 39 inches long with 20 frets. Its music was written in the bass clef except for solo parts which were written as for the guitar in the treble clef (but sounding
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says the mandolones existed with six to eight courses of string pairs. David Betts, who has played a mandolone for the Munier
Mandolin & Guitar Orchestra in Philadelphia, said that fifths is the native tuning for the mandolone. He also said that is a likely reason for the instrument's decline.
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He quoted Paul Sparks as saying the four-course Roman mandolone was "usually referred to as a liuto." This was important because the instrument did not seem to match the music written for it, and that it is unclear whether "mandolone" refers to a large mandoline or the Roman instrument created by
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Besides the lesser range, compared to the mandocello, the mandolone was also a quieter instrument. This was a problem, because the other instruments making up the mandolin orchestras were getting louder. In regular orchestras, it had to be heard with violins, violas and cellos, which were getting
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The instruments longer scale length (longer than the mandocello or liuto) makes playing the instrument difficult. He said his orchestra intends to restring their mandolone, to tune it in fourths instead (which he says is standard with bass-family, stringed instruments).
211:. He said that the liola and mandolone were the same instrument, different from the liuto. The mandolone was a flat-backed, bass instrument, "much larger than the liuto" with "four heavy wound strings" tuned (in fourths) to A-D-G-c.
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Another way of tuning the mandolone has been written about by
Vincent Schisano. He indicates that a version of the instrument could have its strings tuned individually instead of in pairs, showing a tuning pattern D-E-F-B-E-G-C-F.
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Donald Gill pointed out that there is some uncertainty as to the exact nature of the instruments or what they were tuned to. He wrote about the 1989 book that James Tyler and Paul Sparks wrote together,
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James Tyler and Paul Sparks. The Early
Mandolin: the Mandolino and the Neapolitan mandoline. Early Music Series, 9. Oxford: Oxford University Press, 1989. x. 186p.
177:(Left): Mandolin Club of Brescia. Instruments are not named but are in the mandocello and bass ranges. Possible names for the instruments include mandolones or
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family, created in the 18th century. It is a bass range version of the
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playing an instrument identified as a mandolone restrung as a 12-string guitar, 1889
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19th–century mandolone exhibited at the
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The Early
Mandolin: the Mandolino and the Neapolitan mandolin.
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Site with good pictures of manolone, including side views.
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Page that shows mandoloncelle and mandolone from side.
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261:Musical Instruments of the World
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323:The Classical Mandolin
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622:National Reso-Phonic
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116:is a member of the
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526:Resonator mandolin
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415:Playing traditions
240:an octave lower).
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183:mandobasses
62:chordophone
60:(Composite
705:Categories
657:Tanglewood
481:Mandocello
263:, page 188
244:References
237:mandocello
122:mandocello
547:Breedlove
521:Orpharion
511:Mandriola
501:Mandolute
496:Mandolone
476:Mandobass
451:Bandurria
114:mandolone
95:Mandobass
69:Developed
17:Mandolone
680:Category
617:National
572:Giannini
567:Epiphone
552:Collings
441:Bandolin
386:Mandolin
278:Manolone
205:mandolin
118:mandolin
100:Mandolin
690:Commons
662:Weymann
642:Seagull
632:Ovation
582:Harmony
542:Beltona
506:Mandore
486:Mandola
461:Gittern
456:Cittern
446:Bandora
436:Bandola
410:Players
400:History
57:321.322
44:plucked
652:Tacoma
607:Martin
597:Ibanez
587:Hohner
577:Gibson
471:Laouto
711:Lutes
647:Stagg
637:Regal
602:Levin
209:liola
201:liuto
592:Hora
557:Dean
231:The
207:and
87:List
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313:^
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112:A
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