528:
same number of frets (27), spaced such as to provide a chromatic scale in 12-tone equal temperament. On modern instruments the frets are metal, and set into a fixed position in the fingerboard (in contrast to early instruments and the related baglama, in which frets were of gut or cord tied onto the neck, and moveable.) The quality of the wood from which the instrument is made is of great importance to the sound. For the construction of the bowl, mulberry, apricot, cherry, acacia, and elm are considered to be the best woods, with walnut, plane, and chestnut being slightly inferior. The wood must be solid and sourced from slow-growth trees. The top or soundboard should be cedar or spruce (preferably spruce) if possible, cut in one piece. The top plays a major role in the sound because it resonates and strengthens and prolongs the vibration of the strings. Another factor that affects the quality of the sound is the varnish and the method of its application. The best varnish is a natural one made of
507:
695:
532:, which is applied by hand in many layers in the traditional way, for both acoustic and visual effects. The neck must be of very dry hardwood in order not to warp and increase the distance of the strings from the fret board (the action height) which makes playing the instrument more laborious. Manufacturers use different techniques to achieve this, each one having its own secrets. Many modern instruments have a metal rod or bar (
614:
38:
655:, who also used a tuning akin to standard guitar tuning, which made it easier for guitarists to play bouzouki; this angered purists, but 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 four-course instrument was made in 1956.
1072:
402:
755:. 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.
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545:
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840:
Tsitsanis and
Yiannis Papaioannou playing bouzoukis, each with an electric guitar-style pick-up attached in the soundhole. There are also numerous photographs between 1953 and 1959 showing bands in which both vocalists and bouzouki players are using microphones for amplification. By 1960 special bouzouki pickups (such as the
706:
This is the classic style of bouzouki, introduced around 1900, that was the mainstay of most rebetiko music. It has fixed frets and 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
527:
The size and type of the resonating body largely determine the instrument's timbre, while the length of the neck, and by extension the strings, determines the instrument's pitch range, as well as influencing the timbre. While neck length can vary from instrument to instrument, most bouzoukis have the
839:
In addition to developing the modern tetrachordo bouzouki, Manolis Hiotis was a pioneer of 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
886:. It is tuned the same as the trichordo bouzouki but 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 baglamas is most often found supporting the bouzouki in the
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523:
or slices of the bowl) etc. 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 piercing, deeper or heavier sound.
827:, who found it better suited to the kind of virtuoso playing he was famous for. Today, the tetrachordo is the most common bouzouki used in Greek music, though a few traditionalists still prefer the trichordo, particularly for the older
518:
From a construction point of view, the bouzouki can have differences not only in the number of strings but also in other features, e.g. neck length, width, height, depth of the bowl or main body, the width of the staves (the wooden
823:). These 'octave strings' add to the fullness of the sound and are used in chords and bass drones (continuous low notes that are played throughout the music). The guitar-like tuning was introduced by composer and soloist
651:) and were tuned in different ways, according to the scale one wanted to play. At the end of the 1950s, four-course (tetrachordo) bouzoukia started to gain popularity. The four-course bouzouki was made popular by
84:
1355:
662:, with four courses, a flatter back, and differently tuned from the Greek bouzouki, is a more recent development, stemming from the introduction of the Greek instrument into Irish music by
1235:
972:
967:
844:"Ideal") were being produced and permanently mounted in the instruments. Similar pickups are widely used by several Greek artists today and come in active and passive versions.
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380:, 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. The type of the instrument used in
1714:
536:) set into a channel in the neck, under the fingerboard, which adds some weight but increases rigidity, and allows adjustment of the neck should it begin to warp.
286:, an instrument derived from the Greek bouzouki that is popular in Celtic, English, and North American folk music. There are two main types of Greek bouzouki: the
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apart. On the bouzouki the lower-pitched string comes first in these courses, the reverse of most other instruments with octave-paired courses (such as the
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music was a three-course instrument with three pairs of strings, but in the 1950s a four-course variety was developed and was made popular by
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This type of bouzouki has 8 metal strings, which are arranged in 4 pairs, known as courses, typically tuned C
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270:. It is a member of the long-necked lute family, with a round body with a flat top and a long neck with a
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Pennanen, Riso Pekka; "The organological development and performance practice of the Greek bouzouki";
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803:) courses, the two strings of the pair are tuned to the same note. In the two lower-pitched (
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Gauntlett, Stathis; "Orpheus in the criminal underworld. Myth in and about rebetika";
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The Greek bouzouki is a plucked musical instrument of the lute family, called the
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88:(string instrument with a pear-shaped body and a long neck, played with plectrum)
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1932:
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807:) courses, the pair consists of a thick wound string and a thin string tuned an
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583:), dating from 330–320 BC, shows a muse playing a variant of the pandoura.
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302:) has four pairs of strings. The instrument was brought to Greece in the early
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372:. Originally the body was carved from a solid block of wood, similar to the
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genre and its music branches. It is now an important element of modern
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1396:, Escorial version, vv. 826–827, ed. and transl. Elizabeth Jeffrey.
739:, who mentioned (but failed to describe) several other tunings, or
674:, and many others, although some Irish musicians, such as the late
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are the direct descendants. The Greek marble relief, known as the
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The Greek
Bouzouki Chord Bible: CFAD Standard Tuning 1,728 Chords
2404:
2143:
1756:
1504:"CLIO History Journal - A History of the Bouzouki and its Music"
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271:
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2198:
1696:
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743:, in his autobiography. The illustrated bouzouki was made by
395:
348:, meaning "broken" or "modified", and comes from a particular
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Other sizes have appeared and include the Greek instrument
225:
187:
1606:; Canberra: Australian Folk Trust; 34:Dec. 1991b. pp. 7–48
1408:; Columbia DG 7229; matrix CG 3438, recorded June 16, 1956
358:, which was commonly used on its Turkish counterpart, the
196:
636:, an instrument smaller in size than standard bouzoukia.
1587:
Folklore and populism: The 'greening' of the Greek blues
1236:
The
American Heritage Dictionary of the English Language
294:) has three pairs of strings (known as courses) and the
795:(i.e., one whole step below the four high strings of a
274:
fingerboard. It has steel strings and is played with a
1641:
Brief
History of Bouzouki Instrument in Greek Language
184:
178:
1380:, Oxford University Press, 2008, p.928; confer also
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bouzouki. Two of these eight tuners are not strung.
314:, and quickly became the central instrument to the
278:producing a sharp metallic sound, reminiscent of a
228:
199:
175:
104:
92:
78:
52:
44:
1591:Proceedings of the Fourth National Folk Conference
735:. This tuning was called the "European tuning" by
1376:Elizabeth Jeffreys, John Haldon, Robin Cormack,
1271:: CS1 maint: bot: original URL status unknown (
678:, continued to use the Greek-style instruments.
364:. It is in the same instrumental family as the
1568:
1566:
1327:"Kacoyannakis.com - Greek Musical Instruments"
563:or tambouras family. The tambouras existed in
282:but pitched lower. It is the precursor to the
2214:
1708:
645:population exchange between Greece and Turkey
639:The bouzouki arrived in Greece following the
359:
353:
343:
8:
666:around 1965. It was subsequently adopted by
30:
1660:Markos Vamvakaris: The Man and the Bouzouki
1643:(Greek ed.). New York: Seaburn Books.
1261:. Archived from the original on 2012-02-09.
430:. Unsourced material may be challenged and
257:
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2199:
2092:
1922:
1915:
1752:
1734:
1715:
1701:
1693:
100:C3 – E6 (tetrachordo), D3 – E6 (trichordo)
494:Learn how and when to remove this message
1576:, 2nd ed.; Athens: Kedros, 1979. p. 488.
1382:Nikos Maliaras, Byzantina mousika organa
1378:The Oxford Handbook of Byzantine Studies
612:
581:National Archaeological Museum of Athens
550:Museum of Greek Folk Musical Instruments
1165:
1604:Mandaforos deltio neoellinikon spoudon
1460:: CS1 maint: archived copy as title (
1453:
1264:
29:
882:) is very different from the Turkish
751:bouzouki made by his grandfather for
244:
7:
600:National Historical Museum of Greece
428:adding citations to reliable sources
1639:Stathakopoulos, Dimitrios (2014).
759:Four-course bouzouki (tetrachordo)
627:National Historical Museum, Athens
602:is the tambouras of a hero of the
25:
1684:Greek Bouzouki musical instrument
747:of Athens, and is a replica of a
698:A close up of the headstock of a
682:Three-course bouzouki (trichordo)
27:Greek plucked stringed instrument
1070:
1056:
400:
218:
165:
36:
1624:. United Kingdom: Cabot Books.
80:Hornbostel–Sachs classification
799:). In the two higher-pitched (
48:Buzuki, trichordo, tetrachordo
1:
1239:(5th ed.). HarperCollins
1589:; in Margaret Clarke (ed.),
1434:Interview with Andy Irvine:
1352:"instruments-museum, Greece"
2532:Cypriot musical instruments
1658:Vamvakaris, Markos (2015).
1148:Stringed instrument tunings
641:1919–1922 war in Asia Minor
579:Base (now exhibited at the
2568:
1620:Richards, Tobe A. (2007).
1179:Collins English Dictionary
851:
590:times it was called first
2552:Turkish words and phrases
2537:Greek musical instruments
1724:Greek musical instruments
879:
867:
258:
241:
111:
99:
60:Plucked string instrument
35:
1688:Encyclopaedia Britannica
690:Greek trichordo bouzouki
2323:Irish traditional music
1529:"Irish Bouzouki Tuning"
1213:Oxford University Press
2347:Celtic music in the US
2303:Celtic music in Canada
1560:; 1981:4, pp. 179–180.
1302:"Bouzouki name origin"
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691:
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360:
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344:
1476:"Alec Finn interview"
1209:UK English Dictionary
697:
689:
616:
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1593:: 1991a. pp. 86–91.,
1585:Gauntlett, Stathis;
1572:Petropoulos, Ilias;
1288:, Issues 2–4, 1984,
1119:, another Greek lute
993:Giannis Tatasopoulos
608:General Makriyiannis
598:. On display in the
424:improve this section
2340:Scottish folk music
2276:Regions and nations
1554:Rebetiki anthologia
1533:Mandolinluthier.com
983:Giannis Papaioannou
973:Charis Lemonopoulos
890:style of rebetiko.
848:Related instruments
643:and the subsequent
510:Bouzouki player in
106:Related instruments
32:
2547:String instruments
1662:. greeklines.com.
1574:Rebetika tragoudia
1552:Shorelis, Tasos; "
1419:Polyphonia Journal
1286:Musical Traditions
1043:Mihalis Genitsaris
1008:Vassilis Tsitsanis
968:Apostolos Kaldaras
831:style of playing.
704:
692:
630:
623:Yannis Makriyannis
557:
516:
378:Neapolitan mandola
264:musical instrument
71:String instruments
2542:Necked bowl lutes
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2298:Cape Breton music
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1886:
1885:
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1820:
1631:978-0-9553944-8-5
1480:Paulmagnussen.com
1390:978-960-7554-44-4
1013:Markos Vamvakaris
988:Spyros Peristeris
753:Markos Vamvakaris
745:Karolos Tsakirian
737:Markos Vamvakaris
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350:re-entrant tuning
252:
246:[buˈzuki]
210:
157:
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66:Necked bowl lutes
16:(Redirected from
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2293:Cantabrian music
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1331:Kacoyannakis.com
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1097:Greek folk music
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1061:
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1023:Giorgos Zambetas
943:Angelo Avramakis
881:
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813:12-string guitar
604:Greek revolution
548:Bouzouki in the
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2178:Byzantine music
2168:Music of Greece
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1957:
1948:Macedonian lyra
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1614:Further reading
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1437:"Archived copy"
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1421:; Spring 2009;
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1394:Digenis Akritas
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1358:on 4 March 2016
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1138:Octave mandolin
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998:Vangelis Trigas
948:Manolis Chiotis
938:
936:Notable players
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653:Manolis Chiotis
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2445:Welsh bagpipes
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2440:Uilleann pipes
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2410:Irish bouzouki
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2335:Scottish music
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2313:Galician music
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2283:Asturian music
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2491:Piobaireachd
2476:Cymanfa Ganu
2466:Barzaz Breiz
2288:Breton music
2257:Celtic metal
2247:Celtic chant
2230:Celtic music
2188:Greek dances
2045:Askomandoura
1968:
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1508:the original
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1087:Celtic music
1064:Music portal
880:μπαγλαμαδάκι
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2368:Instruments
2352:Welsh music
2318:Irish music
2267:Celtic rock
2262:Celtic punk
1938:Pontic lyra
1933:Cretan lyra
1873:Water organ
1556:"; Athens:
1102:Greek music
1033:Frank Zappa
978:Colin Meloy
872:baglamadaki
672:Dónal Lunny
668:Andy Irvine
514:, July 2018
355:bozuk düzen
324:Greek music
300:four-course
296:tetrachordo
266:popular in
45:Other names
2526:Categories
2506:Strathspey
2501:Sea shanty
2481:Cynghanedd
2471:Cerdd Dant
2435:Welsh Harp
2415:Irish harp
2395:Concertina
2330:Manx music
2122:Idiophones
2103:Tambourine
2089:Percussion
1855:Percussion
1514:2015-06-04
1447:2015-06-22
1312:2012-02-09
1259:"Bouzouki"
1231:"bouzouki"
1202:"bouzouki"
1197:"bouzouki"
1174:"Bouzouki"
1160:References
858:The Greek
821:bajo sexto
454:newspapers
443:"Bouzouki"
259:μπουζούκια
2183:Nisiotika
2129:Koudounia
2108:Toubeleki
2055:Tsampouna
2004:Tambouras
1840:Pan flute
1798:Epigonion
1199:(US) and
958:Alec Finn
868:μπαγλαμάς
749:trichordo
709:trichordo
700:trichordo
676:Alec Finn
649:trichordo
619:tambouras
606:of 1821,
596:tambouras
594:and then
588:Byzantine
577:Mantineia
561:thabouras
534:truss-rod
484:June 2024
411:does not
361:saz-bozuk
334:The name
330:Etymology
288:trichordo
254:bouzoukia
242:μπουζούκι
125:Tambouras
2380:bagpipes
2161:See also
2080:Souravli
2065:Karamuza
2060:Floghera
2025:Santouri
2009:Thaboura
1999:Psaltery
1989:Mandolin
1969:Bouzouki
1891:Medieval
1868:Crotalum
1863:Cochilia
1813:Trigonon
1780:Phorminx
1765:Barbiton
1558:Plethron
1538:19 April
1485:19 April
1456:cite web
1362:19 April
1336:19 April
1267:cite web
1143:Rebetiko
1133:Mandolin
1050:See also
915:Mandolin
860:baglamas
854:Baglamas
829:rebetiko
817:charango
741:douzenia
592:pandoura
573:baglamas
382:rebetiko
368:and the
366:mandolin
336:bouzouki
316:rebetiko
312:Anatolia
280:mandolin
276:plectrum
251:alt. pl.
161:bouzouki
135:Baglamas
31:Bouzouki
2511:Twmpath
2461:Ballads
2430:Tabwrdd
2425:Pibgorn
2390:Bombard
2385:Bodhrán
2238:Fusions
2139:Trigono
2113:Tympano
2075:Mantura
2070:Lalitsa
1984:Mandola
1962:Plucked
1903:Organon
1878:Sistrum
1845:Salpinx
1808:Sambuca
1803:Magadis
1775:Kithara
1747:Pandura
1731:Ancient
1686:in the
1153:Tzouras
1128:Mandola
1092:Cittern
930:Šargija
925:Bağlama
920:Pandura
895:Tzouras
888:Piraeus
884:bağlama
634:tzouras
625:in the
569:pandura
567:as the
540:History
530:shellac
468:scholar
432:removed
417:sources
352:called
340:Turkish
272:fretted
262:) is a
150:Pandura
140:Bağlama
120:Tzouras
85:321.321
18:Bouzuki
2420:Fiddle
2134:Stamna
2018:Struck
1994:Oudola
1979:Laouto
1974:Guitar
1919:String
1912:Modern
1770:Chelys
1739:String
1666:
1647:
1628:
1388:
1243:14 May
1207:Lexico
1117:Laouto
1028:Phil X
842:German
809:octave
801:treble
797:guitar
554:Athens
512:Athens
470:
463:
456:
449:
441:
268:Greece
2496:Reels
2400:Crwth
2375:Banjo
2144:Zilia
2050:Gaida
1926:Bowed
1835:Aulos
1290:p. 19
1112:Laiko
876:Greek
870:) or
864:Greek
586:From
521:gores
475:JSTOR
461:books
345:bozuk
342:word
320:Laïko
308:Greek
304:1900s
238:Greek
130:Buzuq
2486:Jigs
2405:Harp
2038:Wind
1827:Wind
1790:Harp
1757:Lyre
1664:ISBN
1645:ISBN
1626:ISBN
1540:2021
1487:2021
1462:link
1392:and
1386:ISBN
1364:2021
1338:2021
1273:link
1245:2019
1123:Lute
910:Lute
805:bass
658:The
617:The
447:news
415:any
413:cite
370:lute
322:pop
209:also
159:The
819:or
621:of
552:in
426:by
374:saz
306:by
144:Saz
2528::
1565:^
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1495:^
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1458:}}
1454:{{
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1329:.
1269:}}
1265:{{
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878::
866::
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787:–D
779:–A
771:–F
727:–D
719:–A
670:,
610:.
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326:.
249:;
240::
236:;
232:-/
216::
214:US
207:,
203:-/
182:uː
173:uː
2222:e
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2208:v
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862:(
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783:A
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767:C
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491:(
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298:(
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229:ˈ
226:ə
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197:ʊ
194:b
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188:i
185:k
179:z
176:ˈ
170:b
167:/
163:(
146:)
142:(
20:)
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