517:
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
496:
684:
521:, 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 (
603:
27:
644:, 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.
1061:
391:
744:. 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.
676:
534:
1047:
829:
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
695:
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
516:
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
828:
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
875:. 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
1340:
512:
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.
816:, 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
507:
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
812:). 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
640:) 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
73:
1344:
651:, 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
1224:
961:
956:
833:"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.
1261:
369:, 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
1703:
525:) 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.
275:, 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
633:
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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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365:, but upon its arrival in Greece in the early 1910s it was modified by the addition of a staved back borrowed from the
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This type of bouzouki has 8 metal strings, which are arranged in 4 pairs, known as courses, typically tuned C
2311:
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259:. It is a member of the long-necked lute family, with a round body with a flat top and a long neck with a
2195:
1843:
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Pennanen, Riso Pekka; "The organological development and performance practice of the Greek bouzouki";
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792:) 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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636:. The early bouzoukia mostly had three courses (six strings in three pairs, known as
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The Greek bouzouki is a plucked musical instrument of the lute family, called the
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77:(string instrument with a pear-shaped body and a long neck, played with plectrum)
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1921:
1861:
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796:) courses, the pair consists of a thick wound string and a thin string tuned an
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572:), dating from 330–320 BC, shows a muse playing a variant of the pandoura.
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291:) has four pairs of strings. The instrument was brought to Greece in the early
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361:. 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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1385:, Escorial version, vv. 826–827, ed. and transl. Elizabeth Jeffrey.
728:, who mentioned (but failed to describe) several other tunings, or
663:, 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
2393:
2132:
1745:
1493:"CLIO History Journal - A History of the Bouzouki and its Music"
1111:
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358:
260:
2191:
2187:
1685:
2474:
732:, in his autobiography. The illustrated bouzouki was made by
384:
337:, meaning "broken" or "modified", and comes from a particular
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161:
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Other sizes have appeared and include the Greek instrument
214:
176:
1595:; Canberra: Australian Folk Trust; 34:Dec. 1991b. pp. 7–48
1397:; Columbia DG 7229; matrix CG 3438, recorded June 16, 1956
347:, which was commonly used on its Turkish counterpart, the
185:
625:, an instrument smaller in size than standard bouzoukia.
1576:
Folklore and populism: The 'greening' of the Greek blues
1225:
The
American Heritage Dictionary of the English Language
283:) has three pairs of strings (known as courses) and the
784:(i.e., one whole step below the four high strings of a
263:
fingerboard. It has steel strings and is played with a
1630:
Brief
History of Bouzouki Instrument in Greek Language
173:
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1369:, Oxford University Press, 2008, p.928; confer also
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bouzouki. Two of these eight tuners are not strung.
303:, and quickly became the central instrument to the
267:producing a sharp metallic sound, reminiscent of a
217:
188:
164:
93:
81:
67:
41:
33:
1580:Proceedings of the Fourth National Folk Conference
724:. This tuning was called the "European tuning" by
1365:Elizabeth Jeffreys, John Haldon, Robin Cormack,
1260:: CS1 maint: bot: original URL status unknown (
667:, continued to use the Greek-style instruments.
353:. It is in the same instrumental family as the
1557:
1555:
1316:"Kacoyannakis.com - Greek Musical Instruments"
552:or tambouras family. The tambouras existed in
271:but pitched lower. It is the precursor to the
2203:
1697:
634:population exchange between Greece and Turkey
628:The bouzouki arrived in Greece following the
348:
342:
332:
8:
655:around 1965. It was subsequently adopted by
19:
1649:Markos Vamvakaris: The Man and the Bouzouki
1632:(Greek ed.). New York: Seaburn Books.
1250:. Archived from the original on 2012-02-09.
419:. Unsourced material may be challenged and
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2196:
2188:
2081:
1911:
1904:
1741:
1723:
1704:
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1682:
89:C3 – E6 (tetrachordo), D3 – E6 (trichordo)
483:Learn how and when to remove this message
1565:, 2nd ed.; Athens: Kedros, 1979. p. 488.
1371:Nikos Maliaras, Byzantina mousika organa
1367:The Oxford Handbook of Byzantine Studies
601:
570:National Archaeological Museum of Athens
539:Museum of Greek Folk Musical Instruments
1154:
1593:Mandaforos deltio neoellinikon spoudon
1449:: CS1 maint: archived copy as title (
1442:
1253:
18:
871:) is very different from the Turkish
740:bouzouki made by his grandfather for
233:
7:
589:National Historical Museum of Greece
417:adding citations to reliable sources
1628:Stathakopoulos, Dimitrios (2014).
748:Four-course bouzouki (tetrachordo)
616:National Historical Museum, Athens
591:is the tambouras of a hero of the
14:
1673:Greek Bouzouki musical instrument
736:of Athens, and is a replica of a
687:A close up of the headstock of a
671:Three-course bouzouki (trichordo)
16:Greek plucked stringed instrument
1059:
1045:
389:
207:
154:
25:
1613:. United Kingdom: Cabot Books.
69:Hornbostel–Sachs classification
788:). In the two higher-pitched (
37:Buzuki, trichordo, tetrachordo
1:
1228:(5th ed.). HarperCollins
1578:; in Margaret Clarke (ed.),
1423:Interview with Andy Irvine:
1341:"instruments-museum, Greece"
2521:Cypriot musical instruments
1647:Vamvakaris, Markos (2015).
1137:Stringed instrument tunings
630:1919–1922 war in Asia Minor
568:Base (now exhibited at the
2557:
1609:Richards, Tobe A. (2007).
1168:Collins English Dictionary
840:
579:times it was called first
2541:Turkish words and phrases
2526:Greek musical instruments
1713:Greek musical instruments
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856:
247:
230:
100:
88:
49:Plucked string instrument
24:
1677:Encyclopaedia Britannica
679:Greek trichordo bouzouki
2312:Irish traditional music
1518:"Irish Bouzouki Tuning"
1202:Oxford University Press
2336:Celtic music in the US
2292:Celtic music in Canada
1549:; 1981:4, pp. 179–180.
1291:"Bouzouki name origin"
692:
680:
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349:
343:
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1465:"Alec Finn interview"
1198:UK English Dictionary
686:
678:
605:
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1582:: 1991a. pp. 86–91.,
1574:Gauntlett, Stathis;
1561:Petropoulos, Ilias;
1277:, Issues 2–4, 1984,
1108:, another Greek lute
982:Giannis Tatasopoulos
597:General Makriyiannis
587:. On display in the
413:improve this section
2329:Scottish folk music
2265:Regions and nations
1543:Rebetiki anthologia
1522:Mandolinluthier.com
972:Giannis Papaioannou
962:Charis Lemonopoulos
879:style of rebetiko.
837:Related instruments
632:and the subsequent
499:Bouzouki player in
95:Related instruments
21:
2536:String instruments
1651:. greeklines.com.
1563:Rebetika tragoudia
1541:Shorelis, Tasos; "
1408:Polyphonia Journal
1275:Musical Traditions
1032:Mihalis Genitsaris
997:Vassilis Tsitsanis
957:Apostolos Kaldaras
820:style of playing.
693:
681:
619:
612:Yannis Makriyannis
546:
505:
367:Neapolitan mandola
253:musical instrument
60:String instruments
2531:Necked bowl lutes
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2507:
2287:Cape Breton music
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2021:
1875:
1874:
1810:
1809:
1620:978-0-9553944-8-5
1469:Paulmagnussen.com
1379:978-960-7554-44-4
1002:Markos Vamvakaris
977:Spyros Peristeris
742:Markos Vamvakaris
734:Karolos Tsakirian
726:Markos Vamvakaris
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339:re-entrant tuning
241:
235:[buˈzuki]
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55:Necked bowl lutes
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2282:Cantabrian music
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1320:Kacoyannakis.com
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1293:. Archived from
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1096:Irish folk music
1086:Greek folk music
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1012:Giorgos Zambetas
932:Angelo Avramakis
870:
858:
802:12-string guitar
593:Greek revolution
537:Bouzouki in the
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2167:Byzantine music
2157:Music of Greece
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2018:
2002:
1946:
1937:Macedonian lyra
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1603:Further reading
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1426:"Archived copy"
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1410:; Spring 2009;
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1383:Digenis Akritas
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1347:on 4 March 2016
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1127:Octave mandolin
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987:Vangelis Trigas
937:Manolis Chiotis
927:
925:Notable players
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653:Johnny Moynihan
642:Manolis Chiotis
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375:Manolis Chiotis
327:comes from the
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2434:Welsh bagpipes
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2429:Uilleann pipes
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2399:Irish bouzouki
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2324:Scottish music
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2302:Galician music
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2272:Asturian music
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2480:Piobaireachd
2465:Cymanfa Ganu
2455:Barzaz Breiz
2277:Breton music
2246:Celtic metal
2236:Celtic chant
2219:Celtic music
2177:Greek dances
2034:Askomandoura
1957:
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1525:. Retrieved
1521:
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1497:the original
1472:. Retrieved
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1434:. Retrieved
1430:the original
1419:
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1394:
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1373:, EPN 1023,
1370:
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1349:. Retrieved
1345:the original
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1223:
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1076:Celtic music
1053:Music portal
869:μπαγλαμαδάκι
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381:Construction
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281:three-course
280:
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149:
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2357:Instruments
2341:Welsh music
2307:Irish music
2256:Celtic rock
2251:Celtic punk
1927:Pontic lyra
1922:Cretan lyra
1862:Water organ
1545:"; Athens:
1091:Greek music
1022:Frank Zappa
967:Colin Meloy
861:baglamadaki
661:Dónal Lunny
657:Andy Irvine
503:, July 2018
344:bozuk düzen
313:Greek music
289:four-course
285:tetrachordo
255:popular in
34:Other names
2515:Categories
2495:Strathspey
2490:Sea shanty
2470:Cynghanedd
2460:Cerdd Dant
2424:Welsh Harp
2404:Irish harp
2384:Concertina
2319:Manx music
2111:Idiophones
2092:Tambourine
2078:Percussion
1844:Percussion
1503:2015-06-04
1436:2015-06-22
1301:2012-02-09
1248:"Bouzouki"
1220:"bouzouki"
1191:"bouzouki"
1186:"bouzouki"
1163:"Bouzouki"
1149:References
847:The Greek
810:bajo sexto
443:newspapers
432:"Bouzouki"
248:μπουζούκια
2172:Nisiotika
2118:Koudounia
2097:Toubeleki
2044:Tsampouna
1993:Tambouras
1829:Pan flute
1787:Epigonion
1188:(US) and
947:Alec Finn
857:μπαγλαμάς
738:trichordo
698:trichordo
689:trichordo
665:Alec Finn
638:trichordo
608:tambouras
595:of 1821,
585:tambouras
583:and then
577:Byzantine
566:Mantineia
550:thabouras
523:truss-rod
473:June 2024
400:does not
350:saz-bozuk
323:The name
319:Etymology
277:trichordo
243:bouzoukia
231:μπουζούκι
114:Tambouras
2369:bagpipes
2150:See also
2069:Souravli
2054:Karamuza
2049:Floghera
2014:Santouri
1998:Thaboura
1988:Psaltery
1978:Mandolin
1958:Bouzouki
1880:Medieval
1857:Crotalum
1852:Cochilia
1802:Trigonon
1769:Phorminx
1754:Barbiton
1547:Plethron
1527:19 April
1474:19 April
1445:cite web
1351:19 April
1325:19 April
1256:cite web
1132:Rebetiko
1122:Mandolin
1039:See also
904:Mandolin
849:baglamas
843:Baglamas
818:rebetiko
806:charango
730:douzenia
581:pandoura
562:baglamas
371:rebetiko
357:and the
355:mandolin
325:bouzouki
305:rebetiko
301:Anatolia
269:mandolin
265:plectrum
240:alt. pl.
150:bouzouki
124:Baglamas
20:Bouzouki
2500:Twmpath
2450:Ballads
2419:Tabwrdd
2414:Pibgorn
2379:Bombard
2374:Bodhrán
2227:Fusions
2128:Trigono
2102:Tympano
2064:Mantura
2059:Lalitsa
1973:Mandola
1951:Plucked
1892:Organon
1867:Sistrum
1834:Salpinx
1797:Sambuca
1792:Magadis
1764:Kithara
1736:Pandura
1720:Ancient
1675:in the
1142:Tzouras
1117:Mandola
1081:Cittern
919:Šargija
914:Bağlama
909:Pandura
884:Tzouras
877:Piraeus
873:bağlama
623:tzouras
614:in the
558:pandura
556:as the
529:History
519:shellac
457:scholar
421:removed
406:sources
341:called
329:Turkish
261:fretted
251:) is a
139:Pandura
129:Bağlama
109:Tzouras
74:321.321
2409:Fiddle
2123:Stamna
2007:Struck
1983:Oudola
1968:Laouto
1963:Guitar
1908:String
1901:Modern
1759:Chelys
1728:String
1655:
1636:
1617:
1377:
1232:14 May
1196:Lexico
1106:Laouto
1017:Phil X
831:German
798:octave
790:treble
786:guitar
543:Athens
501:Athens
459:
452:
445:
438:
430:
257:Greece
2485:Reels
2389:Crwth
2364:Banjo
2133:Zilia
2039:Gaida
1915:Bowed
1824:Aulos
1279:p. 19
1101:Laiko
865:Greek
859:) or
853:Greek
575:From
510:gores
464:JSTOR
450:books
334:bozuk
331:word
309:Laïko
297:Greek
293:1900s
227:Greek
119:Buzuq
2475:Jigs
2394:Harp
2027:Wind
1816:Wind
1779:Harp
1746:Lyre
1653:ISBN
1634:ISBN
1615:ISBN
1529:2021
1476:2021
1451:link
1381:and
1375:ISBN
1353:2021
1327:2021
1262:link
1234:2019
1112:Lute
899:Lute
794:bass
647:The
606:The
436:news
404:any
402:cite
359:lute
311:pop
198:also
148:The
808:or
610:of
541:in
415:by
363:saz
295:by
133:Saz
2517::
1554:^
1520:.
1484:^
1467:.
1447:}}
1443:{{
1412:14
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1258:}}
1254:{{
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1200:.
1193:.
1171:.
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867::
855::
804:,
776:–D
768:–A
760:–F
716:–D
708:–A
659:,
599:.
377:.
315:.
238:;
229::
225:;
221:-/
205::
203:US
196:,
192:-/
171:uː
162:uː
2211:e
2204:t
2197:v
1705:e
1698:t
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1453:)
1439:.
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1304:.
1264:)
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863:(
851:(
782:4
780:D
778:4
774:3
772:A
770:3
766:4
764:F
762:3
758:4
756:C
754:3
722:4
720:D
718:4
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712:A
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704:D
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480:(
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471:(
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287:(
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218:ˈ
215:ə
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209:/
189:ˈ
186:ʊ
183:b
180:,
177:i
174:k
168:z
165:ˈ
159:b
156:/
152:(
135:)
131:(
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