The mandora or gallichon is a type of 18th- and early 19th-century lute , with six to nine courses of strings. The terms were interchangeable, with mandora more commonly used from the mid-18th century onwards.
29-458: Mandora or gallichon generally refers to a bass lute from the 1700s, with a vibrating string length of 72 centimeters or greater, used in Germany and Bohemia. It could be either single- or double-strung. James Tyler pointed out in his book The Early Mandolin that the word mandora was rarely encountered before the 18th century. Then, it referred to a large bass lute. The gallichone , as it
58-530: A - f - c - G - F or e' - b - g - d - A - E (rarely with two or three additional bass courses). With the former tuning, the instrument was called Calichon or Galichon in Bohemia. Around 1800, a mutual interchange between the mandora and the guitar took place. The guitar, which had so far been tuned in re-entrant tuning (e' - b - g - d' - a), took over the 6th course and the tuning of the mandora (e' - b - g - d - A - G, later also e' - b - g - d - A - E), whereas
87-475: A continuo instrument". The instrument was popular in the 18th century and there are various surviving instruments and manuscript sources (see below), mainly from Germany. The mandora often had only 6 courses, resulting in a simpler technique than the complex and difficult 13-course lute , so was more suitable for amateur players. Similar instruments were also in use in northern Italy, although generally referred to as "liuto" (lute) rather than mandora. Composers for
116-425: A jolly smile on his face and was always positive," one of his USC students said in tribute. James Tyler died at age 70 on November 23, 2010, after a short illness. In addition to many books on early music and recordings, Tyler left a legacy in his students. "He shaped the lives of so many students," said Lucinda Carver, a professor in the early music program at USC. "He was very demanding but extremely kind. He
145-609: A lutenist in the 1971 film, Mary Queen of Scots . He also made a recording of a Vivaldi mandolin concerto for a part live-action, part animated film Looney Tunes Back in Action (2003). In 1986, he became professor of music and director of the master's and doctoral degree programs in Early Music Performance at the University of Southern California (USC), a post he held until retiring in 2006. Apart from
174-414: A small 5-course, 10-string guitar frequently made from an armadillo shell, is most usually tuned in re-entrant fashion, with re-entry before and after the octave strung third course. Other members of the charango family, such as the hualaycho and charangon are usually similarly tuned; the ronroco is often, but not always tuned re-entrantly. The ten string classical guitar was originally designed for
203-609: A specific re-entrant tuning invented by Narciso Yepes , now called the Modern tuning also. Both this and other re-entrant tunings, such as the Marlow tunings, are now used, as well as non re-entrant tunings such as the Baroque ; nevertheless the advantage of the Yepes re-entrant tuning over the other tunings is that it provides sympathetic resonance over all the 12 notes of the scale while
232-554: A string-holder glued to the soundboard. Unique to this instrument is the neck, which is long enough to allow for ten to 12 tied gut frets. The pegbox is either straight and set at a sharp angle to the neck (much like a lute pegbox), or gently curving and set at a shallow angle, either case being fitted with laterally-inserted tuning pegs (although sometimes a flat pegboard with sagittal pegs is found). The strings were of gut and are strung either singly or, especially on Italian instruments, in double courses. However, on German-made instruments,
261-730: Is a tuning which does not order all the strings (or more properly the courses ) from the lowest pitch to the highest pitch (or vice versa). Most common re-entrant tunings have only one re-entry. In the case of the ukulele, for example, the re-entry is between the third and fourth strings, while in the case of the Venezuelan cuatro it is between the first and second strings. Instruments usually tuned in this way include: Instruments often (but not always) re-entrantly tuned include: Instruments not usually considered re-entrant, but which have common re-entrant alternate tunings: The standard tunings for instruments with multi-string courses, such as
290-422: Is given as D ( or ) –E ( or ) –F–G–c–f–a–d' (i.e. the same tuning but a 4th higher) or E–A–d–g–b–e' (identical to that of the modern guitar) The playing technique for the mandora involves the same basic right-hand finger style as for all 18th-century lutes and, because of the tuning intervals of the upper five courses, a left-hand technique that
319-403: Is not tuned re-entrantly, but in straight fourths. The cuatro Cubano also is not tuned re-entrantly. A variety of tunings are used for the four string tenor guitar, including a relatively small number of re-entrant tunings. One example of a re-entrant tuning for tenor guitar is D 4 –G 3 –B 3 –E 4 with strings 3–1 as for the normal 6-string guitar, but string 4 tuned to D an octave above
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#1732772812771348-1132: Is similar to that of the 18th-century guitar. There are about 55 sources of mandora music in tablature , all in manuscript (none printed) and nearly all of Germanic origin. These contain solos, duets, song accompaniments, and chamber music. Few studies have appeared and very little of the music has been transcribed and published: critical editions are especially rare. Many have no composers attributed but in recent years studies of concordances are beginning to uncover music by composers such as Silvius Leopold Weiss and Johann Anton Logy . The sources do mention some composers' names; Duke Clement of Bavaria , Placidus von Camerloher [ de ] , Johann Paul Schiffelholz , Joseph (Josef) Michael Zink, Andrea Mayr, Giuseppe Antonio Brescianello and others. Other composers include Georg Philipp Telemann who wrote 6 concerti for flute, gallichon and strings, Johann Friedrich Daube [ de ] and Johann Albrechtsberger , whose three concertinos for ‘mandora’, ‘crembalum’ ( jaw harp ) and strings have been performed and recorded. Today there are various modern lutenists who play
377-653: The Consort of Musicke , the Julian Bream Consort and the Early Music Consort of London under David Munrow . In 1975, he formed the "New Excelsior Talking Machine," a ragtime ensemble for which he played banjo. In 1977, he founded the "London Early Music Group," an early music ensemble which lasted until 1990. He composed music for BBC television productions of Shakespeare plays, including The Good Old Days . He appeared as
406-596: The White House for U.S. President John F. Kennedy . He also toured and recorded as a banjoist with " Max Morath and the Original Rag Quartet." In 1968, he studied early music in Germany, where he played with Studio der Frühen Musik. In 1969, his interest in early music took him to London. During the 1970s and 1980s, he performed and recorded in London with Anthony Rooley , Musica Reservata ,
435-570: The twelve string guitar , eight string bass , or Colombian tiple are not considered re-entrant, as the principal strings of each course are ordered from lowest to highest. Ukuleles other than the tenor and baritone are most commonly tuned in re-entrant fashion; the tenor often is as well, and occasionally the baritone. These conventional re-entrant tunings G 4 –C 4 –E 4 –A 4 are sometimes known as high 4th tunings or high G tuning . Non-re-entrant tunings, also known as low 4th tunings , exist for these instruments. The Andean charango,
464-477: The 4th string of the 6 string guitar. The fifth string on the five string banjo, called the thumb string , also called the "drone string", is five frets shorter than the other four and is normally tuned higher than any of the other four, giving a re-entrant tuning such as the bluegrass G 4 -D 3 -G 3 -B 3 -D 4 . The five string banjo is particularly used in bluegrass music and old-time music . The four string plectrum banjo (more often used in jazz ) and
493-438: The first course (highest in pitch) is usually single (a chanterelle) and often has its own separate raised peg rider/holder attached to the pegbox. The number of courses varies from six to eight. Open string lengths tend to be fairly long (62–72 cm) on German instruments, but shorter (55–65 cm) on late Italian ones, probably because they tended to be tuned to a higher pitch. Luthiers who produced mandoras in
522-535: The first half of the 18th century were Gregor Ferdinand Wenger in Augsburg, Jacob Goldt of Hamburg, Jacob Weiss of Salzburg, David Buchstetter of Regensburg and Mattias Greisser of Innsbruck. Italian-style instruments are represented by Martino Hell of Genoa, Enrico Ebar of Venice, David Tecchler of Rome, Antonio Scoti of Milan and, toward the end of the century, Antonio Monzino and Giuseppe Presbler of Milan. At least 50 original instruments survive in collections around
551-635: The gallichon/mandora include Johann Paul Schiffelholz and Telemann , as well as Ruggero Chiesa in the modern era (1933-1993). Chiesa called the instrument the colascione, incorrectly as the colascione is a different instrument. Gottfried Finger suggested that it was used in Boheman musical circles. The mandora was still in use in the early 19th century, particularly in Vienna and the Bavarian town Eichstätt. The Viennese guitarist Simon Molitor mentions
580-602: The instruments mentioned, he was considered an expert on the Renaissance and Baroque guitars . As a musicologist he travelled around Europe and the US researching and transcribing hundreds of early music works. He authored several books on early plucked instruments and their music (see bibliography), and wrote articles for various publications. He retired from teaching in 2006. In 1975, Tyler married Joyce Geller in London. Tyler provided "very gentle leadership, always had
609-635: The mandora and some of these historical works have been recorded. The mandora has also been used in contemporary music, the British lutenist and composer Chris Hirst uses the mandora extensively in his works, often in combination with diverse instruments like the cello, cor anglais and melodica. James Tyler (music) James Tyler (August 3, 1940 – November 23, 2010) was a 20th-century American lutenist , banjoist , guitarist , composer, musicologist and author, who helped pioneer an early music revival with more than 60 recordings. James Henry Tyler
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#1732772812771638-401: The mandora several times in his early 19th century writings and says that by that time mandoras had 8 single strings. The bass type, similarly to the theorbo and other baroque lutes , has a vaulted body (shell) constructed of separate ribs, a flat soundboard with either a carved rose or one which is inset into the soundhole, and a bridge (without a saddle) consisting of a wooden bar acting as
667-399: The mandora took over the stringing with single strings instead of courses, as had been introduced to the guitar. The so-called wandervogellaute has been a late heir to that development. From another source on tuning: Two tunings are reported: a ‘galizona’ or ‘colachon’ is tuned A'( or ) –B'( or ) –C–D–G–c–e–a, and, under a separate heading, ‘mandora’
696-465: The rest do not. These tunings may also be used on related instruments, such as ten string electric and jazz guitars. The Venezuelan cuatro is a member of the guitar family, smaller in size and with four nylon strings. It is similar in size and construction to the ukulele. The traditional "Camburpinton" tuning is re-entrant (A 3 –D 4 –F 4 –B 3 ), but with the re-entry between the second and first strings, rather than between third and fourth as in
725-480: The ukulele. The results are very different in tone. Other tunings of the Venezuelan cuatro are not re-entrant, however they are not as popular as the "Camburpinton" tuning. The Venezuelan instrument is one of several Latin American instruments by the name of cuatro , which is Spanish for four . Despite the name, not all instruments called 'cuatro' have four strings. The ten-string, five-course Puerto Rican cuatro
754-498: The world. Examples are found in museums in Berlin, Claremont (California), Copenhagen, Edinburgh, The Hague, Leipzig, Milan, Munich and Paris, New York and St. Petersburg. Many of these instruments are found in a more or less unaltered state, and therefore are often used as models for modern reconstructions. In the 18th century, mandora was the name of a six-course lute instrument of about 70 cm string length, tuned high-to-low d' -
783-415: Was an impeccable musician who knew what he wanted. He kept very high standards and was an absolutely beloved mentor." In addition to the following books, Tyler wrote articles for New Grove Dictionaries and Early Music. Re-entrant tuning On a stringed instrument , a break in an otherwise ascending (or descending) order of string pitches is known as a re-entry . A re-entrant tuning , therefore,
812-405: Was better known, was a type of 6 or 8-course bass lute (possibly a descendant of the guiterne and/or chitarra italiana ) used, mainly for basso continuo , in Germany, Austria and Bohemia particularly during the 18th and early 19th centuries. It was also called the galizona, galichon or caledon . Tyler disputed that it was mainly used for continuo, saying it was used "both as a solo and as
841-542: Was born in Hartford, Connecticut . His father worked for Pratt-Whitney. Initially, he studied the banjo (classic 5-string and tenor) and Mandolin with Walter K. Bauer (1954–1958), then the lute with Joseph Iadone (1958–1961) and mandoline with Martha Blackman . He also played the cello . As a lutenist, Tyler performed and recorded with New York Pro Musica , with whom he first recorded. He performed with Sidney Beck's Consort Players and, in 1963, played with them at
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