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569:
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27:
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less visible difference was in the tuning: the
Italian mandola and smaller mandolino were tuned entirely in fourths, the mandola using e'-a'-d"-g" (or if using a 5 or 6 course instrument g-b-e'-a'-d"-g"); the French mandore used combinations of fourths and fifths, such as c-g-c-g or c-f-c-f. As the instruments developed, they became physically less similar. By the 17th century, makers such as
1105:, pp. 22â31 "...the small, lute-like instrument of the Middle Ages called, until recently, the 'mandora' by modern writers, was originally called the 'gittern'...generally used for the small, four-course, renaissance guitarâbut it was still also occasionally used (until well into the 17th century) for the instrument that, during the 16th century, became known as the 'mandore'."
993:...on December 2, 1852 in Parma at the Regio theater he performed a single string music from his mandolin, on a Lombard-type mandolin inspired by sixteenth-century instruments still unformed and rough. It was a soprano lute, very small, having the semblance of a paunchy half-egg which he later replaced with a mandolin inspired by Hispanic Bandurria- type models...
405:
346:(1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the fourteenth century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.
1331:
391:, agreed. He said, "They play either with a cittern-type quill plectrum, or with one finger - and this with the speed, clarity, and precision that we would expect from the use of three or four fingers. There are some players, however, who start to use two or more fingers once they are familiar with the instrument."
384:, 1635: A musician plays the mandore "with the finger or the tip of a feather between thumb and index finger or tied to one of the other fingers." "Those who make perfect use of the mandore would move the pick so fast over the strings that they seem to form even chords as they would be if played at the same time."
622:
ends his section on the mandore in his book
Harmonie Universelle by saying, "It is nothing but an abbreviated lute." He said this in the context that one could look at his section on the lute for applicable information. Lutes were larger than mandores, which Mersenne described as miniature. Lutes had
737:
Like the mandora described above, it is in "lute" form, but it is a tenor instrument of five paired courses. The string length is variable, like all of the lute family, but generally in the range of 32 to 36 cm. Tuning patterns are unique, the intervals between courses being alternating fourths
678:
Pictures and illustrations of the mandore show an instrument that at a casual look, appears very similar to lutes and the later mandolins. The mandore differs from the
Neapolitan mandolin in not having a raised fretboard and in having a flat soundboard. Also, It was strung with gut strings, attached
371:
feet long. It is built as a lute, with "strips of fir or other wood" ... "cut and bent into melon shape" to make a rounded back. The fingerboard is on the same plane as the soundboard, with a bridge glued onto the soundboard. Strings are secured in the pegboard in the neck, pass over the fingerboard
686:
technology at the time) let the soundboard take the pressure of metal strings, driving the bridge down into the soundboard. The result was a louder instrument with less fragile strings. The metal strings are played with a plectrum, creating even more volume. Mandolins are tuned in fifths, typically
650:
To a layman, images of the mandola and mandore show no obvious differences, when comparing two instruments from the same time period. One visible difference was that the mandola and mandolino commonly used double courses of strings, where illustrations of the mandore commonly show single strings. A
210:
The mandore was played widely across Europe, just as the earlier gittern had been. The
Italians called it the mandola and even as the instrument became obsolete elsewhere, by the mid 17th century they had developed it into "an instrument with its own distinct tuning, technique and music." In Milan,
626:
Earlier in the section, he compared the lute to the mandore. "Now although the mandore has only four strings, nevertheless one plays it rather above all that is played in a lute, whose chorus it covers because of the liveliness and sharpness of its tone, which penetrates and so preoccupies the ear
372:
and soundboard and are tied to a flat bridge, which is glued to the soundboard. The instrument may have as few as four strings or as many as six. It could also have four to six courses of two strings. The soundhole was covered with a rose, either carved directly into the soundboard or glued in.
187:
family, teardrop shaped, with four to six courses of gut strings and pitched in the treble range. Considered a French instrument, with much of the surviving music coming from France, it was used across "Northern Europe" including
Germany and Scotland. Although it went out of style, the French
685:
The differences in design reflect progress in a technological push for louder instruments. If the mandore's gut-strings were tightened too much they broke, but metal strings could pull the fixed bridge off the soundboard, or damage the soundboard. The bend in the
Neapolitan's soundboard (new
1335:
464:
For a four-string mandore, Mersenne said, "The fourth string is a fifth of the third; the third string is at the fourth of the second, and the second at a fifth from the treble string." In other words, the mandore used a combination of fourths and fifths the courses of strings, such as
729:
by
William Dauney. This book is a history of Scottish music, and contains some information on the mandora. Dauney makes it clear that the mandora (which he also calls the mandour) for which the tunes in the Skene Manuscript are written, is the same instrument that Mersenne called the
662:. Bowl-backed mandolas resemble mandores. One example that has survived of a bowl-backed mandola is that made by Vicenti di Verona in 1696, held by the Hungarian National Museum, Budapest, Hungary. By looks alone, telling the bowl-backed mandola from the mandore can be a challenge.
978:"Historia et imago Cremae. La vita di Giovanni Vailati, il Paganini del mandolino: dai caffÚ cremaschi ai teatri d'Europa [translation: Historia et imago Cremae. The life of Giovanni Vailati, the Paganini of the mandolin: from the cremaschi cafés to the theaters of Europe]"
330:, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo's royal
1954:
753:
by
William Dauney. This book is a history of Scottish music, and contains some information on the mandora. Dauney makes it clear that the mandora the Skene Manuscript tunes are written for is the same instrument that Mersenne called the "mandore".
1145:. (1) A lutelike instrument developed from the medieval *gittern. ... (2) An 18th-century Austrian and German eight course hybrid combining a lute body and pegbox with a guitar neck. This was played and tuned like the guitar: C D E A d g b e'. ...
779:
by modern readers of
Praetorius' book. However, the "raen" in the word is actually "rgen". The error is due to a lithographic fault in reproducing plate 16; that fault truncated the g into an a. The error can be seen when comparing
322:
shows 13th-century instruments similar to lutes, mandores, mandolas and guitars, being played by
European and Islamic players. The instruments moved from Spain northward to France and eastward towards Italy by way of Provence.
207:. Musicologist James Tyler said that the Spanish bandurria with three strings was the mandore, although it had four strings when it arrived in France. In its Spanish form the bandurria may have resembled the rebec.
477:
Mersenne indicated that this was less common than tuning in unison. To tune this way, "the treble string is lowered a tone, so to make a fourth with the third string." In other words, going from tuning
1168:(1555), Bermudo speaks of the bandurria...the early bandurria, a small lute- or rebec-like instrument with 4th and 5th tunings, was the mandore...The Spanish sources seem to suggest that the early
717:, "the vandola with six courses is described here, because it is the more perfect form of the instrument, and better known and more widely used at this time than that with four or five courses".
635:
Mandores and treble lutes were tuned differently: treble lutes from the 16th and early 17th centuries had six or more courses of strings, tuned to a "4th, a 4th, a major third, a 4th, a fourth."
1636:
682:
In contrast, the Neapolitan mandolin's soundboard is bent. It uses metal strings attached to the end of the instrument, crossing over a bridge that pushes downwards into the bent soundboard.
354:
Like the earlier gittern, the mandore's back and neck were in earlier forms carved out of a block of wood. This "hollowed out construction" did still exist in the 16th century, according to
221:. The latter name is still used in the mandolin family for an alto or tenor range instrument. From the mandola, the baroque mandolino was created, which in turn became the modern mandolin.
831:
456:
Mersenne indicates in his book that there were many ways to tune a mandore, but three ways predominated: tuning in unison, tuning with a lowered string, and tuning in a third.
823:
2734:
514:
that the tablature is written strangely, that although it is tabbed for a four-string instrument, it is marked under the bottom line, indicating a five-string instrument:
1949:
416:
in 1619. He listed three tunings (with one repeated) for tuning the mandore. His tuning illustrates tuning for both 4-stringed instruments and 5-stringed instruments.
977:
2032:
An 18th-century mandore labelled Michel Angelo Bergonzi figlio di Carlo fece in Gremona l'anno 1755, from the collection of the Future Museum, Southwest Scotland
738:
and fifths, for example d-g-d'-g'-d", as Pretorius Syntagma Musicum mandore's tuning (1619). There is a book of tunes in French tablature from about 1620 called
1029:
2068:
326:
Beside, the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was
1591:
Ancient Scotish Melodies, from A Manuscript of the Reign of King James VI. with An Introductory Enquiry illustrative of the History of the Music of Scotland
199:
The mandore arrived in France from Spain, and was considered a new instrument in French music books from the 1580s, but can be seen as a development of the
806:
827:
2021:
627:
that the lutes have trouble being heard." He said that good mandore players were prone to speedy picking, blurring notes together in a rush of speed.
605:, c. 1680, kept at the National Music Museum, Vermillion, South Dakota, made one hundred years after the mandore was being labeled "new" in France;
2041:
2017:
Another page from the French museum MédiathÚque de la Cité de la musique, Paris featuring a 17th-century mandore, with pictures from several angles
1270:
2031:
1939:
307:. The back and neck are one piece, carved from a block of pearwood, and features images of Juno, Minerva and Venus in a beauty contest, the
1959:
1385:
2414:
2016:
2011:
494:
In tuning a third, one "lowers the treble string down a minor third, so it makes a major third with the third." An example is going from
2984:
1739:
1219:
1127:
2012:
Page from the French museum MédiathÚque de la Cité de la musique, Paris with a 17th-century mandore, with pictures from several angles
2061:
1979:
358:, but was becoming rare. The method was being replaced by gluing curved staves together to form back, and adding a neck and peg box.
1984:
1964:
188:
instrument has been revived for use in classical music. The instrument's most commonly played relatives today are members of the
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1412:
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A 1717 mandore by Joannes Schorn of Salisburgh in the collection of the University of Edinburgh Musical Instruments Museum
3555:
510:
The tunes in the Skene Manuscript are for a mandore tuned in fourths and fifths. Dauney points out in his editing of the
1989:
1915:
3540:
956:
942:
610:
3500:
1880:
1422:
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to a bridge that is glued to the soundboard (similar to that of a modern guitar). It was played with the fingertips.
327:
291:
The instrument appears to have four courses of strings; three single strings and a set of double strings on the right
44:
2999:
211:
Italy as the mandore or Lombardo, it remained in use into the late 19th century. That variant is known today as the
2959:
2689:
2328:
2111:
343:
2042:
Another 18th-century mandore from the Future Museum, Southwest Scotland, labelled Petrus Merighi fecit Parmae 1767
559:
2407:
1969:
655:
had two styles of instrument patterns, with the mandola having strings almost twice as long as the mandolino's.
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3004:
2528:
2037:
Another Bergonzi mandore in the collection of the University of Edinburgh Musical Instruments Museums Edinburgh
2440:
623:
more courses of strings and were not restricted to the high treble range, but could play into the bass range.
153:
Lombardic mandolin with 12 strings in 6 courses. The bridge is glued to the soundboard, like a guitar's bridge
2659:
2616:
2432:
2233:
844:
658:
Two styles of mandolas have made it into museums, flat-backed and bowl-backed. Flat-backed mandolas resemble
1906:, along with modern sheet music with Mandore tabs, and a research paper on the Mandore by Jeffrey C. Lambert
762:
While the mandore and mandora have been considered equivalent names for the same treble-ranged instrument,
408:
A modern built mandore. This one has five courses of strings; 4 single strings and one set of double strings
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147:
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Picture of a Stradivarius mandolin or mandolino, from Cremona, Italy, 1680; very similar to the mandore
1756:
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1940:
Page by the Ensemble Gabriele Leone compares "French Baroque" mandore with other baroque instruments
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258:. The latter name, pandurina, was also applied in the 1700s in Italy to the Milanese mandolin.
1194:
1187:
1126:. Harvard University Press reference library. Vol. 16. Harvard University Press. p.
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2974:
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267:
2634:
1475:
819:
742:, available on microfilm as a loan to members of the Lute Society of America, or as part of
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2764:
2137:
2101:
1911:
Important academic paper by James Tyler laying out a detailed view of the mandore's history
1275:
652:
1189:
The Illustrated Encyclopedia of Musical Instruments From all eras and regions of the world
8:
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1974:
609:. Metal-string mandolin made between 1767 and 1784 by Vicenzo Vinaccia, displayed at the
355:
212:
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A principal source of music for the Scottish variant of the instrument can be found in
725:
A principal source of music for the Scottish variant of the instrument can be found in
602:
388:
335:
308:
231:
67:
2839:
1164:, pp. 22â23 "... it is to the Spaniard Juan Bermudo that we must turn... in his
404:
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3113:
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2774:
2601:
2498:
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2001:
1965:
Brief history with pictures; shows relationship between mandolin, gittern and mandore
1934:
1876:
1808:
1533:
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1391:
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1198:
1131:
1035:
952:
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877:
D. Gill: "Alternative Lutes: the Identity of 18th-Century Mandores and Gallichones",
810:
522:
and also an older lute tuning in fourths (except between F and A, which is a third):
331:
51:
37:
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1869:
297:
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794:
1414:
The Origin and Meaning of Courtly Love: A Critical Study of European Scholarship
891:
D. Gill: "Intabulating for the Mandore: Some Notes on a 17th-Century Workbook",
638:
Though a member of the lute family, it has been said that the mandore was not a
287:
A "Mandörgen" from the 1619 book Syntagma Musicum II by Michael Praetorius. See
3535:
3454:
3072:
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2343:
2283:
2182:
2157:
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M. Prynne: "James Talbot's Manuscript, IV: Plucked Strings â the Lute Family",
642:, which had six or more courses and was tuned the same way as mainstream lutes
619:
598:
381:
215:, and retains the mandore's tuning. The Italians also called it the mandora or
168:, "Blind mandolinist of Cremona," toured Europe in the 1850s with a six-string
119:
3529:
3253:
3188:
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1229:(man-do'la, -ra), n. An older and larger variety of the mandolin. Compare
339:
271:
2022:
A 1655 mandore, in the collection of the Future Museum, Southwest Scotland
1945:
Many pictures of vintage mandolins and pre-mandolins laid out side by side
3098:
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2824:
2794:
2576:
2488:
2478:
2338:
2006:
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1960:
Meteora, Barlaam Monastery, King David's XVI-cent. fresco with mandore.
1950:
Meteora, Barlaam Monastery, King David's XVI-cent. fresco with mandore.
1859:
698:
Another group of related instruments to the mandore are the vandola or
768:
has also found use as the name for a bass-ranged lute, the gallichon.
568:
2938:
2212:
2202:
2192:
2187:
2167:
2142:
703:
412:
Michael Praetorius detailed four tunings for the Mandore in his book
226:
193:
89:
26:
3303:
2392:
2002:
Good picture of a mandore in the Victoria and Albert Museum, England
1744:. Edinburgh, Scotland: Edinburgh Printing Company. pp. 111â112.
303:
An example of a mandore made by Boissart, in the collections of the
31:
Mandora c. 1700â1799 exhibited at the Metropolitan Museum of Art, NY
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2258:
2132:
2077:
1935:
Page (in French) explores differences between Mandore and Mandolino
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699:
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424:
The listed tunings using fifths and fourths between strings are:
217:
200:
114:
99:
84:
3474:
1358:"History of the Mandolin: The French baroque : the mandore"
710:, of Spanish origin, also played in Portugal and South America.
674:
A mandora with the paper or carved wood rose over the sound hole
3444:
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3363:
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The Early Mandolin: the Mandolino and the Neapolitan Mandoline
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582:
1807:. Jamison, Australia: Graham McDonald Stringed Instruments.
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3211:
2046:
184:
104:
951:
Oxford Early Music Series, Oxford University Press, 1980,
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3180:
1593:. Edinburgh: Edinburgh Printing and Publishing Company.
713:
In 1761, Joan Carles Amat said of the vandola, in his
665:
530:
505:
443:
The listed tuning for fourths and fifths tuning is:
1920:by William Dauney, with mandore tablature from the
1631:
1629:
1384:Lawson, Colin; Stowell, Robin (February 16, 2012).
937:, Oxford Early Music Series, Clarendon Press 1992,
720:
1868:
1637:"Mandolin [mandola, mandoline, mandolino]"
1525:
1186:
1024:
1022:
1020:
361:From Mersenne: The normal length of a mandore is 1
1563:
1561:
1523:
1507:
1505:
1503:
1455:
1453:
1451:
1079:
1077:
3527:
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1682:
1680:
1626:
1334:. The Victoria and Albert Museum. Archived from
1180:
1178:
1007:
1005:
1003:
1001:
784:(compare the two versions in the file history).
311:. The gargoyle-like head at the bottom is Medusa
2007:About mandore in the Victoria and Albert Museum
1821:
1725:
1608:
1567:
1524:Praetorius, Michael; Crookes, David Z (1986) .
1511:
1488:
1459:
1271:The New Grove Dictionary of Music and Musicians
1224:. New York: The Century Company. p. 3606.
1017:
771:The instrument has also been mistakenly called
472:
183:is a musical instrument, a small member of the
1558:
1500:
1470:
1468:
1448:
1193:. Bulgaria: Kibea Publishing Company. p.
1074:
914:Harminie Universelle: The Books on Instruments
905:A. Koczirz: "Zur Geschichte der Mandorlaute";
630:
3196:
2408:
2062:
1692:
1677:
1383:
1175:
998:
268:Lute § History and evolution of the lute
1895:
1833:"The Mandore in the 16th and 17th Centuries"
1757:"Giorgio Mianerio (1535â1582) â Old and New"
1641:The Groves Dictionary of Musical Instruments
1387:The Cambridge History of Musical Performance
1379:
1377:
1326:
1324:
1115:
1113:
1111:
1866:
1826:. The Hague, Netherlands: Martinus Nijhoff.
1822:Mersenne, Marin; Chapman, Roger E (1957) .
1620:
1465:
1442:
916:, Roger E. Chapman trans. (The Hague, 1957)
593:; this was the larger (wider) instrument.;
3203:
3189:
2415:
2401:
2069:
2055:
1438:
1436:
1434:
693:
597:. Cutler-Challen Choral Mandolino made in
399:
1374:
1321:
1211:
1108:
884:D. Gill: "The Skene Mandore Manuscript",
1975:Comparisons of mandolin type instruments
1802:
1761:Music History, Thursday January 13, 8535
1713:
1701:
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1580:
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949:The Early Guitar: a History and Handbook
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451:
403:
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1217:
1098:
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1094:
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535:
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1955:Medici's court, musician with mandore.
1737:
1584:
1356:Didier Le Roux & Jean-Paul Bazin.
1119:
969:
874:, p. xxxiv (1981), p. 130â41
3184:
2422:
2396:
2050:
1846:(1) (published January 1981): 22â31.
1830:
1573:
1410:
1259:
1247:
1221:The Century Dictionary and Cyclopedia
1161:
1150:
1102:
646:Comparison with mandola and mandolino
438:
419:
375:
3512:
2377:
1754:
1089:
898:C. Hunt: "History of the Mandolin";
489:
1867:Tyler, James; Sparks, Paul (1992).
1532:. Oxford: Oxford University Press.
1299:
1260:Tyler, James (2001). "Mandore". In
976:Dossena, Luigi (7 September 2014).
870:D. Gill: "Mandores and Colachons",
867:, no. 19 (1980), p. 61â63
782:two different versions of the plate
757:
666:Comparison with Neapolitan mandolin
459:
387:Another early 17th-century author,
13:
1995:
746:, available through Google Books.
203:. In Spain the mandore was called
14:
3567:
1890:
863:D. Gill: "Mandore and Calachon",
531:Relationship to other instruments
506:According to the Skene Manuscript
3511:
3164:
3155:
3154:
2690:Giovanni Pierluigi da Palestrina
2376:
2367:
2366:
1918:The Ancient Melodies of Scotland
1741:The Ancient Melodies of Scotland
1218:Whitney, William Dwight (1906).
832:Maitrise von François-Pierre Goy
751:The Ancient Melodies of Scotland
744:The Ancient Melodies of Scotland
727:The Ancient Melodies of Scotland
721:Comparison with Scottish mandora
567:
558:
549:
344:Frederick II, Holy Roman Emperor
296:
280:
158:
146:
25:
1902:A Reprint of François Chancy's
1773:
1748:
1731:
1707:
1665:
1653:
1614:
1602:
1546:
1517:
1417:. Manchester University Press.
1404:
1349:
1293:
1253:
1123:The Harvard Dictionary of Music
857:
611:Museu de la MĂșsica de Barcelona
349:
334:, dedicated by the Norman King
1411:Boase, Roger (March 2, 1977).
1390:. Cambridge University Press.
230:, their name for the gittern.
213:Milanese or Lombardic mandolin
1:
2433:List of Renaissance composers
962:
933:James Tyler and Paul Sparks:
895:, xxxiv (1994), p. 28â36
845:Giuseppe Antonio Brescianello
224:The Germans continued to use
2076:
1928:
1781:"Mandore [Mandorre]"
1476:"Mandore [Mandorre]"
1120:Randel, Don Michael (2003).
881:, xxvi (1986), p. 51â62
841:Johann Georg Albrechtsberger
787:
715:Guitarra espanola, y vandola
690:for a four-string mandolin.
543:Mandola, mandolino, mandolin
473:Tuning with a lowered string
7:
3546:Mandolin family instruments
1990:Old tabulatures for mandore
1875:. Oxford: Clarendon Press.
1726:Mersenne & Chapman 1957
1609:Mersenne & Chapman 1957
1568:Mersenne & Chapman 1957
1512:Mersenne & Chapman 1957
1460:Mersenne & Chapman 1957
1362:ensemble-gabriele-leone.org
1185:Nikolova, KĆnemann (2000).
1166:Declaration de instrumentos
930:, xiv (1961), p. 52â68
631:Comparison with treble lute
10:
3572:
3556:French musical instruments
3063:Petrus Phalesius the Elder
2878:English Virginalist School
1031:Mandore [Mandorre]
921:Laute, Theorbe, Chitarrone
909:2 (1920/21), p. 21â36
305:Victoria and Albert Museum
265:
261:
3541:Early musical instruments
3509:
3483:
3437:
3372:
3246:
3225:
3218:
3134:
3086:
3013:
2952:
2906:
2853:
2845:Jan Pieterszoon Sweelinck
2728:
2615:
2527:
2439:
2430:
2362:
2226:
2120:
2084:
1896:Research papers and books
1803:McDonald, Graham (2008).
1427:– via Google Books.
1400:– via Google Books.
1143:Mandora, mandore, mandola
394:
73:
66:
58:Plucked string instrument
43:
36:
24:
3210:
1738:Dauney, William (1838).
1585:Dauney, William (1838).
1274:(2nd ed.). London:
849:Johann Paul Schiffelholz
824:Henry François de Gallot
2873:English Madrigal School
1621:Tyler & Sparks 1992
1443:Tyler & Sparks 1992
1172:... was the mandore..."
694:Comparison with bandola
400:According to Praetorius
320:Cantigas de Santa Maria
272:Mandolin § History
2715:TomĂĄs Luis de Victoria
2519:Oswald von Wolkenstein
2112:Society (Peterborough)
1587:"The Skene Manuscript"
928:Galpin Society Journal
888:, xxviii (1988), 19â33
872:Galpin Society Journal
839:18th century mandora:
818:17th century mandore:
740:The Skene Mandora Book
675:
409:
2735:Transition to Baroque
2680:Pierre de Manchicourt
1980:Music for the mandore
1852:10.1093/earlyj/9.1.22
1831:Tyler, James (1981).
923:; Bremen, 1968 (1982)
793:Renaissance mandore:
673:
452:According to Mersenne
407:
289:Praetorius' Plate 16.
2765:Girolamo Frescobaldi
2572:CristĂłbal de Morales
2314:National Reso-Phonic
1904:Tablature de Mandore
1824:Harmonie Universelle
1805:The Mandolin Project
1304:Tablature de Mandore
1300:Lambert, Jeffrey C.
1276:Macmillan Publishers
653:Antonio Stradivarius
536:Comparison with lute
3438:Related instruments
2883:Florentine Camerata
2855:Composition schools
2514:Gaspar van Weerbeke
1728:, pp. 130â134.
900:Mandolin World News
585:mandola, c. 1750.
234:recorded the names
68:Related instruments
21:
3078:Thomas Vautrollier
3058:Ottaviano Petrucci
3033:Pierre Attaingnant
3023:Hieronymus Andreae
2830:Michael Praetorius
2815:Claudio Monteverdi
2805:Giovanni de Macque
2800:Luzzasco Luzzaschi
2770:Alfonso Fontanelli
2660:Francisco Guerrero
2635:Antonio de CabezĂłn
2547:Thomas Crecquillon
2529:Middle (1470â1530)
2509:Johannes Tinctoris
2449:Alexander Agricola
2218:Resonator mandolin
2121:Family instruments
2107:Playing traditions
1871:The Early Mandolin
1332:"Mandore Boissart"
1310:(A Major Document)
1302:François Chancy's
902:Vol 4, No. 3, 1981
820:François de Chancy
676:
603:Antonio Stradivari
439:Fourths and fifths
420:Fifths and fourths
410:
389:Michael Praetorius
376:Methods of playing
336:Roger II of Sicily
309:Judgement of Paris
232:Michael Praetorius
19:
16:Musical instrument
3551:Necked bowl lutes
3523:
3522:
3433:
3432:
3178:
3177:
2775:Giovanni Gabrieli
2602:Philippe Verdelot
2499:Johannes Ockeghem
2441:Early (1400â1470)
2424:Renaissance music
2390:
2389:
1985:Mandore's History
1814:978-0-9804762-0-0
1716:, pp. 11, 14
1539:978-0-19-816260-5
1285:978-1-56159-239-5
1137:978-0-674-01163-2
1041:978-0-19-974339-1
811:Sebastian Virdung
807:Ottomar Luscinius
490:Tuning in a third
332:Cappella Palatina
170:Lombardy mandolin
135:
134:
52:String instrument
38:String instrument
3563:
3515:
3514:
3470:Guitarra morisca
3223:
3222:
3205:
3198:
3191:
3182:
3181:
3168:
3158:
3157:
3038:Vittorio Baldini
3015:Music publishing
2790:Hans Leo Hassler
2745:Gregorio Allegri
2700:Cipriano de Rore
2675:Vicente Lusitano
2670:Orlando di Lasso
2625:Jacques Arcadelt
2592:Pierre de la Rue
2587:Josquin des Prez
2567:Clément Janequin
2562:Antoine de FĂ©vin
2552:Antonius Divitis
2494:Johannes Martini
2469:Guillaume Du Fay
2417:
2410:
2403:
2394:
2393:
2380:
2379:
2370:
2369:
2071:
2064:
2057:
2048:
2047:
1922:Skene manuscript
1886:
1874:
1863:
1837:
1827:
1818:
1795:
1794:
1792:
1791:
1777:
1771:
1770:
1768:
1767:
1755:Alburger, Mark.
1752:
1746:
1745:
1735:
1729:
1723:
1717:
1711:
1705:
1699:
1690:
1684:
1675:
1669:
1663:
1657:
1651:
1650:
1648:
1647:
1633:
1624:
1618:
1612:
1606:
1600:
1597:Skene manuscript
1594:
1582:
1571:
1565:
1556:
1550:
1544:
1543:
1531:
1528:Syntagma Musicum
1521:
1515:
1509:
1498:
1492:
1486:
1485:
1483:
1482:
1472:
1463:
1457:
1446:
1440:
1429:
1428:
1408:
1402:
1401:
1381:
1372:
1371:
1369:
1368:
1353:
1347:
1346:
1344:
1343:
1328:
1319:
1318:
1316:
1315:
1309:
1297:
1291:
1289:
1257:
1251:
1245:
1239:
1238:
1227:mandola, mandora
1215:
1209:
1208:
1192:
1182:
1173:
1159:
1148:
1147:
1117:
1106:
1100:
1087:
1081:
1072:
1071:
1065:
1061:
1059:
1051:
1049:
1048:
1026:
1015:
1009:
996:
995:
990:
988:
982:cremonaonline.it
973:
912:Marin Mersenne:
865:FoMRHI Quarterly
828:Valentin Strobel
758:Name controversy
571:
562:
553:
512:Skene Manuscript
460:Tuning in Unison
414:Syntagma Musicum
370:
369:
365:
300:
284:
166:Giovanni Vailati
162:
150:
140:Lombary mandolin
60:
29:
22:
18:
3571:
3570:
3566:
3565:
3564:
3562:
3561:
3560:
3526:
3525:
3524:
3519:
3505:
3479:
3465:Guitarra latina
3429:
3368:
3242:
3219:Types by region
3214:
3209:
3179:
3174:
3151:
3143:
3130:
3082:
3068:Girolamo Scotto
3053:Antonio Gardano
3009:
2948:
2902:
2849:
2840:Heinrich SchĂŒtz
2835:Philippe Rogier
2785:Orlando Gibbons
2737:
2733:
2724:
2720:Giaches de Wert
2710:Christopher Tye
2665:Claude Le Jeune
2655:Claude Goudimel
2650:Nicolas Gombert
2645:Andrea Gabrieli
2640:Jacobus Clemens
2611:
2607:Adrian Willaert
2537:Martin Agricola
2523:
2459:Antoine Busnois
2454:Gilles Binchois
2435:
2426:
2421:
2391:
2386:
2358:
2222:
2208:Octave mandolin
2116:
2080:
2075:
1998:
1996:Museum Examples
1931:
1916:Online text of
1898:
1893:
1883:
1835:
1815:
1799:
1798:
1789:
1787:
1779:
1778:
1774:
1765:
1763:
1753:
1749:
1736:
1732:
1724:
1720:
1712:
1708:
1700:
1693:
1685:
1678:
1670:
1666:
1658:
1654:
1645:
1643:
1635:
1634:
1627:
1619:
1615:
1607:
1603:
1583:
1574:
1566:
1559:
1555:, pp. 8â10
1551:
1547:
1540:
1522:
1518:
1510:
1501:
1497:, pp. 9â10
1493:
1489:
1480:
1478:
1474:
1473:
1466:
1458:
1449:
1441:
1432:
1425:
1409:
1405:
1398:
1382:
1375:
1366:
1364:
1354:
1350:
1341:
1339:
1330:
1329:
1322:
1313:
1311:
1307:
1298:
1294:
1286:
1258:
1254:
1246:
1242:
1216:
1212:
1205:
1183:
1176:
1160:
1151:
1138:
1118:
1109:
1101:
1090:
1082:
1075:
1063:
1062:
1053:
1052:
1046:
1044:
1042:
1028:
1027:
1018:
1010:
999:
986:
984:
974:
970:
965:
860:
795:Martin Agricola
790:
760:
723:
696:
668:
648:
633:
617:
616:
615:
614:
574:
573:
572:
564:
563:
555:
554:
545:
544:
538:
533:
508:
492:
475:
462:
454:
441:
422:
402:
397:
378:
367:
363:
362:
352:
316:
315:
314:
313:
312:
301:
293:
292:
285:
274:
264:
192:family and the
177:
176:
175:
174:
173:
163:
155:
154:
151:
142:
141:
131:
79:
78:
56:
32:
17:
12:
11:
5:
3569:
3559:
3558:
3553:
3548:
3543:
3538:
3521:
3520:
3510:
3507:
3506:
3504:
3503:
3498:
3493:
3487:
3485:
3481:
3480:
3478:
3477:
3472:
3467:
3462:
3457:
3455:English guitar
3452:
3447:
3441:
3439:
3435:
3434:
3431:
3430:
3428:
3427:
3422:
3417:
3412:
3407:
3402:
3397:
3392:
3387:
3382:
3376:
3374:
3370:
3369:
3367:
3366:
3361:
3356:
3351:
3346:
3341:
3336:
3331:
3326:
3321:
3316:
3311:
3306:
3301:
3296:
3291:
3286:
3281:
3276:
3271:
3266:
3261:
3256:
3250:
3248:
3244:
3243:
3241:
3240:
3235:
3229:
3227:
3220:
3216:
3215:
3208:
3207:
3200:
3193:
3185:
3176:
3175:
3173:
3172:
3162:
3144:
3140:Medieval music
3136:
3135:
3132:
3131:
3129:
3128:
3127:
3126:
3121:
3116:
3111:
3106:
3096:
3090:
3088:
3084:
3083:
3081:
3080:
3075:
3073:Tielman Susato
3070:
3065:
3060:
3055:
3050:
3048:Valerio Dorico
3045:
3040:
3035:
3030:
3025:
3019:
3017:
3011:
3010:
3008:
3007:
3002:
2997:
2992:
2987:
2982:
2977:
2972:
2967:
2962:
2956:
2954:
2950:
2949:
2947:
2946:
2941:
2936:
2931:
2926:
2921:
2916:
2910:
2908:
2904:
2903:
2901:
2900:
2895:
2890:
2888:Franco-Flemish
2885:
2880:
2875:
2870:
2865:
2859:
2857:
2851:
2850:
2848:
2847:
2842:
2837:
2832:
2827:
2822:
2817:
2812:
2807:
2802:
2797:
2792:
2787:
2782:
2780:Carlo Gesualdo
2777:
2772:
2767:
2762:
2757:
2752:
2750:Thomas Campion
2747:
2741:
2739:
2726:
2725:
2723:
2722:
2717:
2712:
2707:
2702:
2697:
2695:Costanzo Porta
2692:
2687:
2685:Hans Neusidler
2682:
2677:
2672:
2667:
2662:
2657:
2652:
2647:
2642:
2637:
2632:
2627:
2621:
2619:
2613:
2612:
2610:
2609:
2604:
2599:
2594:
2589:
2584:
2579:
2574:
2569:
2564:
2559:
2557:Costanzo Festa
2554:
2549:
2544:
2542:Antoine Brumel
2539:
2533:
2531:
2525:
2524:
2522:
2521:
2516:
2511:
2506:
2501:
2496:
2491:
2486:
2484:Heinrich Isaac
2481:
2476:
2474:John Dunstaple
2471:
2466:
2464:Loyset CompĂšre
2461:
2456:
2451:
2445:
2443:
2437:
2436:
2431:
2428:
2427:
2420:
2419:
2412:
2405:
2397:
2388:
2387:
2385:
2384:
2374:
2363:
2360:
2359:
2357:
2356:
2351:
2346:
2341:
2336:
2331:
2326:
2321:
2316:
2311:
2306:
2301:
2296:
2291:
2286:
2281:
2276:
2271:
2266:
2261:
2256:
2251:
2246:
2241:
2236:
2230:
2228:
2224:
2223:
2221:
2220:
2215:
2210:
2205:
2200:
2195:
2190:
2185:
2183:Mandolin-banjo
2180:
2175:
2170:
2165:
2160:
2158:Irish bouzouki
2155:
2150:
2145:
2140:
2135:
2130:
2124:
2122:
2118:
2117:
2115:
2114:
2109:
2104:
2099:
2094:
2088:
2086:
2085:General topics
2082:
2081:
2074:
2073:
2066:
2059:
2051:
2045:
2044:
2039:
2034:
2029:
2024:
2019:
2014:
2009:
2004:
1997:
1994:
1993:
1992:
1987:
1982:
1977:
1972:
1967:
1962:
1957:
1952:
1947:
1942:
1937:
1930:
1927:
1926:
1925:
1913:
1908:
1897:
1894:
1892:
1891:External links
1889:
1888:
1887:
1881:
1864:
1828:
1819:
1813:
1797:
1796:
1772:
1747:
1730:
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1625:
1613:
1601:
1572:
1557:
1545:
1538:
1516:
1499:
1487:
1464:
1447:
1445:, pp. 6â7
1430:
1423:
1403:
1396:
1373:
1348:
1320:
1292:
1284:
1262:Sadie, Stanley
1252:
1250:, p. 23 .
1240:
1210:
1203:
1174:
1149:
1136:
1107:
1088:
1073:
1040:
1016:
1014:, pp. 7â8
997:
967:
966:
964:
961:
960:
959:
957:978-0193231825
945:
943:978-0198163022
931:
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917:
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903:
896:
889:
882:
875:
868:
859:
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854:
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816:
789:
786:
759:
756:
722:
719:
695:
692:
667:
664:
647:
644:
632:
629:
620:Marin Mersenne
599:Cremona, Italy
576:
575:
566:
565:
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382:Marin Mersenne
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120:Octave mandola
117:
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64:
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47:
45:Classification
41:
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34:
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30:
15:
9:
6:
4:
3:
2:
3568:
3557:
3554:
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3537:
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3531:
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3499:
3497:
3496:Manufacturers
3494:
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3260:
3257:
3255:
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3251:
3249:
3245:
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3217:
3213:
3206:
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3199:
3194:
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2304:Michael Kelly
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2227:Manufacturers
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2097:North America
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1882:0-19-816302-9
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1785:musicviva.com
1782:
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1727:
1722:
1715:
1714:McDonald 2008
1710:
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1702:McDonald 2008
1698:
1696:
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1687:McDonald 2008
1683:
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1672:McDonald 2008
1668:
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1660:McDonald 2008
1656:
1642:
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1630:
1622:
1617:
1611:, p. 133
1610:
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1598:
1592:
1588:
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1579:
1577:
1570:, p. 131
1569:
1564:
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1554:
1553:McDonald 2008
1549:
1541:
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1530:
1529:
1520:
1514:, p. 134
1513:
1508:
1506:
1504:
1496:
1495:McDonald 2008
1491:
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1462:, p. 130
1461:
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1426:
1424:9780719006562
1420:
1416:
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1399:
1397:9781316184424
1393:
1389:
1388:
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1359:
1352:
1338:on 2011-01-09
1337:
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1266:Tyrrell, John
1263:
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1204:3-8290-6079-3
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1084:McDonald 2008
1080:
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1012:McDonald 2008
1008:
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947:James Tyler:
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919:E. Pohlmann:
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803:Adrian Le Roy
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799:Pierre Brunet
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591:small mandola
588:
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338:in 1140. His
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248:mandurinichen
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42:
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28:
23:
3484:Other topics
3410:Swedish lute
3399:
3145:
3138:
3109:Architecture
3043:Jacob Bathen
2760:John Dowland
2630:William Byrd
2504:Leonel Power
2197:
1921:
1917:
1903:
1870:
1843:
1839:
1823:
1804:
1788:. Retrieved
1784:
1775:
1764:. Retrieved
1760:
1750:
1740:
1733:
1721:
1709:
1704:, p. 14
1689:, p. 11
1667:
1662:, p. 10
1655:
1644:. Retrieved
1640:
1616:
1604:
1596:
1590:
1548:
1527:
1519:
1490:
1479:. Retrieved
1413:
1406:
1386:
1365:. Retrieved
1361:
1351:
1340:. Retrieved
1336:the original
1312:. Retrieved
1303:
1295:
1269:
1255:
1243:
1234:
1230:
1226:
1225:
1220:
1213:
1188:
1169:
1165:
1142:
1141:
1122:
1045:. Retrieved
1030:
992:
985:. Retrieved
981:
971:
948:
934:
927:
920:
913:
906:
899:
892:
885:
878:
871:
864:
858:Bibliography
851:
834:
813:
776:
772:
770:
763:
761:
750:
748:
743:
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483:
479:
476:
466:
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455:
442:
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413:
411:
386:
379:
360:
353:
350:Construction
340:Hohenstaufen
325:
317:
255:
251:
247:
243:
239:
235:
225:
223:
216:
209:
204:
198:
180:
178:
3099:Renaissance
3094:Early music
2990:Netherlands
2970:Elizabethan
2825:Jacopo Peri
2795:Alonso Lobo
2755:John Cooper
2617:Late (1530)
2577:Jean Mouton
2489:Jean Japart
2479:Walter Frye
2254:Del Vecchio
1840:Early Music
1674:, p. 8
1623:, p. 5
1086:, p. 7
1064:|work=
907:Die Gitarre
775:instead of
640:treble lute
356:James Tyler
240:bandĂŒrichen
236:mandĂŒrichen
3530:Categories
3124:Philosophy
3119:Literature
3087:Background
2953:Traditions
2929:Magnificat
2919:Intermedio
2863:Burgundian
2349:Tanglewood
2173:Mandocello
1790:2010-11-20
1766:2010-11-11
1646:2015-03-22
1481:2010-11-14
1367:2010-11-06
1342:2010-11-14
1314:2013-06-23
1248:Tyler 1981
1162:Tyler 1981
1103:Tyler 1981
1047:2015-03-21
963:References
266:See also:
3491:Composers
3380:Angélique
2939:Offertory
2868:Colorists
2730:Mannerism
2239:Breedlove
2213:Orpharion
2203:Mandriola
2193:Mandolute
2188:Mandolone
2168:Mandobass
2143:Bandurria
1929:Web pages
1170:bandurria
1066:ignored (
1056:cite book
788:Composers
777:mandörgen
773:mandöraen
704:bandurria
587:Mandolino
526:C-F-A-D-G
518:A-D-A-D-A
447:C-F-C-F-C
431:C-G-C-G-C
342:grandson
256:pandurina
252:mandörgen
227:quinterne
194:bandurria
90:Bandurria
3385:Archlute
3339:Shamisen
3289:Kutiyapi
3160:Category
3137: â
3000:Portugal
2924:Madrigal
2898:Venetian
2372:Category
2309:National
2264:Giannini
2259:Epiphone
2244:Collings
2133:Bandolin
2078:Mandolin
1268:(eds.).
1235:mandore.
1231:pandura.
893:The Lute
886:The Lute
879:The Lute
708:bandolim
706:and the
660:citterns
190:mandolin
110:Mandolin
95:bouzouki
3517:Commons
3501:Players
3460:Gittern
3450:Cittern
3425:Vihuela
3420:Theorbo
3405:Mandora
3400:Mandore
3324:Sanxian
3319:Sanshin
3279:Dramyin
3150:â
2980:Germany
2960:British
2382:Commons
2354:Weymann
2334:Seagull
2324:Ovation
2274:Harmony
2234:Beltona
2198:Mandore
2178:Mandola
2153:Gittern
2148:Cittern
2138:Bandora
2128:Bandola
2102:Players
2092:History
1860:3126587
987:11 June
765:mandora
732:mandore
700:bandola
688:g-d-a-e
583:Genoese
500:c-g-c-e
496:c-g-c-g
484:c-g-c-f
480:c-g-c-g
467:c-g-c-g
434:G-D-G-D
428:C-G-C-G
366:⁄
262:History
244:mandoër
218:mandola
205:vandola
201:gittern
181:mandore
115:Mandola
100:Gittern
85:Bandola
20:Mandore
3445:Citole
3415:Torban
3373:Europe
3364:Yueqin
3349:Tanbur
3309:Qinqin
3304:Qanbƫs
3269:Dombra
3254:Barbat
3226:Africa
3170:Portal
2995:Poland
2975:France
2965:Cyprus
2944:Pavane
2738:c.1600
2344:Tacoma
2299:Martin
2289:Ibanez
2279:Hohner
2269:Gibson
2163:Laouto
1879:
1858:
1811:
1536:
1421:
1394:
1282:
1201:
1134:
1038:
955:
941:
852:et al.
835:et al.
814:et al.
702:, the
589:means
577:Fltr:
395:Tuning
328:Sicily
270:, and
254:, and
3536:Lutes
3395:Kobza
3390:Cobza
3359:Veena
3344:Sitar
3334:Setar
3329:Sapeh
3314:Rubab
3284:Komuz
3274:Dutar
3238:Xalam
3114:Dance
3005:Spain
2985:Italy
2914:Carol
2893:Roman
2339:Stagg
2329:Regal
2294:Levin
1856:JSTOR
1836:(PDF)
1595:(the
1308:(PDF)
1233:Also
380:From
3475:LaĂșd
3299:Pipa
3264:Biwa
3259:Bipa
3247:Asia
3233:Goje
3212:Lute
2934:Mass
2732:and
2284:Hora
2249:Dean
1877:ISBN
1809:ISBN
1534:ISBN
1419:ISBN
1392:ISBN
1280:ISBN
1199:ISBN
1132:ISBN
1068:help
1036:ISBN
989:2018
953:ISBN
939:ISBN
318:The
185:lute
179:The
105:Lute
77:List
3354:Tar
3294:Oud
3104:Art
1848:doi
1195:164
1128:484
601:by
498:to
482:to
125:Oud
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