|Europe South||ATLAS of Plucked Instruments|
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The folk lute of Albania is similar to the Turkish (small) cura saz. The name qiftelia (officially written çiftelia, and sometimes cifteli) means "two strings" in Albanian.
The qiftelia is carved (like the old Turkish saz) from one piece of wood, with a pine soundboard. The long thin neck is separate and joined to the body with a V-join. It has (brass) inlayed frets, in a special diatonic scale with 7 frets in an octave. The straight peghead is part of the neck and ends in a narrow end. The T-shaped friction pegs are both on the front, but slanting to different sides.
The 2 metal strings run over a small metal bridge (screwed to the soundboard) to a small metal stringholder at the edge of the body.
Usually there is some kind of inlay on the front to serve as scratchboard (like on some mandolins). On some instruments there is woodburning decoration around the edges or even a full picture on the entire front. There is a small soundhole on the front, and another one on the left side of the body.
Playing the qiftelia is strumming with the fingers, and fingering mainly the first string, with the second as drone.
The sharki (or sharkia) is a similar instrument as the two-string qiftelia, but larger and with more strings, and looking more like a Turkish saz. This instrument also exists in other countries of the Balkan (like Bosnia), and then names like sargija or shargija are used (see under).
The body is usually carved from one piece of wood - sometimes
deeper than the saz, sometimes rather flat on the bottom. The
neck is separate and joined to the body with a V-join. The frets are
often inlayed metal frets, but could also be tied-on like on the saz,
in a "meantone" pattern.
Basically there are always 3 courses of metal strings : this could be 3 single strings, or in a double-single-double pattern, or all double, or one of the courses in triple. The strings run over a small loose wooden bridge on the front, to be fixed on the end of the body. This can be an extension of the wood of the body, a small metal stringholder, or separate pins.
In Bosnia they use some instruments
that look similar to the Turkish saz, but are in fact types
of the tambura. One is here also called saz, and the other
one (often a bit smaller) is called šargija (see under).
There is for both instruments quite a wide range of models, depending
on the local maker and (probably) the region.
The large body of the Bosnian saz is usually
carved from one piece of wood - sometimes quite deep. The neck is separate
and joined to the end of the body. The frets are often inlayed metal
frets, but could also be tied-on like on the Turkish saz, in
an almost western pattern.
Usually the saz has 3 courses of metal strings : this could be 3 single strings, or in a double-single-double pattern, or all double, or one of the courses in triple. The strings run over a small loose wooden bridge on the front, to be fixed on the end of the body. This can be an extension of the wood of the body, a small metal stringholder, or separate pins. Tuning could be : c g d.
The Bosnian saz is played by strumming all strings together, and fingering mainly the first course, to accompany singing.
For the many tambura instruments on the Balkan see also EuropeEast.
The other tambura type used in Bosnia (but also in other countries of the Balkan) and looking like the Turkish saz, is the tambura type šargija (or shargija). It is a similar instrument as the Albanese sharki, but the šargija seems to be more rustic, with on the body : carvings, paintings or (most often) burned decoration. There is a very large variety of body shapes, depending on the local maker. Also the size can be from very large to quite small.
The peghead can be in various shapes : like a saz with T-shaped friction pegs (front or/and left side), or tuning machines from behind on both sides, or on a row on the (left) side. The entire instrument is varnished.
Basically there are always 3 courses of metal strings
: this could be 3 single strings, or in a double-single-double pattern,
or all double, or one of the courses in triple. On some šargija
there is a very short (octave) string from a peg at the left side of
the neck, close to the body.
The šargija is played by strumming all strings together, and fingering mainly the first course, to accompany singing, or as duo with a violin.
For the many other tambura instruments on the Balkan see also EuropeEast.
In Bosnia you may also find a smaller šargija, called bugarija. This instrument is maybe the forerunner of the sargija. It is mainly used in rural areas, although not many people play it anymore. It resembles a bit the dangubica (or tambura samica) from Serbia (see Europe East)
The bugarija has 4 single metal strings. The
strings run over a small loose wooden bridge on the front, and are fixed
on some pins at the end of the body.
It is played by strumming all strings together, and fingering mainly the first course, to accompany singing.
Notice that one of the tamburitza instruments of Croatia is also called bugarija.
The main plucked instrument in Greece is the bouzouki. Originally from Turkish origin it had 3 courses (like the baglama saz), nowadays it has usually 4 double courses. For more information about Greek instruments see Helleniccomservice.com, and for lots of beautiful instruments see NVO.com.
The bouzouki has a lute-shape body with a guitar-neck. The body is made from many narrow ribs, glued together. The inside is layered with a kind of (coloured) silver paper. The soundboard is made of pine. On the top half around the (round or fancy shaped) soundhole there is always a black and white decorative scratch plate (made of plastic nowadays) under the varnish.
The neck is guitar-like with a flat peghead, and machine
heads on both sides of the open peghead. The fingerboard is raised and
has metal frets. Often part of the fretboard (and sometimes the entire
fretboard) is made of shiny perloid. The strings run over a very wide
loose bridge to a mandolin-like tailpiece.
Playing the bouzouki is with a plectrum, often with much tremelo. Music in the "syrtaki" dance style is often with 7/4 and 5/4 rhythms, and many extra passing notes.
For more information about the bouzouki see ArabicMusic.
The laghouto (or laouto) is a kind of hybrid : a large lute-shaped body with a guitar-neck and a mandolin-like tuning. A similar type of instrument is used all over the Balkan (often with similar sounding names). It is usually quite expensive. There are two types : one on the mainland and a larger laghouto on the island of Crete. There is also another lute-like instrument : the outi, which is similar to the Turkish oud (see Middle East)
The body of the laghouto is made like a big
baroque lute, with many ribs glued together. The pine soundboard
has (between soundhole and bridge) a scratchplate inlayed from different
wood. The round soundhole is covered with a carved wooden rosette (like
an oud). The bridge is glued-on. Often the bottom edge of the
body has a decorative strip of leather for protection.
The laghouto has 4 double steel strings in mandolin-like
tuning. On the mainland :
See for the related lutes : lavta and outi under Turkey.
The Greek baglama (or bakllama) is in fact a kind of miniature bouzouki, with 3 double metal strings. The shape can be quite different between different makers.
There are two types : the body can be carved from one
piece of wood, or it can be made like a tiny bouzouki, built
from staves. The soundboard is made of pine. It has a small soundhole
and is usually not so much decorated as the bouzouki.
Tuning of the baglama is like the 3-course bouzouki : d" a' d" . It is played with a plectrum in the Rebetika style music.
Notice that in Turkey the normal size saz is also called baglama.
Between the bouzouki and baglama is another lute-like instrument : the tzouras (or tsoura, or jura, or tzoura). The name is similar to the small Turkish cura (saz).
The body of the tzouras is made like that of
the bouzouki (with many ribs), but much smaller. Some are still
carved from one piece of wood.
The tzouras can have either 3 or 4 courses of double metal strings, and it is tuned like the bouzouki : dd' aa d'd', or : c f a d'.
It is usually played like a bouzouki, for similar types of music.
The tabouras is considered to be the Greek ancestor of the bouzouki and closely related to the Turkish saz (baglama). However the original production method has been lost when the instrument went out of fashion. Nowadays there is a revival of this instrument, and makers are quite inventive to use construction elements from both the saz and the tzouras. Names that are used are tabouras, or taboura, or tambouras or saz. On Crete a quite similar instrument is used : the boulgari (or bulgari). Like the saz, the instruments are made in different sizes.
The tabouras looks in general very much like
a Turkish saz. Usually the body nowadays is made like a lute,
from separate ribs (although it may still be carved from one piece of
wood). Unlike the saz (with the soundhole in the bottom of
the body) the soundhole of a tabouras is in the front, with
often a carved rosette.
The tuninghead is like the neck, but slightly angled to the back, and made from a separate piece of wood. There are usually 6 or 7 T-shaped tuning pegs : 3 (or 4) on the front, and 3 on the left side. The metal strings (in 3 courses) run over a small loose bridge to a small stringholder on the bottom edge of the body.
Tuning could be like the tzouras : gg' d'd' g'g', or similar (depending on the scale length), or like the Turkish saz. Playing is with a plectrum.
The tabouras is generally considered the most appropriate instrument for teaching Byzantine music on musicschools.
In the southern half of Italy, in the regions of Calabria, Campania, Basilica and Puglio, you can still find the chitarra battente ("strumming guitar"). They sometimes look quite similar to the 17th century chitarra battente (see early guitars), but that is mainly because the makers try to use those as model. All instruments are locally made, so there is a large variety in models - although the type can usually be recognized: short neck, slanting front, strings fixed to the body edge. See for many different examples of this instrument, the website : Chitarrabattente (in Italian).
There is no fingerboard : the (10) metal frets are put
straight in the neck, flush with the front, and usually the neck joins
at the 10th fret. It can have tuning pegs (from behind), or tuning machines
(but usually not a slotted peghead).
Playing is just strumming a few chords to accompany singing or a mandolin solo.
Notice that in Italy the Spanish guitar is called the French guitar ("chitarra francese"). Also notice that "chitarra battente" is sometimes wrongly translated as "guitar clapper" or "knocking guitar". And finally notice the resemblence with the violas from Portugal, which also have 5 double courses of thin metal strings and the fingerboard flush with the front.
On the small island of Malta (just south of Italy), the traditional improvised folksinging "ghana" [pronounced : "aa-na"] is accompanied by three guitar players. Two play normal rhythm guitars, and the third plays "il-prim" (the lead) on a guitar that is usually a bit smaller, and called : terzin, or Maltese guitar.
The terzin ("3/4") is locally made, as a simple kind of spanish guitar (with steel strings), with a slightly smaller body. It often has folk-like decorations, like striped purfling around the edges.
The three guitars each have their own tuning.
For some information about Maltese music see ghanafest.
On the (Italian) island Sardinia they perform a special kind of singing, quite like that in the south of Italy - with very harsh and deep male voices. Some song contests are accompanied by a large acoustic guitar - the kithera sarda - which is usually made in Sicily (another Italian island).
The kithera sarda often resembles the Jumbo
(Dreadnought) shape, but is even larger (!) and the steel strings run
over a flat loose bridge to a stringholder.
The strings are tuned 3 tones lower than the normal guitar.
On the (French) island Corsica quite recently the folk musicians have rediscovered the old cittern. They have extended the number of strings and when played, the sound and feeling (of the thin metal strings) is that of the old orpharion. Even some of the necks looks like a cittern, with the d-shape. See for more information (in French) Ugocetera.
As the makers make up their own models, there is not one standard cetera, although the general model can be recognised.
The body of the cetera is mandolin/cittern-like,
with a flat back. Sometimes the bottom has a small extension to fix
the strings to. The back of the neck is either like a normal guitar-neck
or in a d-shape, like on cittern and orpharion. The
fretboard is raised above the soundboard. Sometimes a rosette made of
parchment fills the round soundhole.
The thin metal strings are either in 4 double courses
or in 8 double courses.