Don Rickert Musical Instruments

The New Mandolin Family Part 2: Octave Mandolins, Citterns and Irish Bouzoukis

This article is Part 2 of 2 and a follow on the article, The New Mandolin Family Part 1: Ancient Mesopotamia to Orville Gibson. We will pick up with other developments staring in the 1960s and culminating in today's New Mandolin Family of instruments.

Here I will discuss the large tenor range instruments of the New Mandolin Family. These instruments are often called ‘octave mandolins’, ‘citterns’ and ‘Irish bouzoukis’. There is considerable confusion about whether these monikers are synonyms or whether they refer to clearly distinct tenor mandolin variants. I might be able to clear that up for you.

I will also say some more about the modern mandocello, the largest member of the New Mandolin Family, such as the new breed of mandocellos that are hybrids of big mandolins and guitars.

The Octave Mandolin, Irish Bouzouki and Cittern

As previously stated, I believe the two most important antecedents to the octave mandolin to be the bouzouki and the Renaissance/Baroque cittern. It is uncertain who first coined the moniker “octave mandolin”. As described below, the instruments that we now call “octave mandolins” were until recently mostly called bouzoukis, citterns and even mandolas. Discussion of the origin of modern octave mandolins will hopefully shed some light.

The Bouzouki

The Greek bouzouki is, like the mandolin, a double-course stringed instrument. Indeed, the mandolin and bouzouki are presumed to be branches of the same lute family tree, the Arabic oud. The original Greek bouzouki, called the trichordo, was a three course/six-string instrument with a disproportionately long neck (playable string length typically in the 24” to 27”+ range). It looks pretty much like a large Neapolitan mandolin with a really long neck.

In the 1950s the four course/eight string tetrachordo version of the bouzouki was developed.

In general, he two higher courses are tuned in unison (both strings the same) and the lower courses are tuned in octaves (one high and one low) – the same idea as a 12-string guitar.

Irish Bouzouki

The Irish bouzouki is an adaptation of the Greek bouzouki. Johnny Moynihan, of the trio Sweeney’s Men, is widely credited with introducing the first tetrachordo bouzouki into Irish music. He tuned it to G3/G2, D3/D2, A3/A3 and D4/D4, essentially like today’s octave mandolin tuning, except the low G and D courses were tuned in octaves, as on a 12-string guitar. In the early 1970s, Andy Irvine (Sweeney’s Men, Planxty, Patrick Street) gave his Greek bouzouki to Donal Lunny (Planxty, The Bothy Band). He replaced the low G and D courses with unison strings.

A year or so later, Lunny and Irvine commissioned luthier the late Peter Abnett (2015) to build an instrument with a relatively flat (i.e. 3-piece staved) back and otherwise nearly identical specifications to Lunny’s modified Greek bouzouki. It has been said that the Irish bouzouki as a distinct instrument was thus born.

Almost immediately, new designs built specifically for Irish traditional music began to appear. The body was widened and a flat back with straight sides replaced the multi-staved back. This flat-backed teardrop design became the de facto standard for so-called Irish bouzoukis and “Irish” octave mandolins. Irish bouzoukis and octave mandolins are often referred to as “citterns”. I will get to that momentarily.

While all of the initial Irish bouzoukis had flat tops and either flat or flattish backs, a few luthiers such as Stefan Sobell began experimenting with carved arch tops and backs, taking their design inspiration from American archtop guitars and mandolins.

 Nevertheless, the majority of makers today continue to opt for flat or flattish tops and backs (i.e. like internally-braced acoustic guitars).

The Cittern

Earlier I mentioned that an important antecedent to the octave mandolin, and mandocello as well, was the Renaissance cittern. The cittern, a strummed double-course instrument with a flat top and back, was popular in Europe during the late Renaissance and early Baroque periods. These instruments generally had four or five courses of metal strings. Citterns, especially later examples from the Baroque period, are almost identical in size and shape to modern teardrop style octave mandolins.

 

The Modern Cittern

Interestingly, modern octave mandolin-sized instruments and some the size of mandocellos are often called citterns. For many players, and even builders, the terms “bouzouki”, “octave mandolin” and “cittern” are more or less synonymous. Part of the confusion seems to stem from the fact that some of the most influential makers have used different designations over the years to refer to the same instruments and vise versa. Attributes such as scale length, number of strings and string pair tuning (i.e. unison vs. octave), or some combination of these, have been used as differentiators between bouzoukis, octave mandolins and citterns.

Early on, the influential luthier Stefan Sobell initially referred to instruments with shorter scale lengths (20” – 22”) as “citterns” and those with longer scale lengths (23” – 27”) as “bouzoukis”, regardless of the number of strings. Apparently, Sobell now applies the “cittern” designation to all 5-course instruments regardless of scale length and “octave mandolin” to all 4-course instruments, leaving out the term “bouzouki” altogether.

On the other hand, if we look at the instruments sold by many of the well-known makers, octave-tuned (two strings tuned one octave apart) lower course strings and, to a lesser extent, longer scale, seem to be the defining attributes of what is called a “bouzouki”. For some reason, all of this almost makes some sense to me. See the image of a modern instrument (below) marketed as an "Irish Bouzouki". It looks just like an octave mandolin except for a somewhat disproportionately long neck. It is strung such that the lower two courses are tuned in octaves. It could easily be restrung with the lower courses in unison, just as Donal Lunny did when this story began in the 1970s. I suppose that it would then be an octave mandolin with a longer than average neck! 

The point is that it matters little today whether a tenor range mandolin family instrument is called and "Octave Mandolin" or "Irish Bouzouki". I believe, however, that "cittern" (actually "Modern Cittern") is still a useful designation to indicate 5 or more string courses.

Influence of the Guitar

Anyone familiar with contemporary mandocellos will have observed that many of these instruments bear a strong resemblance to guitars, flattop as well as archtop (i.e. jazz) guitars. In fact, some modern mandocellos essentially are guitars modified for 4 or 5 double courses of strings. This is no surprise, as the scale lengths (i.e. vibrating string lengths) of mandocellos and guitars are the same; between 24.5” and 25.5”.

Also, more than a few contemporary octave mandolins look like small guitars as well. I have seen some that could have been 1920s era tenor guitars with a wider neck to accommodate double rather than single string courses.

Indeed, our own archtop instruments, especially the octave mandolins, tenor citterns and mandocellos are based on the principles underlying the renowned archtop guitars by Robert Benedetto. Our flat top instruments are very much based on best practices for modern acoustic steel string guitar design.

My proposed Naming Conventions for the Large Mandolin Family Instruments

Based on my observations of terminology currently in common use, and what just seems to make sense, as described above, I propose that we refer to the large members of the mandolin family as follows.

As a reference (e.g. relative size of instruments), refer to the illustration below of the New Mandolin Family by D. Rickert Musical Instruments. From left to right: Mandolin, 5-course Alto Mandolin (or Alto Cittern), Octave Mandolin, Tenor Cittern, 5-course Mandocello (or Baritone Cittern).

Octave Mandolin: Four courses, generally tuned in unison to G2/G2, D3/D3, A3/A3, and E4/E4; scale length 23” or shorter.

Cittern (tenor): Five courses, generally tuned in unison to G2/G2, D3/D3, A3/A3, E4/E4 and A4/A4 or B4/B4; scale length 23” or shorter.

Irish Bouzouki: Four courses, generally tuned to G3/G2, D3/D2, A3/A3 and D4/D4 or E4/E4; scale length 23” or longer.

Mandocello: Four courses, generally tuned to C2/C2, G2/G2, D3/D3 and A3/A3; scale length 24.5” – 25.5”.

5-Course Mandocello (aka Baritone Cittern): Five courses, generally tuned to C2/C2, G2/G2, D3/D3, A3/A3 and E4/E4; scale length 24.5” – 25.5”.

I welcome discourse on my proposed classification scheme.

That’s all on the New Mandolin Family for today. Very soon, I will post an article about a plethora of new mandolin family instruments that we have designed and are ramping up to start building and selling at the Don Rickert Musician Shop.

 

Don Rickert

D. Rickert Musical Instruments

The New Mandolin Family Part 1: Ancient Mesopotamia to Orville Gibson

This is the first of a multi-part series on the New Mandolin Family of musical instruments. Those who follow this blog will know that this is also the first article I have posted in some time. This reason for this hiatus is simple; we at Don Rickert Musical Instruments have been very busy making instruments. The success of our 5-string Violoncello da Spalla was far greater than anyone could have predicted. This is the kind of problem that we can deal with!

Here I will briefly lay out the evolution of the mandolin, which appears to have started around 2000 BC, to the heyday of mandolin orchestra and the "Golden Age" of the mandolin in the 1920s. Part 2 will pick up with other developments staring in the 1960s, which culminates in today's New Mandolin Family of instruments.

The “New Mandolin Family” of musical instruments includes the following core members:

• Mandolin
• Mandola or Alto Mandolin
• Octave Mandolin
• Mandocello
• Mando-bass

In reality, the mando-bass is such a rarity these days that it should probably be considered an ancestor rather than a “living” family member.

Very closely related members are:

• Cittern
• Irish Bouzouki

More distant relative members are:

• Greek Bouzouki
• Portuguese Mandolin
• Bandolin or Bandolim
• Oud
• Portuguese Guitar
• Viola Caipira
• Cuban Tres
• Puerto Rican Cuatro
• Columbian Tiple
• Charango

There are many other more exotic variants the above instruments.

What follows is a brief history of how modern mandolin family and its close relatives came to be.

Brief History of the Mandolin

A plucked string instrument historically called the mandola evolved as an offshoot of the lute family in Italy in the 15^th Century. Later, during the Baroque period (17^th and 18^th Centuries), the somewhat smaller and higher-pitched mandolin (literally, small mandola) appeared. By the early 19^th Century, the mandolin, in its familiar round staved back (aka “tater bug”) form, with 8 metal strings divided into 4 courses, would become the standard.

By the 1830s, these mandolins were, and still are, widely referred to as “Neapolitan” mandolins, due to the fact that many of the original makers were located in or near Naples, Italy. These early “modern” mandolins were tuned in 5ths like a violin and played with a plectrum (i.e. pick).

There were other antecedents to modern mandolin family instruments, such as the octave mandolin.  The cittern, a strummed instrument with a flat top and back, was popular in Europe during the late Renaissance and early Baroque periods. These instruments generally had four or five courses of metal strings. Citterns, especially later examples are, indeed, almost identical in size and shape to modern teardrop style octave mandolins.

 

Interestingly, modern octave mandolin-sized instruments are often called citterns, especially when they have 5 courses (either 9 or 10 strings) and/or they are tuned to optimally afford chordal playing, but I digress.

The lute itself evolved over many hundreds of years, probably even thousands. For instance, lute-like instruments appear as early as 2000 BC in Mesopotamia. By the 7^th Century AD, the Arabic oud was in widespread use in the near East and North Africa. The oud, still in use today, is often viewed as the immediate predecessor to the European lute. The oud found its way into Spain during Moorish conquest (711-1492), then to Venice through coastal trade and northern Europe by returning Crusaders in the 11^th and 12^th Centuries.

The mandolin entered the mainstream of popular culture in America during the first wave of substantial  immigration from Eastern and Southern Europe in the middle of the 19^th Century. By the 1850s, the instrument was quite in vogue, along with zithers and ukuleles, especially with the increasingly leisured middle class. With the marked increase of Italian immigration in the 1880s, the Neapolitan mandolin became nothing short of a fad. In fact, the mandolin was even among the first recorded instrument on Edison cylinders.

By the end of the 19^th Century, Lyon & Healy (i.e. Washburn) was the largest American manufacture of Neapolitan style mandolins. In 1900, Lyon & Healy boasted that 'At any time you can find in our factory upwards of 10,000 mandolins in various stages of construction'. That’s a lot of mandolins!

 

“Flat” and “Flattish” Mandolins

In the early 20^th Century, there appeared two types of mandolin that could be described as basically flat (or at least flattish), at least when compared to the bowl-shaped Neapolitan mandolins. The first of these two new types was the carved-arch type, with a carved slightly arched back and top, and little, if any, internal bracing; in other words, made like a violin. The second is the American flat-back type.

 

Gibson Carved Arch Mandolins

Gibson introduced a carved-arch (carved arch top and back) mandolin (the “A” or teardrop shape) in about 1904, based on Orville Gibson’s 1896 patent. The first of these were teardrop shaped, now known as the “A-type”.

The iconic “Florentine” or F-type was introduced in about 1910.

The violin-style f-holes now associated with the F-type were introduced in the early 1920s, as a feature of the Lloyd Loar-designed F-5 mandolin.

Lyon & Healy Carved Arch Mandolins

Lyon & Healy and their Washburn division introduced carved back mandolin family instruments in 1912. Some of these instruments have two “points” and a distinctive violin-type head-stock.

Others are basically teardrop shaped with a standard geared peg headstock. As will be described momentarily, Lyon & Healy, as well as Gibson, made larger members of the mandolin family, the mandola and mandocello. Gibson also made mando-basses. There is no evidence that Lyon & Healy made such an instrument.

 

Gibson Flat-back Mandolins

Near the end of WWI (i.e. November, 1918), Gibson introduced the “A/N” (Army-Navy) mandolin to be sold in military PXs. These simple design mandolins, later revived under the name of “Flatiron”, were oval-shaped and had braced flat tops and backs (like an acoustic guitar). Despite their minimalist appearance, these instruments sound really good! This truly flat style of mandolin is often referred to by the nickname, “pancake style”.

Martin, Gretsch, Oscar Schmidt and Vega

By the 1920s, all of the major American instrument makers were offering mandolins with either an oval or teardrop shape with essentially flat tops and backs.

Stromberg-Voisinet (1920-1930)

In about 1920, Stromberg-Voisinet introduced their “Venetian” series instruments, which included mandolins, tenor guitars, 6-string guitars and mandocellos. Some of these instruments were flat-top braced instruments and some had carved arch tops and/or backs.

This unique and beautiful “Venetian” shape motif continued with KayKraft, which acquired Stromberg-Voisinet. KayKraft later became Kay and then Harmony.

 

The Vega Mandolin Family

In the ‘teens and 1920s, Vega also made a complete mandolin quartet (including the mandobass) as well as 10-string hybrid instruments that spanned the pitch range between adjacent 8-string instruments. In other words, there was, according to reports but unverified, a mandola-sized instrument with an extra E-course at that high end (tuning: C3/C3, G3/G3, D4/D4, A4/A4, E5/E5; covers the range of a both a mandolin and a mandola). There could also have been a mandocello-sized instrument, likely, also with an extra E-course at the high end (tuning: C2/C2, G2/G2, D3/D3, A3/A3, E4/E4). Such an instrument would cover the range of both the mandocello and the modern octave mandolin.

 

Mandolin Orchestras and the Idea of a Modern Mandolin Family

In the years leading up to 1920, the large musical instrument manufacturers, Gibson and Lyon & Healy (Washburn) and Vega were in a battle royale competition to supply amateur mandolin orchestras with instruments. Most would say that Gibson won this competition, mostly due its legendary marketing war machine. Indeed, Gibson had a substantial cadre of employees and associates (e.g. music teachers) whose job it was to drum up interest in and to establish mandolin orchestras throughout the U.S. By the 1920s, these orchestras were common in big cities and small towns across America.

While the notion of larger mandolin family instruments such as the mandola and mandocello may have been around for some time (especially the mandola), it was Gibson that took the idea of an entire mandolin family orchestra to a whole new level. In addition to mandolins, Gibson in its formative years (early 20^th C.) introduced mandolas, mandocellos and even the gigantic mandobass.

They also introduced guitars with violin-type carved arch backs and tops (today, referred to as “archtop” or “jazz” guitars), built on the same principles covered by Orville Gibson’s 1898 patent for a carved arch mandolin.

Indeed, becoming the top supplier of instruments to mandolin orchestras was arguably Gibson’s raison d’etre.

A significant outcome of the mandolin orchestra rage was that by 1920 at least three of the members of the modern mandolin family were now well-defined and standardized as distinct instruments. These were the mandolin, with a 13”-14” scale and tuned like a violin, the mandola with a 17” scale and tuned like a viola and the mandocello with approximately a 25” scale and tuned like a cello. One could consider the mando-bass as a fourth member to become standardized; however, mando-basses are quite rare these days. Even in the mandolin orchestra heyday, the bass viol (i.e. double bass) was more commonly used to play bass parts.

Just as there is no octave violin in a modern orchestra, neither was there an octave mandolin in the mandolin orchestra. Octave mandolins came along much later in the 20^th Century, taking their inspiration from folk instruments (e.g. Greek bouzouki) as well as a Renaissance plucked instrument called the cittern, rather than modern orchestral bowed instruments. You can read about that and more in the next installment. See The New Mandolin Family Part 2: Octave Mandolins, Citterns and Irish Bouzoukis

 

Stay tuned!