Overall instrument length is approximately 990mm (about 39 inches). Instruments have been created with a scale length of 25.5 inches (650mm), but also as long as 27 inches. The sound hole is typically diamond shaped, but can be round, and sometimes covered by a rosette. A variation is to have the thickest strings be single strings instead of double courses. It can have eight, ten, or twelve strings in doubled courses, and may have additional frets between frets to provide quarter tones. The Algerian mandole is a stringed instrument, with an almond shaped body, built in a box like a guitar, but almond shaped like the mandola with a flat back, raised fingerboard, and wide neck (as a guitar's). However, the luthier for one of Hakim's instruments describes it as a mondole. The instrument has also been called a "mandoluth" when describing the instrument played by the Algerian-French musician, Hakim Hamadouche. The Algerian mandole is not however a mandola, but a mandocello sized instrument. The name can cause confusion, as "mandole" is a French word for mandola, the instrument from which the Algerian mandole developed. The Algerian mandole ( mandol, mondol) is a steel-string fretted instrument resembling an elongated mandolin, widely used in Algerian music such as Chaabi, Kabyle music and Nuubaat ( Andalusian classical music). Information: (714) 364-5270.Music of Algeria, Chaabi music, Music of Kabyle people, Andalusian classical music, Andalusi nubah, Nuubaat at Shade Tree Stringed Instruments, 28062 Forbes Road, Laguna Niguel. The Modern Mandolin Quartet will play works by Bach, Haydn, Debussy and other classical composers on Saturday at 8 p.m. It’s the challenge of making the mandolin work.” “We have our limits,” he added, “but therein lies the beauty. “We’re developed some techniques whereby we really pluck the note and as it’s decaying, we sort of sneak the tremolo in, as opposed to turning it on immediately. “We’re doing our darndest to avoid using it,” he said. To distance themselves from any “serenading gondolier connotations,” Marshall’s group tried to avoid “too much use of tremolo.” “You can’t use those kinds of strings on a round-back,” Marshall said. The flat-back models also can support heavy-gauge bronze strings. Frankly, I’ve never been able to hold the thing. “The round-backs have mostly a harmonic, high-end kind of sound. “These instruments are much more suited to a heavier hand and more pungent sounds,” Marshall said. The Gibson mandolin also has a longer neck, which extends the range, and F holes like those on a violin instead of the round hole of the Italian models. In the early 1920s, the guitar-making Gibson company reated a flat-back mandolin in contrast to the traditional Italian round-back model. Marshall found it easy to adapt string-quartet literature because the instrument he had was more flexible than the instrument associated with popular Italian music. Because it was so rhythmic, I felt it adapted well to the percussive aspect of the mandolin.” “I also was really interested in (transcribing) contemporary music-by Ravel, Bartok, Shostakovich, Stravinsky. “We wanted to play string quartet music right off the page, and we didn’t have to change anything,” he said. Pleased with the results and encouraged by meeting Rath, he launched the quartet a year later.
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