2017 Strings2u Concert Videos

For the 2017 Student Concert Videos please scroll below and click on the play sign

To view them in full-screen size click on the YouTube sign.

How to Save a Copy of a Performance Video to your Computer?  

1.Right click the video and select copy URL  e.g. https://youtu.be/5LhlnWRqXWk

2.Paste the URL on a new page and

3.Replace https://youtu.be/ with https://video.genyoutube.net/ so that the URL is for example https://video.genyoutube.net/5LhlnWRqXWk

4.Scroll down the page and press on the button that says MP4 360p SD so the video will play.

5.Right click the video and select “Save video as” This will open up the file manager for saving to your computer. Select a folder and name the file then press “save.”

2017 Student Concert Videos

Master Violins

For Semi Professional Violin DETAILED DESCRIPTIONS and EXTRA PHOTOS please click

MASTER VIOLINS:

 

Master Violins DETAILED DESCRIPTION AND PHOTOGRAPHS:

(SN:200 – S$2190) Information on “the Cremonese Stradivarius” violin (4/4) of 1715 

The “Cremonese Strad” copy is a very fine quality violin with excellent craftmanship and can be described as follows: balanced on all 4 strings. a powerful, bright, rich tone suitable for solo performance. It has a good response, which makes it a good choice for advancing players. The 2 piece book-matched top spruce is extremely fine grain, and not made too thin, giving the violin the potential to grow into a mature old instrument.

About the Original Stradivarius “Cremonese” – made in 1715:

The Cremonese violin is one of Stradivari’s greatest masterpieces made during his Golden Period. The Cremonese was once owned by the famous violinist, Joseph Joashim. It was returned permanently to the Italian city of Cremona in 1961. The choice of wood, pattern, arching, varnish, and sound is proof of Stradivari’s genius. The instrument has inspired some of the greatest makers in history and continues to be an inspiration today. The Cremonese is unique in the way it combines the sweetness and grandeur of a good Strad, while having the depth of a fine del Gesu. Original “Cremonese” Dimensions: Body length 357mm, Upper Bout 168mm, Center Bout 112mm, Lower Bout 207.5mm.

The Construction and Materials of this Violin:

  • · Varnish:          Italian antique varnished
  • · Top:               Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of this copy of the “Cremonese” violin are:

– body length: 357mm; lower bout: 208mm; upper bout: 170mm; middle: 113mm.

200-Strad-Cremonese-1715-front&back200-Strad-Cremonese-1715-sides

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(SN:206 S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu “Cannon” Violin of the year 1743-Russian Spruce

About the Original Guarneri Del Gesu “Cannon” Violin – made in 1743:

“The Cannon” violin is also known by the variants Il Cannone del GesùCannone or Canon, and is often appended with the maker’s name “Guarneri del Gesù” which is also the Guarneri trademark. The violin received its name as the Cannon from a former owner, the Italian violin virtuoso Niccolo Paganini (1782–1840), because of its power and resonance. Paganini called it “my cannon violin,” referring to the explosive sound that he was able to make it produce. This is considered one of Guarneri’s masterpieces. The violin has distinct features that set it apart from modern instruments, including a slightly shorter and thicker sound box and a markedly curved neck. Its tone is distinctly bright, yet full. The violin has survived intact and whole and was given by Paganini to the city of Genoa. Original “Cannon” dimensions: Body length 354mm., Upper Bout 168mm., Center Bout 111mm, Lower Bout 207mm.

The Dimensions of this copy of the “Cannon” violin are:

– body length: 355mm; lower bout: 205mm; upper bout: 165mm; middle: 115mm.

106-Joseph Guarneri Cannon-1743-front&back2106-Joseph Guarneri Cannon-1743-sides

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(SN:210 S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu “Cannon” Violin of the year 1743-Russian Spruce

The Dimensions of the violin are:

– body length: 355mm; lower bout: 205mm; upper bout: 165mm; middle: 115mm.

110-Joseph Guarneri Cannon-1743-front&back2110-Joseph Guarneri Cannon-1743-sides

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(SN:213 S$1890) Master Violin-Copy of Stradivarius “Viotti” of the year 1709-Russian Spruce

About the Original Stradivarius “Viotti” Violin:

This violin is one of the best masterpieces made by Stradivari during his golden period. If the “Messiah” is preserved in a superior condition, then we can say that the “Viotti” is in a very good condition. Besides the wonderful craftsmanship, the wood is superior and the ruby-like varnish also makes this violin incomparable. In France, the Viotti was admired and highly sought after among the instrument makers of the era, most notably Jean-Baptiste Vuillaume. The first biography of Stradivari, authored by Francois Fetis, explained the unparalleled quality of his instruments and contained a list of the best examples, placing the Viotti third.

The Dimensions of this copy of the “Viotti” violin are:

– body length: 358mm; lower bout: 208mm; upper bout: 167mm; middle: 111mm.

113-StradViotti-1709-frontbackfull113-StradViotti-1709-sides

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(SN:215 S$1890) Master Violin-Copy of Nicolaus Amati Violin-1670-Russian Spruce aged 20yrs

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 117mm.

115-Amati-1670-front back full

115-Amati-1670-sides

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(SN:218 – S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu Violin-1730-Russian Spruce.

ABOUT Giuseppe Guarneri ‘Del Gesu’  ranks today as one of the two greatest violin makers of all time, although the marked difference between the appearance and sound of his instruments and those of Stradivari makes comparison almost impossible. Some simply prefer Stradivari, and some prefer del Gesu. Giuseppe trained with his father. The earliest known insruments that are entirely his own work date from the late 1720s, but it was not until 1731 that he began to insert the label with the monogram IHS. He seems to have been strongly influenced by the Brescian school, and his work combines the best of the Cremonese tradition with the stretched C-bouts and exaggerated f-holes of Maggini and da Salo. Tonally, his instruments retain much of the sweetness of a Stradivari, but have a seemingly unlimited depth and darkness of sound, irrespective of the pressure of the bow. It is the later instruments that have come to represent all that is characteristic of del Gesu the unbridled creativity, the astonishing disregard for the details of workmanship, and the sheer daring of design and construction that are the natural conclusion of the deeply ingrained individuality of the Guarneri family. The rapid spread of del Gesu’s fame in the mid-19th century was largely due to the patronage of Paganini, who played the ‘Cannon’ of 1743 for most of his career.

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:               Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 168mm; middle: 115mm._

118-Guarneri-1730-frontbackfull118-Guarneri-1730-sides

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(SN:223 S$1690) Master Violin-Copy of Guarneri Del Gesu “Goldberg-Baron Vita” Violin-1730

The Goldberg is named after a famous violinist, Szymon Goldberg, who had a long and distinguished career as violinist, conductor, and teacher. It is currently played by the violinist Nicholas Kitchen.

The “twin” of the Baron Vitta Guarneri, is the Kreisler Guarneri del Gesù that had belonged to the legendary violinist Fritz Kreisler. Both the Baron Vitta and the Kreisler Guarneri were made in the 1730s by Giuseppe Guarneri del Gesù from the same blocks of spruce and maple.

The Construction and Materials of this Violin:

  • · Varnish:         Antiqued varnished
  • · Top:                Aged spruce dried for 15 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15 years
  • · Fitting:           Boxwood fittings
  • · Fingerboard: Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 110mm.

SN:223 S$1690-Guarneri Del Gesu “Goldberg-Baron Vita”-1730

 

SN:223 S$1690-Guarneri Del Gesu “Goldberg-Baron Vita”-1730SN:223 S$1690-Guarneri Del Gesu “Goldberg-Baron Vita”-1730

223-frontback-medium

(SN:223 S$1690) Copy of Guarneri Del Gesu “Goldberg-Baron Vita” Violin-1730

 

 

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(SN:227 S$1890)  Copy of Stradivarius Francesca 1694

This copy of the Francesca Stradivarius has a convincing antiqued varnish which makes it convincingly antique in appearance.

The Construction and Materials of this Violin:

  • · Varnish:         Antiqued varnished
  • · Top:                Aged spruce dried for 15 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15 years
  • · Fitting:           Jujube fittings
  • · Fingerboard: Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 110mm.

SN:227 S$1690-Stradivarius Francesca-1694

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(SN:238 S$1890) Master Violin-Copy of Nicolaus Amati “Alard” Violin of the year 1649-Russian Spruce

The Construction and Materials of this Violin:

  • · Vanish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 352mm; lower bout: 202mm; upper bout: 163mm; middle: 110mm.

238-Amati-Alard-1649-front and back

238-Amati-Alard-1649-sides

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(SN:239 – S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu Violin-1730-Russian Spruce.

ABOUT Giuseppe Guarneri ‘Del Gesu’  ranks today as one of the two greatest violin makers of all time, although the marked difference between the appearance and sound of his instruments and those of Stradivari makes comparison almost impossible. Some simply prefer Stradivari, and some prefer del Gesu. Giuseppe trained with his father. The earliest known insruments that are entirely his own work date from the late 1720s, but it was not until 1731 that he began to insert the label with the monogram IHS. He seems to have been strongly influenced by the Brescian school, and his work combines the best of the Cremonese tradition with the stretched C-bouts and exaggerated f-holes of Maggini and da Salo. Tonally, his instruments retain much of the sweetness of a Stradivari, but have a seemingly unlimited depth and darkness of sound, irrespective of the pressure of the bow. It is the later instruments that have come to represent all that is characteristic of del Gesu the unbridled creativity, the astonishing disregard for the details of workmanship, and the sheer daring of design and construction that are the natural conclusion of the deeply ingrained individuality of the Guarneri family. The rapid spread of del Gesu’s fame in the mid-19th century was largely due to the patronage of Paganini, who played the ‘Cannon’ of 1743 for most of his career.

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:               Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 168mm; middle: 115mm.

SN:239 S$1890-Guarneri Del Gesu-1730-Russian Spruce

239-Guarneri-1730-sides

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(ON ORDER – S$1890) Master Violin-Copy of Stradivarius Messiah of the year 1716-Russian Spruce

About the Original Stradivarius “Messiah” Violin:

The Messiah is considered the greatest surviving Stradivari violin by most leading experts. Thickness graduation maps of the “Messiah” violin show similar characteristics to those of the Betts (1704), Cremonese (1715), Tuscan-Medici (1716), and other Golden Age Stradivarius violins. Top plates are generally thin (2-3 mm), with the thickest areas (3-4 mm) occurring between the c-bouts and the f-holes. Back plates have a central concentric zone of greatest thickness (4-5 mm), in which the center of thickness lies distinctly left of the centerline in the Cremonese, Tuscan-Medici, and Kashininov violins. The thickness pattern on the back of the Messiah violin is almost identical to that of the Cremonese violin, including asymmetrical center of thickness points located more than 30 mm left of center. The Original “Messiah” Dimensions: Body length 355mm, Upper Bout 167.5mm, Center Bout 108.3mm, Lower Bout 208mm.

The Dimensions of this copy of the “Messiah” violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 167mm; middle: 116mm.

105-Stradivari Messiah 1716-front&back2105-Stradivari Messiah 1716-sides

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(ON ORDER by request) Copy of Giovanni Paolo Maggini Violin-1630

ABOUT THE INSTRUMENT: Loud, roundness, responsive. This gorgeous instrument delivers a powerful, mature tone with great projection and response. The instrument is crafted carefully giving players a wide variety of tonal qualities with the highest standards of playability.

The Construction and Materials of this Violin:

  • · Varnish:          Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 360mm; lower bout: 215mm; upper bout: 170mm; middle: 120mm.

93-Maggini-front&back93-Maggini-sides

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Exams with ABRSM-preparation and registration

EXAM INFO

abrsm-logo

ABRSM Exams:

To find the most up to date information go to the Singapore ABRSM website at: http://sg.abrsm.org/en/exam-booking/exam-dates-and-fees/

Introduction: ABRSM is an abbreviation for the Associated Board of the Royal Schools of Music. The examiners come to Singapore three times a year all the way from the U.K. to conduct exams for approximately one month. You will need to prepare for a year to do an exam. Exams are held in February-March and July-September and the registration is done six months beforehand.

On this page I will cover the following topics:

  • REGISTRATION: Dates, Fees, Venue, and Results notification
  • MARKING Scheme: Four Sections of the Exam
  • How and Why Marks are given

Exam Registration

The practical and theory exam are conducted as two separate exams and students are registered for these exams separately. Practical exams are usually held in February-March or July-August or August-September or September but registration starts as early as half a year before the exam. You can register for exam through a music school, a private teacher, or by yourself – simply go down to the ABRSM exams office during the registration period to register for exams or send in the completed form. If you already had registered for exams before (as an applicant), you can register for exams online.

ABRSM Representative Office

Singapore Symphonia Co Ltd

4 Battery Road #19-01

Bank of China Building

Singapore 049908

Registering as an applicant and/or a candidate

An applicant refers to the person registering for the exam. An applicant can be a music school, music teacher, parent, or yourself. A candidate is the person represented by an applicant for an exam. So, if you are registering for exams yourself, you can both be an applicant and a candidate. If your teacher is registering for you, you are the candidate and your teacher the applicant. All correspondences of the exam are sent to the applicant only and any changes with regards to the exam can only be made by the applicant.

Exam Dates for 2016

2016 Practical exams (session one)

Registration period: 12-23 October 2015

GRADE EXAMS

Singapore 16 February – 24 March (subject to minor changes)

2016 Practical exams (session two)

Registration period: 29 February – 11 March

GRADE EXAMS

Singapore 4 July – 5 August (subject to minor changes)*

2016 Practical exams (session three)

Registration period: 4-15 April

GRADE EXAMS

Singapore 10 August – 15 September (subject to minor changes)*

Notification of Exam Dates and Venue

Exam dates and venue are usually released one month before the exam. Practical exams are usually conducted in a music school and Theory exams are usually conducted in classrooms, multipurpose halls or function rooms.

Practical exams are only held on weekdays 9am-5pm. Please note that the practical exam dates, once given CANNOT be changed unless the candidate has a valid reason and proof(school exam schedule / MC) to show that he/she cannot have the exam on that day. Students who wish to take the exams must be prepared to take leave from school or work if the exam date clashes with their school / work.

Theory exams are held on Saturdays.Exam dates are fixed and if the candidate is not able to make it on that day, he/she will have to re-enter for the exam on the next period. Re-entry voucher may be given if the candidate has valid proof of his/her absence.

Exam Results

Practical exam results are usually released about one month after the exam whereas theory results are released after two to three months as they are sent to UK for marking. The marking schemes for both exams are as follows.

MARKING SCHEME

Practical Exams

Practical exams are marked out of a total of 150, with 100 marks required for a pass, 120 for a merit and 130 for a distinction.

There are four parts in the violin/viola exam.

  • Prepared Pieces
    Candidate needs to play 3 prepared pieces from a set list. Book to buy: Violin Exam Pieces ABRSM Grade__.
  • Scales and Arpeggios
    Candidate needs to memorize and play out scales and arpeggios. Book to buy: Violin Scales and Arpeggios ABRSM Grade __.
  • Sight-Reading
    The Examiner will provide an unseen short piece for the candidate to play. Book to buy: Improve your sight-reading Grade __Violin, by Paul Harris.
  • Aural
    Candidates are tested on pulse or rhythm clapping, echo singing, and for grade 4 and above, sight-singing and general questions after listening to a short piece. Book to buy: Aural Training in Practice ABRSM Grades 1-3 or 4-5 or 6-8.
Practical Exam Marking Scheme
Category Passing Mark Full Marks
Pieces 1   Piece from List A 20 30
1 Piece from List B 20 30
1 Piece from List C 20 30
Scales and Arpeggios 14 21
Sight-Reading 14 21
Aural 12 18
Total 100 150

 

Theory Exams

Theory exams are marked out of a total of 100, with 66 marks required for a pass, 80 for a merit and 90 for a distinction.

Pre-requisites

For practical exams from grade 1 to 5, there are no pre-requisites to taking these exams. Candidates registering for grades 6, 7 and 8 must have already passed one of the following qualifications:

• ABRSM Grade 5 Theory (or above)

• ABRSM Practical Musicianship Grade 5

• ABRSM Solo Jazz subject Grade 5

• Grade 5 Theory (or above) from any of these exam boards: Trinity Guildhall, London College of Music (LCM), Australian Music Exam Board (AMEB), University of South Africa (UNISA)

There are no pre-requisites for taking any music theory exam.

Important notes for students taking the exams:

• Do arrive 15-20mins earlier than your scheduled time. This will ensure that there are no last minute panics. Sometimes examiners might finish examining the previous student earlier so you might have to go in slightly earlier than your scheduled time.

• Do check the exam venue correctly. Different buildings and streets might have similar names.

• Remember to bring any form bring ID – student pass, birth cert, passport, IC, driving licence, etc.

• Remember to bring your exam pieces book for the practical exam and your own pencil and eraser for the theory exam

• Do bring a jacket to the exam room in case it is cold.

ABRSM – how and why marks are given:

The following tables illustrates the basis of marking within the board result bands. Each piece will be assessed independently using the principle of marking from the required pass mark negatively or positively, rather than awarding marks by deduction from the maximum or addition from zero. In awarding marks, examiners will balance the extent to which the cumulative qualities and abilities listed below are demonstrated and contribute towards the overall result.

For Pieces

Pieces MC 2014

For Scales, Sight-reading and Aural

Supporting MC 2014

 

How to Save a copy of the YouTube video

How To Save a Copy of a Video to your Computer:

1. click the YouTube sign on bottom right of the video

2. copy the Youtube address of the Youtube video,

for e.g. http://www.youtube.com/watch?v=Ss1URTJYlfQ

3. go to  www.keepvid.comkeepvid

4. paste your youtube link into the Download tab where it says: “enter the link of the video you want to download” then

5. click the download button on the right of the entered link (not the one underneath!)

6. wait and right click the link that says Download MP4 then

7. select “save link as”, this will take you to a popup on your computer to save the MP4 wherever you select to save it.

8. Click save in the bottom right and you are done! To play this file just click on the file and your media program will play it without needing to go on the internet.

Mandolin in Sydney

ABOUT THE MANDOLIN: For those violinists reading this, you may not know that Mandolin is a near relative of the violin. If the violin was the mother and the guitar was the father, then the Mandolin would be their son or daughter!!!

How is it possible you ask? Take a violin neck, tuning and strings, add frets and put it on a miniature guitar body and voila! – out pops a Mandolin. Now that makes the mandolin incredibly easy for a violinist to learn if you can “pluck” up the courage to put down your bow and “pick” up a plectrum (otherwise known as a pick).

HOW I LEARNT THE MANDOLIN: Other than playing classical music I have been known to belt out a few fiddle tunes in my day. I first became interested in the mandolin while I was fiddling Irish and Australian jigs and reels in my student days. The guitarist in the folk band had a mandolin he used for the folk melodies. He and I were both surprised that the first time I picked up a mandolin, I could play any music he put in front of me! What a pleasant surprise! Even better, he gave me his mandolin on my next birthday -thanks Dave!

If you can play both violin and guitar then guess what? You can play the mandolin! No serious practice needed

THE MANDOLIN is NOT a UKULELE!!!

– this might be stating the obvious, but they are not the same and here is why: a Mandolin has 8 metal strings tuned like a violin: GGDDAAEE (from low to high strings)

mandolin_fretboard

WHEREAS, a Soprano UKULELE has 4 nylon strings tuned like a guitar but five notes lower: GCEA (from low to high strings). The 4 strings are tuned exactly five notes lower than the 4 highest strings of the guitar. So instead of E as the highest string, the Ukulele has A which is 5 notes lower etc.

HISTORY OF THE MANDOLIN: The Mandolin is actually a very historic instrument dating back to the 14th Century when it was called the Mandore!

The following is extracted from Wikipedia:

Mandolins evolved from the lute family in Italy during the seventeenth and eighteenth centuries, and the deep bowled mandolin, produced particularly in Naples, became common in the nineteenth century. The original instrument was themandore, which evolved in the fourteenth century from the lute. This mandore was the soprano lute.

mandolin (Italian: mandolino) is a musical instrument in the lute family (plucked, or strummed). It descends from the mandore, a soprano member of the lute family. The mandolin soundboard (the top) comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. A mandolin may have f-holes, or a single round or oval sound hole.

Modern mandolins with a round back, originated in Naples, Italy in the late 18th century. They have four pairs of metal strings, which are plucked with a plectrum.

At the very end of the 1800’s, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments, especially in the United States. This new style is credited to mandolins designed and built by Orville Gibson, a Kalamazoo, Michigan luthier who founded the “Gibson Mandolin-Guitar Manufacturing Co., Limited” in 1902. Gibson mandolins evolved into two basic styles: the Florentine or F-style, which has a decorative scroll near the neck, two points on the lower body, and usually a scroll carved into the headstock; and the A-style, which is pear shaped, has no points, and usually has a simpler headstock.

These styles generally have either two f-shaped soundholes like a violin (F-5 and A-5), or an oval sound hole (F-4 and A-4 and lower models) directly under the strings. Generally, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with American bluegrass music, while the A-style is more associated with Irish, folk, or classical music.

A photo of the F-hole F-5 mandolin  is pictured at the top of this page.

Below is a picture of the A-style mandolin: