My two course (διπλοχορδο) bouzouki
Evaluating the Politiko!
Part 1:Construction, materials, finish.
On an American land, in a cosmopolitan town, full of diversity, with population gathered from all over the world, the Politiko tabouro-bouzouko meant to find its final home!
Last night, at the time of its arrival, some close friends were visiting my house. Unfamiliar to the Greek music and to the Greek traditional instruments, their first remark, was that this instruments looked vintage-"old style", and very different from the other two musical instruments I possess.
Their impression was for me a final reinsurance that, the attempt and bet which the luthier Tasos Theodorakis took to reverse the time back to 1880s, crowned with success!
From the very first second of examining the instrument, it became obvious to me the reserve of soul, passion, and love which Tasos Theodorakis, deposit in creation of this beautiful bouzouki. I could not find not even a "spot", which the luthier, left without attention and care.
Evaluating the construction, materials been used, and finish.
1. Construction
This is a small size bouzouki instrument, reminds me more the size of a meso-bouzouko (half-size bouzouki) or tzouradobouzouko.
The bouzouki has a paper-weight (just under 1.5 pounds), but at the same time a very strong, "tight and solid" construction.
Having at my possession the Pre-war style trichordo, which carries a very thin, light weight neck, the neck of this Politiko bouzouki, is surprisingly so delicate and narrow, that I could characterize it as a neck for a two-course (διπλοχορδο) instrument!
Jokingly I would say that, the great musician of the old rebetiko era, Markos Vamvakaris, would simply love to play the "Bouzouki mou diploxordo" ( my two course bouzouki) song, on this instrument.
The carved headstock with the MOP justifies the style of a vintage era.
The action is extremely low and very soft even at the highest frets.
The bridge is so small and delicate that I honestly could not find it, as luthier placed it for security reasons, in the inside pocket of the instrument's case. The scale is 67 cm.
The soundboard decoration is where the luthier surpasses himself!
The rosewood pick-guard, sits on top of the soundboard ( and not recessed in it), as how all of the old bouzouki instruments before 1920s use to be constructed.
Finally the bowl, the trademark of this instrument, has been created with lot of attention to detail by, clean perfectly-cut staves of mulberry wood, decorated in some areas by the luthier, with small round MOP elements.
The shape of the capping strip, ( luthier's personal design and inspiration) matches beautifully with to the old style tampouro-bouzouko. and its deep size bowl.
A side small hole, makes its appearance at the bowl, created by the luthier in purpose, to give a more harmonic timbre, of the Politiko sound.
2. Materials
From the soundboard, to the mulberry staves, to the mother of pearls, and the woods of ebony and rosewood, this instrument uses the finest materials available.
3. Finish
This is the section where Luthier, brings all his attention, all his passion, and all his talent to create a masterpiece!
Keeping a Laconic style in creation of fine details, the luthier makes a strong statement in this instrument, without overloading it with unnecessary elements and decoration.
Finally, the matte finish, which luthier is using, fits perfectly with the vintage style of the Politiko bouzouki.
The following days, I will record a sound sample of my instrument, which I will post with my final review on the sound.
Part 1:Construction, materials, finish.
On an American land, in a cosmopolitan town, full of diversity, with population gathered from all over the world, the Politiko tabouro-bouzouko meant to find its final home!
Last night, at the time of its arrival, some close friends were visiting my house. Unfamiliar to the Greek music and to the Greek traditional instruments, their first remark, was that this instruments looked vintage-"old style", and very different from the other two musical instruments I possess.
Their impression was for me a final reinsurance that, the attempt and bet which the luthier Tasos Theodorakis took to reverse the time back to 1880s, crowned with success!
From the very first second of examining the instrument, it became obvious to me the reserve of soul, passion, and love which Tasos Theodorakis, deposit in creation of this beautiful bouzouki. I could not find not even a "spot", which the luthier, left without attention and care.
Evaluating the construction, materials been used, and finish.
1. Construction
This is a small size bouzouki instrument, reminds me more the size of a meso-bouzouko (half-size bouzouki) or tzouradobouzouko.
The bouzouki has a paper-weight (just under 1.5 pounds), but at the same time a very strong, "tight and solid" construction.
Having at my possession the Pre-war style trichordo, which carries a very thin, light weight neck, the neck of this Politiko bouzouki, is surprisingly so delicate and narrow, that I could characterize it as a neck for a two-course (διπλοχορδο) instrument!
Jokingly I would say that, the great musician of the old rebetiko era, Markos Vamvakaris, would simply love to play the "Bouzouki mou diploxordo" ( my two course bouzouki) song, on this instrument.
The carved headstock with the MOP justifies the style of a vintage era.
The action is extremely low and very soft even at the highest frets.
The bridge is so small and delicate that I honestly could not find it, as luthier placed it for security reasons, in the inside pocket of the instrument's case. The scale is 67 cm.
The soundboard decoration is where the luthier surpasses himself!
The rosewood pick-guard, sits on top of the soundboard ( and not recessed in it), as how all of the old bouzouki instruments before 1920s use to be constructed.
Finally the bowl, the trademark of this instrument, has been created with lot of attention to detail by, clean perfectly-cut staves of mulberry wood, decorated in some areas by the luthier, with small round MOP elements.
The shape of the capping strip, ( luthier's personal design and inspiration) matches beautifully with to the old style tampouro-bouzouko. and its deep size bowl.
A side small hole, makes its appearance at the bowl, created by the luthier in purpose, to give a more harmonic timbre, of the Politiko sound.
2. Materials
From the soundboard, to the mulberry staves, to the mother of pearls, and the woods of ebony and rosewood, this instrument uses the finest materials available.
3. Finish
This is the section where Luthier, brings all his attention, all his passion, and all his talent to create a masterpiece!
Keeping a Laconic style in creation of fine details, the luthier makes a strong statement in this instrument, without overloading it with unnecessary elements and decoration.
Finally, the matte finish, which luthier is using, fits perfectly with the vintage style of the Politiko bouzouki.
The following days, I will record a sound sample of my instrument, which I will post with my final review on the sound.
Καλώς το δέχτηκες Σπύρο!
ReplyDeleteΔώστου να καταλάβει!
Μια λεπτομέρεια που δεν είχα δει: το (ας το πούμε) γιουφ (τρυπούλα) στο πλάι. Έτσι είναι και ο σκαφτός μπαγλαμάς μου (η τρυπούλα ανοιγμένη στο πλάι με πυρωμένο σίδερο).
Ερώτηση (και κυρίως προς τον Τάσο): γιατί δεν έγινε η τρύπα από κάτω, αφού το σκάφος παραπέμπει αρκετά στο σάζι; Είναι εμπειρική η απόφαση ή υπακούει σε κανόνα;
ReplyDeleteΑγαπητε Πικινε,να σαι καλα.
Για την ιδια ερωτηση σχετικα με την πλαινη τρυπα, ο Τασος μου εχει απαντησει ¨
"Η τρυπούλα φυσικά δεν μπήκε τυχαία, με αυτή δίνει ένα ηχόχρωμα με περισσότερες αρμονικές, και κάποιο μικροκούρδισμα που κάνω όταν και άμα χρειάζεται"