Traditional musical instruments with sympathetic strings
This exhibition is designed to present traditional musical instruments from different countries, with both bowed and plucked strings.
They all share the particularity of having sympathetic strings.
The exceptions being the Moraharpa and the Jouhikko which reflect a certain evolution of the Nyckelharpa.
Have a nice visit !
They all share the particularity of having sympathetic strings.
The exceptions being the Moraharpa and the Jouhikko which reflect a certain evolution of the Nyckelharpa.
Have a nice visit !
The neck is similar to that of the sitar (although smaller), with large arched frets under which the sympathetic strings pass.
There is also a similar instrument which is called the esraj : in this version the tuning pegs would be made of wood and the body may be different.
Collection Jean Claude Condi
The Dilruba
There are three melodic strings which are played with the top of the finger-nail, and between nine and twelve sympathetic strings.
A core, placed under one of the bridge feet, conducts the vibration directly to the back.
The Gadoulka (Gougoulka)
It has been played since the 17th century.
Four melodic strings are complemented by from two to five sympathetic strings.
It is possible to tune these strings in a dozen different'scordatura' (tunings).
The Hardingfele
It dates to the Middle Ages.
Instrument carved from solid wood, the strings in horsehair.
Fabrication Jean Claude CONDI
The Jouhikko
A sculpture which can be seen on a church in Källunge proves its existence in 1350.
This model is a copy of an instrument found in the town of Mora in the Dalarna region of Sweden, which was dated to 1526.
It is a bowed instrument.
The keys allow the notes to be changed.
In Sweden, there subsequently followed a series of instruments like the Silverharpa, the Kontrabasharpa, and the Nyckelharpa :
they are all increasingly sophisticated and have sympathetic strings which results in a richer sound.
Fabrication Jean Claude CONDI
The Moraharpa
Eric Sahlström (1912-1986) gave the instrument its artistic credentials.
He made the 3-rowed nyckelharpa very popular by playing, composing, building and teaching this instrument ; he had a great influence on the revival of the nykelharpa. His playing style has influenced even the current generation, and the nyckelharpa is taught today at the academy that is named after him, in Tobo (Sweden). The most popular place for the nyckelharpa remains the Uppsala region.
The melodic strings are tuned to A, C and G, and the drone string normally in C. The three rows of keys are chromatic and the instrument has 12 sympathetic strings tuned in semitones. Sometimes a fourth row of keys is added, transforming the bass drone string into a fourth melodic string.
Today, there are from eight to ten thousand nyckelharpa players in Sweden. There are specialised festivals and even an annual world championship to name the best instrumentalist.
The nyckelharpa is also played more and more outside Sweden, notably in France, Belgium, Germany, and in the U.S.A...
For several years now in France, musicians have been discovering and playing the nyckelharpa in a wide range of repertoires .
The Nyckelharpa (Swedish viele)
Fabrication inspired by the kontrabasharpa (Swedish bowed viele)
Two melodic strings D and A
a drone in G, where the note can be changed using a little key.
And six sympathetic strings separated by an augmented fourth which can produce the twelve semitones.
The Nyckelharpa : Creation inspired by the Kontrabasharpa
It is a short-necked lute.
It is hollowed from a single piece of mulberry wood.
The body consists of two interconnected chambers,
the lower one being covered by goatskin and acting as a soundboard.
It has from 13 to 18 sympathetic strings, two or three metal strings which create a 'parand' (rhythmic drone), three melodic gut strings tuned in fourths and plucked with a small wooden pick.
The technique is similar to that of the Sarod of northern India, and is probably its ancestor.
The Rabâb (Rubâb)
In all probability it first appeared in the10th century.
The sympathetic strings were added in the 17th century.
The Bhopa caste play this instrument to accompany their songs and especially the two famous epics of the Maharajas : Pabuji and Ram Desi, who are very important figures in this caste’s folklore.
The bridge is made of buffalo horn, the soundboard of goatskin, the body of copper or coconut, the neck in bamboo, the small pegs in aluminum and the larger ones in rosewood.
Collection Jean-Claude Condi
The Râvanahattâ
Carved integrally from one piece of wood - usually mulberry - the fingerboard has no frets, its bridge made of horn rests on a skin stretched over the body, and the strings are bowed.
The word sarangi is a combination of two words : « sa » - the first word of the scale (as in «C » in our scale) - and « rangi » which means colour : the coloured note.
«sa» could also be translated as one hundred : an instrument of one hundred colours !!!
The Sarangi from Nepal
Since the 1960's, it has become the symbol of Indian music.
It consists of a gourd cut in half, closed off by a soundboard in teak or cedar.
A long hollow neck supports between 17 and 22 movable frets, allowing precise tuning depending on the key being used.
The 6 or 7 main strings (melodic drones and rhythms)
rest on a flat bridge made from antler.
Finely adjusted, it allows these strings to "buzz" slightly, and gives this instrument its very distinctive and individual sound.
A dozen sympathetic strings increase its resonance.
The Sitar
It has from five to eight metal strings, from ten to twelve sympathetic strings and either twenty two or three frets on the neck.
The body is of mulberry wood or sometimes squash.
This instrument can be played solo, accompanying a singer or as part of a group .
The Tanbur
It was played in France (the North), in Holland, Belgium, Germany, Austria...
A bowed instrument (with a large gut string) on which only harmonics are played. The other strings vibrate sympathetically and increase the resonance of the instrument. In addition, one of the feet of the bridge strikes and vibrates the soundboard, this extra vibration recreating the tone of a brass instrument to a surprising degree.
Fabrication Jean-Claude CONDI
The Trompette Marine
A bowed instrument.
It was introduced into Europe from the Orient during the High Middle Ages.
The first references date to the 8th century.
Many different forms characterise this instrument.
This is a model to which I added sympathetic strings - during the Middle Ages this technique did not exist.
It was introduced into Europe from the Orient during the High Middle Ages.
The first references date to the 8th century.
Many different forms characterise this instrument.
This is a model to which I added sympathetic strings - during the Middle Ages this technique did not exist.
The bowed Viele
The Hurdy Gurdy appeared around the 10th century.
The strings of this instrument are 'bowed' by a wooden wheel, instead of a bow. The wheel is turned by a handle while the musician's left hand plays the melody with the keys.
It has melodic strings played by the keys,
« drone » strings for accompaniment and occasionally,
(as on this instrument) sympathetic strings .
The strings of this instrument are 'bowed' by a wooden wheel, instead of a bow. The wheel is turned by a handle while the musician's left hand plays the melody with the keys.
It has melodic strings played by the keys,
« drone » strings for accompaniment and occasionally,
(as on this instrument) sympathetic strings .
The Hurdy Gurdy
A bowed instrument, principally from India and the north of Pakistan, which accompanies the singer in classical music.
The neck and the hollow body are carved from a single piece of wood. The soundboard is of skin.
Two or three large strings, played with the back of the fingernail, are tuned to C2, G2, C3, D2. The number of sympathetic strings tuned in semitones varies between 13 and 36.
The neck and the hollow body are carved from a single piece of wood. The soundboard is of skin.
Two or three large strings, played with the back of the fingernail, are tuned to C2, G2, C3, D2. The number of sympathetic strings tuned in semitones varies between 13 and 36.
The Sarangi Viele
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details
The sarod is a plucked string instrument which appeared in the 19th century in the north of India and is used in classical Indian music.
It is a lute which is a hybrid of the dhrupad rabâb, an ancient Indian instrument, and the rabab afghan.
The name is perhaps derived from the Persian word sarûd (singer) as many singers were accompanied by this instrument.
It is a lute which is a hybrid of the dhrupad rabâb, an ancient Indian instrument, and the rabab afghan.
The name is perhaps derived from the Persian word sarûd (singer) as many singers were accompanied by this instrument.
The Sarod
The rawap is a lute with shorter strings, plucked with a horn pick, and played by the Ouïghours.
The rawap Dolan, the main instrument of the Muqam Dolan, has one melodic string, several sympathetic strings and a pear-shaped body.
To see a live performance, click here
The rawap Dolan, the main instrument of the Muqam Dolan, has one melodic string, several sympathetic strings and a pear-shaped body.
To see a live performance, click here
The rawap Dolan
The bowed Viele
The bowed Viele
The Hurdy Gurdy
The Hurdy Gurdy
The Sarangi Viele
The Sarangi Viele
The Sarod
le Sarod
The rawap Dolan
the rawap Dolan
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