Question: What year was the beginning of the transition from mandolino to mandolin?

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

Answer: 1744

<hl> The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. <hl> The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

The transition from the mandolino to the mandolin began around <hl> 1744 <hl> with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.


Question: Where did the mandolin grow in popularity?

Answer: in the streets where it was used by young men courting and by street musicians, and in the concert hall

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. <hl> The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall . <hl> After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, <hl> in the streets where it was used by young men courting and by street musicians, and in the concert hall <hl>. After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

The mandolin grew in popularity over the next 60 years, <hl> in the streets where it was used by young men courting and by street musicians, and in the concert hall <hl> .


Question: When did the mandolin's popularity begin to fall?

Answer: After the Napoleonic Wars of 1815, however, its popularity began to fall

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. <hl> After the Napoleonic Wars of 1815, however, its popularity began to fall . <hl> The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. <hl> After the Napoleonic Wars of 1815, however, its popularity began to fall <hl>. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

<hl> After the Napoleonic Wars of 1815, however, its popularity began to fall <hl> .


Question: Who were two of the promiment players in the 19th century?

Answer: Bartolomeo Bortolazzi of Venice and Pietro Vimercati

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of 1815, however, its popularity began to fall. <hl> The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati . <hl> However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including <hl> Bartolomeo Bortolazzi of Venice and Pietro Vimercati <hl>. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

The 19th century produced some prominent players, including <hl> Bartolomeo Bortolazzi of Venice and Pietro Vimercati <hl> .


Question: What year did the export market for manodlins from Italy dry up?

Answer: 1815

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. <hl> After the Napoleonic Wars of 1815 , however, its popularity began to fall. <hl> The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of <hl> 1815 <hl>, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

After the Napoleonic Wars of <hl> 1815 <hl> , however, its popularity began to fall.


Question: When did the mandolin's poplarity rebound?

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

Answer: Beginning with the Paris Exposition of 1878

<hl> Beginning with the Paris Exposition of 1878 , the instrument's popularity rebounded. <hl> The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

<hl> Beginning with the Paris Exposition of 1878 <hl>, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

<hl> Beginning with the Paris Exposition of 1878 <hl> , the instrument's popularity rebounded.


Question: What popular group performed at the Paris Exposition?

Answer: Estudiantes Españoles (Spanish Students)

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group <hl> the Estudiantes Españoles (Spanish Students) . <hl> They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the <hl> Estudiantes Españoles (Spanish Students) <hl>. They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

the <hl> Estudiantes Españoles (Spanish Students) <hl> .


Question: When was it said that mandolin's popularity peaked?

Answer: early years of the 20th century.

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. <hl> The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in " early years of the 20th century. " Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. <hl> Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "<hl> early years of the 20th century. <hl>" Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in " <hl> early years of the 20th century. <hl> " Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women.


Question: What instrument was the mandolin confused with during the 1880's?

Answer: bandurria

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). <hl> They danced and played guitars, violins and the bandurria , which became confused with the mandolin. <hl> Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the <hl> bandurria <hl>, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

They danced and played guitars, violins and the <hl> bandurria <hl> , which became confused with the mandolin.


Question: What were formed worldwide that incorporated the mandolin famiy of instruments and other instruments as well?

Answer: Mandolin orchestras

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. <hl> Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers. <hl>

Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. <hl> Mandolin orchestras <hl> were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.


Question: When was the second decline of mandolin popularity?

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

Answer: early 20th century,

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. <hl> Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. <hl> Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the <hl> early 20th century, <hl> new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.


Question: Why was the second decline in popularity not a strong as the first?

Answer: Thousands of people had learned to play the instrument

The second decline was not as complete as the first. <hl> Thousands of people had learned to play the instrument . <hl> Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

The second decline was not as complete as the first. <hl> Thousands of people had learned to play the instrument <hl>. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

<hl> Thousands of people had learned to play the instrument <hl> .


Question: Who created the rasonator mandolin?

Answer: Luthiers

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. <hl> Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. <hl> Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. <hl> Luthiers <hl> created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.


Question: What are two types of new mandolins the Luthiers created?

Answer: mandolin-banjo and the electric mandolin

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. <hl> Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin . <hl> Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the <hl> mandolin-banjo and the electric mandolin <hl>. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the <hl> mandolin-banjo and the electric mandolin <hl> .


Question: What types of music did musicians begin to play the mandolins in?

Answer: Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. <hl> Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too. <hl>

The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in <hl> Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too. <hl>


Question: What happens to mandolin notes when plucked?

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

Answer: decay to silence

<hl> Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. <hl> This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

Like any plucked instrument, mandolin notes <hl> decay to silence <hl> rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.


Question: Do mandolin notes decay faster or slower than larger string instruments?

Answer: faster

<hl> Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. <hl> This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay <hl> faster <hl> than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.


Question: What is tremolo?

Answer: rapid picking of one or more pairs of strings

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. <hl> This encourages the use of tremolo ( rapid picking of one or more pairs of strings ) to create sustained notes or chords. <hl> The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (<hl> rapid picking of one or more pairs of strings <hl>) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

This encourages the use of tremolo ( <hl> rapid picking of one or more pairs of strings <hl> ) to create sustained notes or chords.


Question: What parts of the mandolin faciliate the tremolo technique?

Answer: paired strings

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. <hl> The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would. <hl>

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's <hl> paired strings <hl> facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.


Question: What is a plectrum?

Answer: pick

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. <hl> This encourages the use of tremolo (rapid pick ing of one or more pairs of strings) to create sustained notes or chords. <hl> The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid <hl> pick <hl>ing of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

This encourages the use of tremolo (rapid <hl> pick <hl> ing of one or more pairs of strings) to create sustained notes or chords.


Question: What kind of style does the Neapolitan mandolin have?

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.

Answer: almond-shaped body resembling a bowl, constructed from curved strips of wood

<hl> The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood . <hl> It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.

The Neapolitan style has an <hl> almond-shaped body resembling a bowl, constructed from curved strips of wood <hl>. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.

The Neapolitan style has an <hl> almond-shaped body resembling a bowl, constructed from curved strips of wood <hl> .


Question: How many strings does the Neapolitan mandolin have?

Answer: 8

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. <hl> It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. <hl> A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the <hl> 8 <hl> metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.


Question: What are the Neapolitan mandolin made of?

Answer: metal strings

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. <hl> It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. <hl> A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 <hl> metal strings <hl> arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.


Question: What sits on top or is flush with the sound table of the Mandolin?

Answer: hardwood fingerboard

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. <hl> A hardwood fingerboard sits on top of or is flush with the sound table. <hl> Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A <hl> hardwood fingerboard <hl> sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.


Question: How long is the scale commonly used on European roundbacks?

Answer: 13-inch scale

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. <hl> European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins. <hl>

The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a <hl> 13-inch scale <hl> instead of the 13.876 common on archtop Mandolins.


Question: Where did the Lombardic family of bowlback mandolins come from?

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

Answer: Milan and Lombardy

<hl> Another family of bowlback mandolins came from Milan and Lombardy . <hl> These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

Another family of bowlback mandolins came from <hl> Milan and Lombardy <hl>. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

Another family of bowlback mandolins came from <hl> Milan and Lombardy <hl> .


Question: What do the Lombardic mandolins resemble more than modern mandolins?

Answer: mandolino or mandore

Another family of bowlback mandolins came from Milan and Lombardy. <hl> These mandolins are closer to the mandolino or mandore than other modern mandolins. <hl> They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the <hl> mandolino or mandore <hl> than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.


Question: What differences do the Lombardic mandolins have from the Neapolitan mandolin?

Answer: They are shorter and wider

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. <hl> They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. <hl> The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. <hl> They are shorter and wider <hl> than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.


Question: How many strings do the Lombardic mandolins have?

Answer: 6 strings

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. <hl> The instruments have 6 strings , 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. <hl> The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have <hl> 6 strings <hl>, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

The instruments have <hl> 6 strings <hl> , 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings.


Question: Who was the developer of the Milanese mandolin?

Answer: Antonio Monzino

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". <hl> A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations. <hl>

Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was <hl> Antonio Monzino <hl> (Milan) and his family who made them for 6 generations.


Question: Who described the Lombardi mandolin as wider and shorter than the Neoapolitan mandolin?

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

Answer: Samuel Adelstein

<hl> Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. <hl> The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

<hl> Samuel Adelstein <hl> described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."


Question: How many strings do the regular mandolin's have?

Answer: 4

<hl> Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4 . <hl> The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of <hl> 4 <hl>. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of <hl> 4 <hl> .


Question: What was the Lombardi Mandolin tuned to?

Answer: C, D, A, E, B, G.

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. <hl> The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. <hl> There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned <hl> C, D, A, E, B, G. <hl> The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."


Question: How many frets did the Lombardi have?

Answer: 20 frets

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. <hl> There were 20 frets , covering three octaves, with an additional 5 notes. <hl> When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were <hl> 20 frets <hl>, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

There were <hl> 20 frets <hl> , covering three octaves, with an additional 5 notes.


Question: How many octaves did the Lombardi cover?

Answer: three octaves

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. <hl> There were 20 frets, covering three octaves , with an additional 5 notes. <hl> When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering <hl> three octaves <hl>, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

There were 20 frets, covering <hl> three octaves <hl> , with an additional 5 notes.


Question: Who popularised the Cremonese Mandolin?

In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

Answer: Bartolomeo Bortolazzi

<hl> In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. <hl> Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, <hl> Bartolomeo Bortolazzi <hl> popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.


Question: What was Bartolomeo Bortolazzi's popular mandolin method?

Answer: Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi

<hl> In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi , Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. <hl> Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

In his 1805 mandolin method, <hl> Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi <hl>, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

In his 1805 mandolin method, <hl> Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi <hl> , Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached.


Question: How many strings did the Cremonese Mandolin have?

Answer: four single-strings

<hl> In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. <hl> Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had <hl> four single-strings <hl> and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.


Question: Did Bortolazzi like playing the new wire strung mandolins?

Answer: uncomfortable to play

In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. <hl> Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play , when compared with the gut-string instruments. <hl> Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were <hl> uncomfortable to play <hl>, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

Bortolazzi said in this book that the new wire strung mandolins were <hl> uncomfortable to play <hl> , when compared with the gut-string instruments.


Question: What did Bortolazzi say about the sound?

Answer: less pleasing...hard, zither-like tone

In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. <hl> Also, he felt they had a " less pleasing...hard, zither-like tone " as compared to the gut string's "softer, full-singing tone." <hl> He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "<hl> less pleasing...hard, zither-like tone <hl>" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

Also, he felt they had a " <hl> less pleasing...hard, zither-like tone <hl> " as compared to the gut string's "softer, full-singing tone."


Question: When was a new sytle of carved top and back construction mandolins created?

At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments 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.

Answer: end of the 19th century

<hl> At the very end of the 19th century , a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. <hl> 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.

At the very <hl> end of the 19th century <hl>, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments 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.

At the very <hl> end of the 19th century <hl> , a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States.


Question: What was the new sytle of mandolins inspired from?

Answer: violin family instruments

<hl> At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. <hl> 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.

At the very end of the 19th century, a new style, with a carved top and back construction inspired by <hl> violin family instruments <hl> began to supplant the European-style bowl-back instruments 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.


Question: What sytle did the new style of mandolins supplant?

Answer: European-style bowl-back

<hl> At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. <hl> 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.

At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the <hl> European-style bowl-back <hl> instruments 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.


Question: Who founded the Gibson Mandolin-Guitar Manufacturing Co, Limited?

Answer: Orville Gibson

At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. <hl> 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. <hl> 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.

At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. This new style is credited to mandolins designed and built by <hl> Orville Gibson <hl>, 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.

This new style is credited to mandolins designed and built by <hl> Orville Gibson <hl> , a Kalamazoo, Michigan luthier who founded the "Gibson Mandolin-Guitar Manufacturing Co., Limited" in 1902.


Question: What shape sounds holes do these styles of mandolins have?

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. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.

Answer: 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)

<hl> 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. <hl> Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.

These styles generally have either <hl> 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) <hl> directly under the strings. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.


Question: Where are the soundholes located?

Answer: directly under the strings

<hl> 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 . <hl> Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.

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) <hl> directly under the strings <hl>. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.

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) <hl> directly under the strings <hl> .


Question: What mandolin is associate with Bluegrass music?

Answer: Gibson F-hole F-5 mandolins

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. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. <hl> Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. <hl> The F-5's more complicated woodwork also translates into a more expensive instrument.

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. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, <hl> Gibson F-hole F-5 mandolins <hl> and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.


Question: What style is associate with other types of music?

Answer: A-style

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. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. <hl> Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. <hl> The F-5's more complicated woodwork also translates into a more expensive instrument.

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. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the <hl> A-style <hl> is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.


Question: Why is the F-5 mandolin more expensive?

Answer: complicated woodwork

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. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. <hl> The F-5's more complicated woodwork also translates into a more expensive instrument. <hl>

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. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more <hl> complicated woodwork <hl> also translates into a more expensive instrument.


Question: What style of Gisbon Mandolin was largely replicated?

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Answer: Gibson F-5

<hl> Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. <hl> Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Numerous modern mandolin makers build instruments that largely replicate the <hl> Gibson F-5 <hl> Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).


Question: When was the Gibson F-5 largely replicated?

Answer: early 1920s

<hl> Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. <hl> Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the <hl> early 1920s <hl> under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).


Question: Who supervised the Gibson F-5's replication?

Answer: Gibson acoustician Lloyd Loar

<hl> Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar . <hl> Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of <hl> Gibson acoustician Lloyd Loar <hl>. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of <hl> Gibson acoustician Lloyd Loar <hl> .


Question: Who are the other makers from the Loar period?

Answer: Lyon and Healy, Vega and Larson Brothers

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. <hl> Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers . <hl> Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include <hl> Lyon and Healy, Vega and Larson Brothers <hl>. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Other makers from the Loar period and earlier include <hl> Lyon and Healy, Vega and Larson Brothers <hl> .


Question: Who were notable modern American mandolin manufacturers?

Answer: Kay, Gibson, Weber, Monteleone and Collings.

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. <hl> Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China). <hl>

Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to <hl> Kay, Gibson, Weber, Monteleone and Collings. <hl> Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).


Question: What instrument does the mandolin share the same tuning of?

The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. This is especially true of violin music, since the mandolin has the same tuning of the violin. Following its invention and early development in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a classical tradition with Mandolin orchestras, so called Estudiantinas or in Germany Zupforchestern appearing in many cities. Following this continental popularity of the mandolin family local traditions appeared outside of Europe in the Americas and in Japan. Travelling mandolin virtuosi like Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music, with media attention to classical players such as Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent.

Answer: violin

The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. <hl> This is especially true of violin music, since the mandolin has the same tuning of the violin. <hl> Following its invention and early development in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a classical tradition with Mandolin orchestras, so called Estudiantinas or in Germany Zupforchestern appearing in many cities. Following this continental popularity of the mandolin family local traditions appeared outside of Europe in the Americas and in Japan. Travelling mandolin virtuosi like Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music, with media attention to classical players such as Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent.

The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. This is especially true of <hl> violin <hl> music, since the mandolin has the same tuning of the violin. Following its invention and early development in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a classical tradition with Mandolin orchestras, so called Estudiantinas or in Germany Zupforchestern appearing in many cities. Following this continental popularity of the mandolin family local traditions appeared outside of Europe in the Americas and in Japan. Travelling mandolin virtuosi like Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music, with media attention to classical players such as Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent.


Question: Where was the mandolin primarily used?

Answer: classical tradition with Mandolin orchestras

The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. This is especially true of violin music, since the mandolin has the same tuning of the violin. Following its invention and early development in Italy the mandolin spread throughout the European continent. <hl> The instrument was primarily used in a classical tradition with Mandolin orchestras , so called Estudiantinas or in Germany Zupforchestern appearing in many cities. <hl> Following this continental popularity of the mandolin family local traditions appeared outside of Europe in the Americas and in Japan. Travelling mandolin virtuosi like Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music, with media attention to classical players such as Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent.

The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. This is especially true of violin music, since the mandolin has the same tuning of the violin. Following its invention and early development in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a <hl> classical tradition with Mandolin orchestras <hl>, so called Estudiantinas or in Germany Zupforchestern appearing in many cities. Following this continental popularity of the mandolin family local traditions appeared outside of Europe in the Americas and in Japan. Travelling mandolin virtuosi like Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music, with media attention to classical players such as Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent.

The instrument was primarily used in a <hl> classical tradition with Mandolin orchestras <hl> , so called Estudiantinas or in Germany Zupforchestern appearing in many cities.