Originally Posted by ukmando. I feel a bit of a fool, if only I'd looked down the page a bit I'd have realized there was a complete forum on the subject!
Mar, pm 6. Attached Thumbnails. Mar, pm 7. Here's an explanation. FFcP : Just do it! Any genre, Honest! Eastman , Thomas Buchanan Octave Mandolin, Mar, pm 8. Mar, pm 9. Confused Great info provided so far on the tuning differences Love that chart Bernie, though note that the OM looks like it's cheated out of a few notes on the bottom end.
There is lots of additional information about the difference between mandolin family instruments on this Mandolin Cafe page especially with respect to scale length differences. Gear: The Current Cast of Characters. The most popular traditional design is the F-style body with its ornate hand carved scroll. It takes a skilled, detailed woodworker to create and bind this intricate design.
In the case of Weber, the scroll joins the instruments top and back in a hand carved swallow tail. Typically, the F-style has a wing on the opposite side of the scroll and a point at the lower bout to make it comfortable to hold. The F-style body is known for its punchy volume often referred to as chop.
Your luthier friend might have some demo models around. Why not sit down and try out a few. I'm also an aspiring mandolin-family player and have a mandolin, mandola, and octave mandolin haven't played a mandocello. As a longtime guitar player, the most accessible of these instruments is the octave mandolin. And put a capo on the 5th fret and you're up to a mandola tuning.
That being said, for a bluegrass jam the mandolin is the way to go. I play or have played all the above, and built a few that are in-between. For a different experience tonally as well as tuning I'd personally recommend mandolin. My playing partner prefers a mandola and capos his for many songs his bluegrass band performs.
I also have an octave mandolin guitar bodied that I love for the low range stuff, but the mandolin is a great instrument that travels well, plays easily hopefully Find all posts by Rudy4. Originally Posted by BobbyMocha. I've been a mandolin, mandola, octave mando and mandocello player for over 10 years now. I love them all, but find I like my 10 string 5 course instruments best.
I have a 5 course mandola tuned C-G-D-A-E that covers the mandolin and mandola range, and a 5 course mandocello tuned an octave lower, covering both octave mandolin and mandocello range. Here's the practical thing - most of these instruments are arch tops with a carved top and back. They're labor-intensive to build. They are far less common than guitars; there are probably guitar players for every mandolin player.
Probably mandolin players for every mandola, octave mandolin or mandocello player. Bottom line - you pay more, a lot more than you think you should, for a decent quality mandola, octave mando or mandocello. If you don't know if you'll really take to it, buy a used A model Eastman, The Loar or Kentucky mandolin to try out.
They are all gateway drugs, once you can play one, you can play them all with some minor adaptation. I started on mandolin, and moved down to mandola and OM.
Scales longer than 18" I avoid for melodic work, but chordal work can go longer. Single string versions of the mandolin family fit in the tenor guitar category, all of which use the same skillset to play.
So learning to play 5ths tuned instruments opened up a new world for me. And I for one prefer four course instruments, simpler, easier to manage and learn. You can move up to 5 course instruments anytime though. And mandolin is also a gateway to violin, although not an easy one. Going from violin to mandolin on the other hand is easier, or so I am told. Two mandolins, a mandola, and a mandocello create a mandolin quartet, which can be a TON of fun. When I was in college, one of my professors had a full set of them, along with a bunch of early 20th century music for them.
My absolute favorite was "Funeral March for a Marionette" - what a kick to play that and see people's reactions.
I've often thought about taking up the mandolin, but find the standard mandolin scale and nut width pretty tiny. The story with oval vs. Those advocating f hole instruments as the only bluegrass mandolin claim that it is the one that cuts through against loud guitars and banjos. The tops and backs of these mandolins are arched in shape and carved from a single piece of wood - as opposed to pressed into shape- cheaper factory made models often have pressed top and back.
Favoured woods are spruce tops and maple backs and sides. The bluegrass mandolin also works very well for folk music but the reverse is not always the case. There is also the two point the first Gibson A5 was a two point with a scroll headstock! Bluegrass two point mandolin. The Folk Mandolin The folk mandolin tends to have a deeper and larger body and normally has a round sound hole as opposed to f holes. Many woods are used, commonly spruce and cedar for tops, rosewood, mahogany and walnut for backs and sides.
Tops and backs are most often flat or slightly arched but not carved. CGDA from bass to treble. Other common tunings. It is also called a tenor mandola by some common on the UK , perhaps because of the tenor banjo but it seems to make more sense to name mandolins according to how they relate to the mandolin family, not to banjos.
GDAE from bass to treble one octave below mandolin. The term octave mandolin seems to have American origins and fits in with the mandolin, mandola, mandocello nomenclature.
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