Roman, again we meet in agreement. My bible of historical instruments lists the mandocello, but not a mandoloncello. I think you are right about which is corrupted. The violoncello is a different family, and the forming word is violin (as contrasted to viol - as in viola da gamba, a fretted instrument).
The mandocello is larger mandolin. The sequence in size is mandolin, mandora, mandocello, mandobass. And that entire family of instruments made by "luthiers" is like the naming of cars (which all may be on the same frame). Which engine do you want, four doors or two? If it is a flat back then it is a cittern, unless it is triangular in body - then it is a balalaika. (Yes, I know there are more differences - but that is the point). What can I say, is the answer from Shakespeare (paraphrased) "a rose by any other name would play as sweet", or is it Gertrude Stein "a rose is a rose is a rose". My new charango (which Bill tells me that you accepted as an instrument when you decided it was basically a vihuela de mano) will make a fine alto mandora (tuned to d" rather than g") when I get the right strings on it (I've approximated them from my spare stock and it works, now ordering better guages). But I can't call it a mandora as it has a "waist" like the vihuela/guitar family, but also the deep rounded body of the lute and mandolin. Do I call it a chandora or a mandango? But then again the tuning might be that of a mandocello (in pitch) - but chancello doesn't work. BTW, the 4-5-4-5 tuning intervals may be quite amenable to that parallel fifths piece, I'll have to try that tomorrow (I have tab paper and can recast it). I chose the d" tuning as the 36cm VL won't hold the g" that is nominal for the mandora - and by having d", g', d', g, d puts one in a convenient set of keys. The instrument would handle a higher pitch of a tone or so, but not the g". Sorry guys, the old Celt is voluable as usual, but not combative. The real point on any instrument is not its name but the combination of factors that make it an instrument. How many courses, how many strings per course, what kind of body and soundboard (not really that significant for play, but quite significant for tonality). How long the VL (which not only effects pitch but also the mood, as the pitch effects the mood). How do you intend to tune the open strings? My charango tuned as a mandora isn't either one. But the name is important in one thing, to the extent that it defines the open string tuning it sets which intabulated music you can play if you call for it by name. Although one can recast the tab one is yet limited by the range of the strings you are using and how far they need to be retuned. For instance, one can play lute tab on a standard guitar by shifting two strings by one full tone - but one can't play 4,5,4,5 mandora music on a lute - the move is to great to retain the musicality of the strings. Best, Jon > >> MANDOLONCELLO would be an appropriate term. > >> "mandocello" makes little sense. > > > > True only if you assume it's a real Italian word. > It actually is. > > > > I believe it's actually > > an American term formed by analogy. > Corruption of the former, rather. > RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
