See also:

• MANDOLINE (Fr. mandoline; Ger. Mandoline; It. mandolina)

MANDOLINE (Fr. mandoline; Ger. Mandoline; It. mandolina)  , the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble member of the See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

lute See also:

• FAMILY

family, and therefore a stringed insrument of See also:

• GREAT

great antiquity . The See also:

• MANDOLINE (Fr. mandoline; Ger. Mandoline; It. mandolina)

mandoline is classified am -ngst the stringed See also:

• INSTRUMENTS

instruments having a vaulted back, which is more accentuated than even that of the lute . The mandoline is strung with See also:

• STEEL, FLORA ANNIE (1847– )

steel and See also:

• BRASS
• BRASS (O. Eng. braes)

brass See also:

• WIRE (A.S. wir, a wire; cf. Swed. vire, to twist, M.H.G. wiere, a gold ornament, Lat. viriae, armlets, ultimately from the root wi, to twist, bind)

wire strings . There are two varieties of mandolines, both See also:

• ITALIAN

Italian: (I) the Neapolitan, 2 ft. See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long, which is the best known, and has four courses of pairs of unisons tuned like the See also:

• VIOLIN

violin in fifths; (2) the Milanese, which is slightly larger and has five or six courses of pairs of unisons . The See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck is covered by a See also:

• FINGER

finger-See also:

• BOARD (O. Eng. bord)

board, on which are distributed the twelve or more frets which See also:

• FORM (Lat. forma)

form nuts at the correct points under the strings on which the fingers must See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press to obtain the See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic semitones of the See also:

• SCALE
• SCALE (1) A

scale . The strings are twanged by means of a plectrum or pick, held between the thumb and first finger of the right See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to strike a See also:

• STRING

string the pick is given a gliding See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion over the string combined with a down or an up See also:

• MOVEMENT

movement, respectively indicated by signs over the notes . In order to sustain notes on the mandoline the effect known as tremolo is employed; it is produced by means of a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double movement of the pick up and down over a pair of strings . ' On the ruins of the old See also:

• MELLE

Melle dominions arose five smaller kingdoms, representing different sections of the See also:

• MANDINGO

Mandingo peoples . The mandoline is a derivative of the mandola or mandore, which was smaller than the lute but larger than either of the mandolines described above . It had from four to eight courses of strings, the chanterelle or See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody string being single and the others in pairs of unisons . The mandore is mentioned in See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert de Calenson (12th cent.), and elsewhere; it may be identified with the See also:

• PANDURA

pandura .

The Neapolitan mandoline was scored for by See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart as an See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment to the celebrated See also:

• SERENADE (from Ital. serenata, Lat. serenus, bright; the Italian term being applied, partly by confusion with serus, late, and partly through the use of Serena—cf. Gr. ve?i7vri—as an epithet for the moon, to a form of courting music played at night in the

serenade in See also:

• DON
• DON (anc. Tanais)

Don Juan . See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven wrote for it a Sonatina per it mandolino, dedicated to his friend Krumpholz . See also:

• GRETRY

Gretry and See also:

• PAISIELLO (or PAESIELLO), GIOVANNI (1741-1816)

Paisiello also introduced it into their operas as an accompaniment to serenades . The earliest method for the mandoline was published by Fouchette in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in 177o . The earliest mention of the See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, in 1707, is quoted in See also:

• ASHTON

Ashton's Social See also:

• LIFE

Life in the Reign of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne: "Signior See also:

• CONTI, NICOLO
• CONTI, PRINCES OF

Conti will See also:

• PLAY

play . . . . on the mandoline, an instrument not known yet." (K .