The ukulélé is a traditional String instrument pinches of the islands Hawaii, near to the Cavaquinho Portuguese of which it is an adaptation.

Often cheap and with the mode in first half of the 20th century, this small general-purpose instrument essential component of an orchestra hawaiien was quickly adopted by various musical currents - popular song with the Jazz - sometimes because it brought a humorous or exotic dimension to a unit.

History

History

Ukulélé is an adaptation of the braguinha or machete of the Madeira which is one of the forms of the Cavaquinho Portuguese.

It was brought to Hawaii by immigrants Portuguese of the Madeira in 1879, unloaded there to gather the Canne with sugar. The arrival of ukulélé is perfectly datable: it is proven that it is on board the Ravenscrag that the braguinha was imported in Hawaii (at the time the archipelago was still called islands Sandwich ). On board boat the three men were whom the history retained like persons in charge of the introduction and the transformation of a certain tradition of Portuguese stringed-instrument trade: it was about Handbook Nunes, Jose C Espírito Santo and Augusto Dias, three cabinetmaker S of Madeira which had knowledge in Lutherie and which transported apparently their cavaquinhos.

Etymology

If ukulélé is not older than the end of the 19th century, the etymology of its name remains prone to guarantee. Two serious assumptions are to be retained.

The assumption most usually accepted and most widespread is the following one: the ukulélé word would come from the aggregation of the words hawaiien “uku” (chip) and “lélé” (jumping), term which indicates in hawaiien the chip cat, species introduced in Hawaii a little earlier than ukulélé at the 19th century. One finds traces of this etymology towards the end of the 19th century.

Second serious assumption and of which there exist early traces: ukulélé would be a deformation of the aggregation of “uke” and “lele”, terms which indicate the actions respectively to scrape and to strike - a description of the movement of the player of ukulélé.

Description

The paragraphs which follow describe one ukulélé traditional, modern evolution of the first appeared form with Hawaii. Specificities of the other types of ukulélés which can not correspond to what is described here are specified in the chapters which are devoted to them will infra.

Materials

The wood turpentines used for ukulélé are very varied. The ukulélés first were entirely manufactured in Bois of Koa, a variety of acacia hawaiienne. The koa being rarefied, the ukulélés modern ones were now frequently built with wood turpentines used in stringed-instrument trade of Guitare, mainly the Acajou, however in Hawaii the violin makers remain attached to the use of the Koa.

The Années 1950 saw the appearance with the the United States of a very cheap model which was a considerable success: the Islander (which was declined in various models under various names). This ukulélé was remarkable in more than one way: it was sold to several million specimens, its original design was very innovative (it was entirely carried out in Plastic), and finally its creator, Mario Maccaferri, are also famous to have conceived a few years before the Guitare Selmer-Maccaferri, often called Guitare manouche .

Various parts of ukulélé

Cords

Ukulélé four cords at the origin in bowels of Mouton has (known as bowels of Chat ) today almost always replaced by cords in Nylon (sometimes slipped by metal for most serious, starting from the Do and in lower part following the Accordage S) - nylon (or various composite materials containing nylon) makes it possible to have cords much more stable and resistant, less assigned by the temperature variations and moisture that the organic materials. There exist rare models planned for cords in Métal but they remain completely anecdotic and do not come in general from Hawaii.

The Cavaquinho more often uses of the metal cords (in particular in its alternatives Brésil iennes), and one must with the first Luthier S of ukulélé (Portuguese originating in Madeira emigrated with Hawaii) the decision to use cords in bowels of sheep (known as catguts ) - perhaps their braguinhas used already cords in bowel, metallic materials being undoubtedly rarer on the Madeira than on the continent, or perhaps was it current to at sea use cords in bowels for the long voyages.

Head

In the prolongation of the handle, the head, the mechanism of tuning. The cords are granted using ankles on the old models, as for the Violon S, or using mechanical keys which have a latch-tightening screw on the top of the key for the more recent models. One also meets ukulélés equipped with mechanics similar to those of the Guitare. It can be carved, decorated with marquetry, carry the initials of the Luthier or the manufacturer. With the junction head/one touches finds the sillet head, which is generally manufactured in bone or in a plastic material which imitates the ivory.

Handle and touches

The key of ukulélé, when it is not a question simply of surface punt of the handle, is a thin piece of wood stuck on this surface (ebony, Palissandre, Noyer, etc). It can be prolonged beyond the handle on the Sounding board. The hoops (or bars) are in general an alloy of Nickel and money. The reference marks of keys, incrustations in the key, are made of Nacre or a Plastic which imitates it. The handle itself is made of a rigid wood of quality (Acajou, maple, Palissandre, etc). The curved part of the sleeve to the junction sleeve/body is called the heel.

Body

The Sounding board is the principal element in the sonority of the instrument. The size of ukulélé being reduced, it is important that the Sounding board (left former the case) is very fine in order to transmit the vibrations well. Today it is often manufactured in Koa, spruce, Acajou or Noyer and all kinds of current gasolines in stringed-instrument trade for the sounding boards. The spruce is very frequent in the modern models - it makes it possible to find a brightness and a glare in the sound, but moves away from its round of the koa.

In term of construction, the sounding boards of ukulélés are not small-scale models of those of the Guitare. The thickness of the table must be to the minimum reduced, and on the models soprano especially, the stoppings must however be lightest possible - often limited to a bar perpendicular to the axis of the cords, but one less frequently finds complex range or cross stoppings - the light stopping must make it possible the fine sounding board to resist the tension of the cords, its precise positioning is thus the most important point, which influences as well stability structural of the instrument as its acoustic properties.

If the table is in koa, the case (fish-plate S and back) is generally too; the case can also be in Acajou, even in Noyer, and in a general way in any wood turpentine used for the same part in stringed-instrument trade of guitar.

One finds also certain plastic cases, such celebrates it Ovation case of the models of Applause, or the moulded case of ukulélés Flukes and Flea of the Magic Fluke Company .

Other forms

So in a general way ukulélé resembles a reduced Guitare, other forms are current. Following the example many string instruments pinches, one finds a large variety in the electric models, but for ukulélé there exist also important variations in the acoustic models, thus the pineapple shape (pineapple) invented around the years 1920 by Samuel Kamaka is largely widespread today.

Typology of ukulélés

Sizes and categories

There exist four categories of ukulélés definite by their sizes: soprano , concert , tenor and baritone , of smallest with largest. The original size is the soprano - when one speaks about ukulélé without precision of size it is of this one that it acts. The sizes concert and tenor made their appearance with the the United States in the Twenties, the size baritone was created in the Années 1940 and was diffused in the Années 1950. These names are in the beginning simply commercial - in a musical logic one would expect to find a viola and not a concert between the soprano and the tenor , but these designations are misleading because they are without relationship with the registers.

The size taken into account to determine the category of ukulélé before that of the instrument in entirety is that of sound Diapason. They are expressed in inches (inches), Anglo-Saxon measuring unit:

• soprano: tuning fork of 12 inches (or less) with 14 inches (approximately 30,5 cm to 35,5 cm)
• concert: tuning fork of 14 inches to 16 inches (approximately 35,5 cm to 40,5 cm)
• tenor: tuning fork of 16 inches to 18 inches (approximately 40,5 cm to 45,5 cm)
• baritone: tuning fork higher than 18 inches (beyond 45,5 cm)

This classification was copied on the classification of the mark Martin , of which the old ones ukulélés ( Style O , Style 1 with 5 ) are rather unanimously recognized as being of excellent invoice, their important diffusion and their business success imposed these dimensions like the generally accepted standard.

Various types of ukulélés

Ukulélé standard hawaiien

In the shape of guitar or pineapple ( pineapple ) and built out of wood, ukulélé the hawaiien can have doubled cords, it is called then a taropatch or taropatch fiddle . The oldest workshop hawaiien of ukulélé still in activity is Kamaka ukulele, founded in 1916.

Ukulélé with resonator

Ukulélés with resonator the are ukulélés acoustic ones having the system of mechanical amplification of the instruments to resonator. One or more metal cones installed in the body of the instrument support the rest which transmits the vibrations, those are thus amplified what produces a sound powerful and rather characteristic of the system: an attack, a volume and a projection larger than on one ukulélé traditional but a more important behavior and a greater harmonic richness than a ukulélé banjo.

Electric Ukulélé

As with the Guitar, there exist the ukulélés electroacoustic ones, with an integrated sensor, their forms are varied. One finds also ukulélés the completely electric ones with metal cords, micro magnetic, with half-case or massive body. Following the example electric Guitar S, a large formal variety is possible. In a general way one ukulélé acoustic can be easily equipped with a piezoelectric sensor .

Ukulélé banjo

The Banjo - ukulélé, also called banjulele or banjolele , is a instrument which is usually included in the category of ukulélés. The Banjo - ukulélé has Banjo the drum, the skin and the rest, remainder (size of the handle, cords, etc) concerning ukulélé. There are many sizes, excellence there being incarnated by the old Gibson models of the UB-1 (the smallest barrel) with the UB-5 (largest). One finds also various alternatives the banjo-ukulélés, on the level of the barrel initially: metal barrels, and wood barrels (wood going up sometimes around the drum as in the models traditional of the the Appalachian Mountains); then as any banjo they can be equipped or not with a resonator.

Ukulélés of predilection of George Formby were banjo-ukulélés, even if he also played of ukulélés traditional.

Ukulélé tahitien or Polynesian

With Tahiti, the ukulélé standard one is rather widespread but one also finds it declined of the original Hawaii in a specific form, monoxyle, with varied aspects.

The mouth of ukulélé tahitien is covered with a thin wood plate which carries the rest (like the skin of a banjo), its body and its handle are of only one piece of wood or several assembled parts but major structural difference between the handle and the body. The body is bored right through taper hole widened forwards, stopped on a side by the wood plate on which the rest maintained by the tension of the cords rests.

This body and this handle, often of only one piece of wood, allow a great decorative expression in the sculptures which decorate ukulélé.

If its cords (for which wire of fishing of bright color is frequently used) often are doubled or tripled in unison (or the octave), they are not to it inevitably all.

These various characteristics make ukulélé tahitien a mainly rhythmic instrument.

Ukulélé the tahitien was diffused in various forms in other islands océaniennes, in particular in New Caledonia (where it is called yukulélé) and with Vanuatu (where it is also called yucca).

Tuning and play

One notes the cords of the first to the fourth, the first cord is that which is closest to the ground in position of play.

The Accordage standard and traditional of ukulélé is a C sixth : ground , C , semi , the of the fourth cord towards the first cord (C is granted on central C of the Piano). This tuning is known as tuning in C or C tuning in the english-speaking. It is about an agreement of C sixth with the fundamental state because traditionally the fourth cord (of ground ) is acuter than the third cord (in C ). This tuning is called “D-entering” (within the meaning of returning again, and not to indicate the note D ), thus the four cords are thus with the fourth octave.

This tuning in sixth is also met in other tonalities:

• on some ukulélés tenors in inversion
• usually a tone above in the D fa$\backslash \; sharp$ if , tuning known as in D or D tuning - frequent tuning with the E. - U., reason for which it is sometimes called mainland tuning in opposition to the insular tuning.
• on certain old partitions in si$\backslash \; flat$ mi$\backslash \; flat$ ground C , tuning called in E flat or E$\backslash \; flat$
• on other partitions one meets a more serious tuning of a tone in si$\backslash \; flat$ : F si$\backslash \; flat$ D ground
• on ukulélés of size tenor (and more rarely concert even soprano ), certain musicians prefer to put the fourth cord (in ground ) at the lower octave on ukulélés of size tenors - i.e. with the ground of the third octave; there is thus a C sixth in his second inversion. This tuning is also called Low G ( ground engraves ) in opposition to High G ( acute ground )
• ukulélés the baritone (and sometimes the tenor ) can also agree in ground ( D ground if semi ), in ground sixth fundamental, i.e. with the cord of D réentrante, or in second inversion like the traditional tuning of the first four cords of a guitar. This tuning is known as in ground or G tuning

Another tuning which is also originating in Hawaii but which existed already on the cavaquinhos before the birth of ukulélé is the agreement in “ Slack Key ”, ground C semi ground (where both ground are in unison or the octave).

Position of the notes

On the image Ci-with-right-hand side are represented the positions of the degrees of the range of '' major C '' on the key of one ukulélé granted in C (cf above). Like the other instruments of the family of the Western Guitar, each hoop increases the note of the preceding hoop (or with vacuum) of an acuter semitone.

On the image Ci-with-left are represented the degrees of a major range on a portion of the key of one ukulélé. The degrees in red are most serious, the acutest degrees in blue.

Musical notations

• In the literature devoted to the instrument, the positions of agreements are often represented in the form of diagrams which show a portion of the handle, in the position of the images presented here. If no indication is given, the first horizontal feature represents the sillet head, if not the hoop corresponding to the first feature represented is numbered in order to find its position. These diagrams make it possible to indicate by numbers on each cord the finger advised to hold the cord - they are numbered from 1 to 4, of the index to the annular one.

• Another notation current for the agreements consists with simply numbering the hooped positions of the fourth cord to the first cord, for example an agreement of major the on a ukulélé granted in C could be noted 2100 or 2.1.0.0 which indicates that it is necessary to hold the fourth cord (cord of ground ) on the second hoop (to produce a the ), the third cord (of C ) on the first hoop (to produce a do$\backslash \; sharp$ ) - the zero indicate to play the two other open strings (respectively the second in semi and the first in the ). A not played cord will be indicated by a X or a horizontal feature.

• the traditional musical notation is also practiced for ukulélé. It is often accompanied by indications of positionings of the fingers or by barred.

• the success of the modern use of the Tablature (which existed in the musicians baroques and until the beginnings of the 19th century) finds its origins in the redécouverte of this marking system by the pioneers of ukulélé. Each line represents a cord, from top to bottom the first with the fourth, as what one sees of the handle if one leans the head to look it in position of play; figures indicate the box of the hoop to be played on each cord, the rhythmic indications are noted with the top or the lower part of the fingering chart (by symbols imitating partially or completely those of the traditional notation).

Techniques of play

The position of play is not similar to that which one employs on the Guitare. In position upright, the right front armlever maintains the instrument in front of the sounding board, the cords are played a little in lower part of the junction of the handle and the body (and not in front of the mouth). In sitting position, the end of the body is generally plated on the antéro-intern part of the right thigh, or sometimes on the former face of the left thigh. In fingerpicking, certain players are satisfied only with the inch, the index and major, possibly by pressing the auricular one on the sounding board.

The majority of the techniques of Guitar and Banjo can be adapted to ukulélé.

Around ukulélé

Related instruments of the family of the guitar

If it is about undeniable that the Cavaquinho Portuguese, and more precisely its alternative of Madeira is the prototype of ukulélé, one finds of them cousins very close to the same origin. The Timple of the Canary islands - this without any doubt because of the proximity of the Canary islands and Madeira which was on the same sea routes. The timple often has five cords with a tuning close to ukulélé hawaiien - the third cord with the octave compared to being ukulélé. However the tunings having undergone many modifications, and having been prone to many influences it is delicate to rest on them to determine relationships, the anatomy of the instruments and the history of their appearance is elements much more convincing. Surprisingly another instrument sharing perhaps partly common origins with the ukulélé present one of the rather important differences, it is the Malagasy Kabossy, also possibly influenced to him by the instruments brought by sailors who sailed round the African continent while passing by the islands of the Atlantic coast. Moreover ukulélé can be compared or confused with several others string instruments pinches of South America: Charango (in particular Bolivia N), Cuatro (similar tuning but not D-entering), Colombian Tiple, Tres Cuba in… all shares like common point (in addition to being cords pinches) their size and their small overall dimensions which make of them instruments of voyage, favourable accompany the sailors and the large travellers.

Ukulélé with the cinema

Hollywood

Three films of the Cinéma of the the United States are particularly emblematic image of ukulélé with the cinema: Blue Hawaii of 1961, where one sees Elvis Presley playing on one ukulélé tenor, Some like it hot ( Some like it hot ) 1959 where Marilyn Monroe off interprets in particular deserted Running wild and Sons the of 1933 where Oliver Hardy plays Honolulu Baby - but if these three films are particularly emblematic because the quoted high-speed motorboats really played of ukulélé, they are only the emerged part of the iceberg with regard to ukulélé with the cinema. Indeed ukulélé was so evocative as of years 1930 that its only image was sometimes used: even if it does not appear at any time in certain films, it however decorates their promotional posters and their photographs. Moreover it happens that ukulélé the either present one on the film, but deprived of cords and non-existent in the band sound!

The image of ukulélé was used to evoke two prototypes: initially obviously exoticism hawaiien, the stereotype of the vahine nonchalante and relents of Exoticism - but in addition, largely adopted in the American student middle of the years 1930, it often formed part of the visual implements of films of teenagers. Woody Allen takes again the stereotype while making play ukulélé by Mia Farrow, in a scene of the Rose crimson of Cairo (actually doubled by the banjoist Cynthia Sayer).

George Formby and the United Kingdom

With the the United Kingdom, ukulélé also a cinematographic existence of importance so much it has is associated with the actor and musician George Formby. With the apogee of its career in 1939, it was one of the largest British high-speed motorboats of the Second world war, and took part in spectacles of supports with the troops (it was in particular one of the first artists to be occurred in front of the troops after the unloading of Normandy) what still grows its fame and contributed to the popularity of ukulélé in the United Kingdom. George Formby played mainly of the banjo-ukulélé, and this is why this shape of the instrument is most widespread in the United Kingdom.

Some famous names

Among the players of Ukulélé who took part in re-elected instrument, one can quote

• ATTENTION, THIS LIST EAST PERHAPS ALREADY TOO LONG,

BEFORE ADDING an ARTIST: - ENSURE TO HAVE IT ADDITIONS WITH THE CATEGORY " Player of Ukulélé" - BE ON AND CERTAIN THAT IT IS ESSENTIAL OF TO LIST IN THE PEOPLE WHO HAVE INDEED AND NOTABLY CONTRIBUTES HAS AN IMPORTANT LEVEL AND FOR MANY PEOPLE WITH THE DIFFUSION OF THE UKULELE: THIS LIST MUST REMAIN SHORT. IT IS SURELY MORE PRODUCTIVE TO DISCUSS ADDITION APPROPRIATENESS IN the PAGE OF DISCUSSION BEFORE LISTING IT HERE. THANK YOU IN ADVANCE OF YOUR RESERVE AND DO NOT FORGET the CATEGORY

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Cliff Edwards (the United States of America), George Formby (the United Kingdom), George Harrison (the United Kingdom), Israel Kamakawiwo' ole (Hawaii), Roy Smeck (the United States of America), Tiny Tim (the United States of America), Gabby Pahinui, Ledward Kaapana, etc In France, in addition to the song of Louis Gasté With his Ukulélé , the Ukulélé Club of Paris (with its members and founders Joseph Rabble, Dominique Cravic, Tony Truant, Cyril Lefebvre, Pierre Sangra, Fay Lovsky and Brad Scott) had a great influence.

Very largely used with the the United States, it was the first instrument on which many American musicians or English discovered the music - Dick Dale, Jimi Hendrix, Artie Shaw, Neil Young…

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to see : Category: Player of Ukulélé

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