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The Irish bouzouki (Irish: búsúcaí) [1] is an adaptation of the Greek bouzouki (Greek: μπουζούκι).The newer Greek tetrachordo bouzouki (4 courses of strings) was introduced into Irish traditional music in the mid-1960s by Johnny Moynihan of the folk group Sweeney's Men, who retuned it from its traditional Greek tuning C³F³A³D⁴ to G²D³A³D⁴, a tuning he had pioneered ...
[2]: 38–41 In the same tutor, Irvine's Irish bouzouki tuning (GDAD', [2]: 15 one octave lower than similarly open-tuned mandolin) was also contrasted with the traditional Greek bouzouki tuning (CFAD'). [2]: 5 In a 1985 interview with the American Frets magazine, Irvine had explained the origins of his bouzouki tuning:
The Tenor Mandola Chord Bible: CGDA Standard Tuning 1,728 Chords. United Kingdom: Cabot Books. ISBN 0-9553944-2-2. — A comprehensive chord dictionary. Loesberg, John (1989). Chords for Mandolin, Irish Bango, Bouzouki, Mandola, Mamdocello. Rep. of Ireland: Random House. ISBN 0-946005-47-8. — A chord book featuring 20 pages of popular chords.
The suitability of D A D G A D to Celtic music stems from the fact that it facilitates the use of a number of moveable chords, which retain open strings. [6] These act as a drone on either the bass or treble strings, approximating the voicings used in traditional Scottish and Irish pipe music.
Sweeney's Men broke the mould of Irish music and are credited with starting the folk revival there in the late 1960s. The most famous innovation of Sweeney's Men is probably Moynihan's introduction of the bouzouki , originally a Greek instrument , into Irish music, albeit with a different tuning: GDAD' [ 2 ] : 15 (one octave lower than the open ...
Irish dance music is isometric and is built around patterns of bar-long melodic phrases akin to call and response.A common pattern is A Phrase, B Phrase, A Phrase, Partial Resolution, A Phrase, B Phrase, A Phrase, Final Resolution, though this is not universal; mazurkas, for example, tend to feature a C Phrase instead of a repeated A Phrase before the Partial and Final Resolutions, for example.
On the bouzouki the lower-pitched string comes first in these courses, the reverse of most other instruments with octave-paired courses (such as the 12-string guitar, charango or bajo sexto). These 'octave strings' add to the fullness of the sound and are used in chords and bass drones (continuous low notes that are played throughout the music).
Finn took up the bouzouki in the 1970s, from a background of playing the guitar in skiffle and blues music. [2] In contrast to most Irish players, he played a round-backed Greek bouzouki, one of the older-style trichordo three course (six string) instruments tuned DAD.