laouto

laouto. The laouto is a string instrument prominent in the music of Greece, particularly within the folk traditions of the mainland and islands. It is a long-necked lute, typically with four double courses of strings, and functions primarily as a chordal and rhythmic accompaniment instrument. Its deep, resonant sound provides the harmonic foundation for ensembles featuring melodic instruments like the violi, clarinet, and bouzouki.

Description and construction

The body of the laouto is traditionally constructed from woods such as walnut, maple, or sycamore, with a soundboard often made from spruce. Its design features a pear-shaped bowl, similar to that of the oud or the mandolin, but with a longer neck that is fitted with frets. Modern instruments typically have four double courses of steel strings, though historical and regional variations exist. The bridge is fixed to the soundboard, and the instrument is often ornately decorated with mother of pearl inlays, particularly around the soundhole and on the fingerboard. Its size and string tension contribute to a powerful, sustaining tone that can cut through the texture of a traditional Greek folk music ensemble.

History and origins

The laouto's lineage traces back to the medieval Byzantine Empire, evolving from earlier Persian and Arab lute traditions that spread through the Mediterranean. It is a direct descendant of the pandoura, an ancient Greek and Thracian instrument. During the period of the Ottoman Empire, the instrument was influenced by the Turkish saz and the tanbur, adopting features like the long neck and movable frets. By the 19th century, it had become a standardized fixture in Greek rural life, central to the music of Epirus, Crete, the Dodecanese, and the Peloponnese. Its development paralleled that of other European lutes, but it retained a distinct identity within the Balkan musical sphere.

Tuning and playing technique

The standard modern tuning for the laouto, from the lowest to highest course, is C-G-D-A, an octave below the tuning of the viola. This tuning facilitates the playing of chords and drone notes. The player uses a plectrum, often called a *pena*, to strum across the strings in rhythmic patterns that define the dance rhythms of various Greek traditions, such as the syrtos, kalamatianos, and pentozali. The left hand fingers chords along the neck, with the frets allowing for precise intonation. Accompaniment patterns often involve arpeggios and repeated ostinato figures, providing both harmonic support and percussive drive. Master players like Giorgos Koros and Lefteris Drandakis are renowned for their sophisticated technique.

Role in Greek music

In traditional Greek music, the laouto is indispensable as an accompaniment instrument, forming the rhythmic and harmonic backbone of the *kompania* (ensemble). It commonly supports lead instruments such as the cretan lyra, Pontic lyra, askomandoura, and tsabouna. Its role is analogous to that of the guitar in other folk genres, providing the chord progressions over which melodic improvisation occurs. The instrument is central to the music of rebetiko and has been featured in the works of seminal composers like Vassilis Tsitsanis and Markos Vamvakaris. In contemporary settings, it appears in the music of artists such as Eleftheria Arvanitaki and is a staple in the performances of the Athens State Orchestra's folk division.

Regional variations

Significant regional variations of the laouto exist across Greece. The Cretan laouto is perhaps the most distinct, often slightly smaller and featuring a brighter, more penetrating tone suited to the island's vigorous dance music; notable exponents include Giorgos Xylouris and Psarantonis. In the Ionian Islands, influenced by Italian music, the instrument may be tuned differently and used in more polyphonic contexts. The politiki laouto, associated with the Greek diaspora of Istanbul and Asia Minor, has a deeper bowl and a more melancholic sound, used in the Smyrnaic style of rebetiko. Other variations can be found in Thrace and Macedonia, where it interacts with Bulgarian and Turkish instrumental traditions.