Instruments

The people themselves made various types of tamburitzas and called them by specific names. A tamburitza player is called a tamburitzaist, whereas the person who makes a tamburitza is a tamburitzaer.

In a tamburitza orchestra or group there are tamburitzas of various sizes. For higher notes a smaller instrument is used, for deeper notes, a larger one.

Bisernica or Prim (1 and 2) (in Arabic: tambur-sedefli): the smallest tamburitza in the tamburitza ensemble and has the highest sound. Because of that, it is especially exposed in the sound image of an orchestra. It is also said to play the soprano part, and can be compared to the role of the violin in a string quartet. Due to its characteristic high tone and small dimensions, it is especially ideal for fancy playing with various embellishments that are often heard in the hands of a true virtuoso musician. Usually the best tamburitza players play them. In smaller ensembles it serves as the lead instrument, but to some extent it can play a different role in orchestras. The second bisernica immediately differentiates itself only by the part it plays, or rather the different melody the second bisernica plays.

Its body has the shape of a head or of a pear. The oldest instruments were strung with four steel strings, all tuned to the same tone d2. Newer bisernicas have three pairs of strings tuned in fifths from the pitch g. Players hold the bisernica leaned up against their chests and strum it with a pick. The instrument has a range of d2 to h3. The part of the bisernica is written in treble clef, only an octave lower. It has a sharp, ringing sound and is an octave higher than the described.

The bisernica has the role of a high soprano instrument in a tamburitza ensemble. In a large tamburitza orchestra three bisernicas are used (I, II, III). The third bisernica is also called kontrašica in some places.

In Vojvodina the bisernica is called a prim, and the second bisernica is called a tercprim or tercprima. In playing folk melodies the bisernica often replaces the violin.

In the Srem E-system or arrangement the bisernica is pear-shaped. It has five strings, the highest being double. The notes of the bisernica or prima in a Srem arrangement are: e2, h1, fis1, cis1.

Viola or A-basprim (1., 2., and 3.)(in German: Bratsche, in Italian: braccio): a middle-sized tamburitza, slightly larger than the bisernica, which is played very similarly to the bisernica. On the pear-shaped body of older instruments there is a long neck, strung with four metal strings tuned to the same note, d1. Newer instruments have three pairs of strings tuned in intervals of fifths from the note of g. The range of the viola reaches from g to e3. In order to be able to move the left hand along the neck more easily while playing, the musician supports the instrument with a string or strap tied to the head and underside of the tamburitza and slings it over the left shoulder. The strings are strummed with a pick. Because of its size the viola has a lower sound and is used for middle notes. Its pitch is closest to that of a human voice.

The viola is also the foundation for the fullness of the tamburitza orchestra so it is an incredibly important instrument, usually being the most numerous in the orchestra. In a well-balanced orchestra first and second viola carry a third of all musical parts. In a tamburitza ensemble the viola plays the role of the melodious instrument (soprano and alto). In larger tamburitza orchestras up to three different parts are used for the viola (I, II, III). The part for the viola is written in treble clef, which is also how it sounds.

Srem tamburitza players call first viola basprim, and second viola tercbasprim or basprimterc.

In Srem E-system or arrangement the viola is guitar-shaped. There are two arrangements, where the first plays the lead melody and the second the melodic accompaniment, usually in terca. It has five strings, with the highest two tuned the same. The notes of the viola or basprima in the Srem arrangement: a1, e1, h, fis.

Viola 3 or E-BASPRIM: also has a pear or guitar shape but is smaller, and somewhat larger than the A- viola. When playing the third melody it gives the tamburitza orchestra a fuller sound and forms a whole with the first and second viola.  We play a deeper melody with it, somewhat along the lines of a baritone. Third viola often carries dynamic parts with emphasized interpretation and transitions. The first string, e1, is tuned a full fourth lower than the A-viola. In most orchestras it appears as the only instrument of its kind, whereas in larger orchestras two čelovićs are occasionally represented.

In the Srem system or arrangement the čelovića or E-basprim has a guitar shape. It plays the third melody in a somewhat lower baritone line. It has five strings, with the two highest being tuned the same. The notes of the čelovića or E-basprima in the Srem arrangement:  e1, h, fis, cis.

TAMBURITZA CELLO (in Italian: violoncello): a large tamburitza which has a similar role in a tamburitza ensemble as the violoncello has in a string orchestra. The cello most often plays the bass melody. There are two pairs of strings on the cello, tuned in fifths: G-d, so that the instrument ranges from G to e1. The part of the cello is written in treble clef for an octave higher than its true sound. It is impossible to achieve a nice, full sound of an orchestra without this instrument. It has a guitar shape like the viola, but its distinguishing feature is the head in the shape of a snail. The melody played by the cello is made up primarily of broken-down chords combined with non-chord tones. With this kind of part and its pleasant sound an octave higher than the tamburitza bass and an octave lower than the A-viola in the Srem arrangement, it fills the gap in the wide spectrum of sounds between the bisernica and the bass or berdo.

In the Srem system or arrangement the tamburitza cello is guitar-shaped. It plays the connecting melody between the basic and the bass line. It has four strings. The notes of the tamburitza cello in Srem arrangement: a, e, H, Fis.

Berde cello: with a shape reminiscent of a berde, its functions much like the tamburitza cello, and it plays a similar role in an orchestra. It is played upright, like the berde, except that the musician can sit on this instrument. It has a very pleasant, colorful sound and together with the cello it makes the sound of an orchestra nice and full. It has the shape of a violin.

Čelovič: is a slightly larger tamburitza. Under the guitar-shaped body of the instrument there are two pairs of steel strings, tuned in fifths, beginning with the c tone, so that the instrument has a range of c to c2. The part of the čelović is written in treble clef, but a fifth higher. Therefore, the tones of the instrument sound a fifth lower than what is written. In a tamburitza ensemble the čelović plays the role of a tenor part and is used in several variations, like I, II, III. Usually, in a large tamburitza ensemble, the third čelović is somewhat larger than first and second čelović. Its part is written in treble clef, but an octave higher than its true sound.

BUGARIA or CONTRA (in Arabic: tambur – bulgari): a mid-size tamburitza. In a tamburitza ensemble it is usually used for chord accompaniment. It has steel strings and comes in two sizes: on the bugaria 1 (I) there are the strings: c1-e1-g1, and its part is written in treble clef a quarter lower, while the bugaria 2 (II) has the strings: g-h-d1, and is written as it sounds. If the bugaria is strung with four strings then both left strings are tuned to the same lowest tone. The empty strings add fifth-chords and the instrument is adapted for playing accompanying chords, giving rhythm to the entire orchestra. This is a typical accompanying instrument and the only one in a tamburitza group or orchestra that plays in the form of chords. The stroke of the bugaria often showed up in other periods and parts of periods as the stroke of the bass so it is also colloquially referred to as the contra. Its sound is slightly higher than the guitar. The bugaria is most often played in the unstressed part of a measure. In typical folk or ethno rhythm (2/4 or sometimes 4/4) the bass and the bugaria play the rhythm that is colourfully called “es-tam”. In compositions for the orchestra the bugaria can also play a broader role than the presented rhythm and “counters” the bass.

The shape of the bugaria is similar to a guitar, but the strings are attached on the underside of the instrument. The musician hangs the bugaria from his neck with the help of a rope or strap and usually hits all the strings.

In the Srem E-system or arrangement the bugaria is guitar-shaped and plays the choral rhythm accompaniment. There are two types of bugaria in the Srem system: the A-bugaria (contra) and the E-bugaria (contra).

• Strings of the A-bugaria (contra) are: a, e, cis, A.
• Strings of the E-bugaria (contra) are: e1, h, gis, E.

Berde, berda (tamburitza bass, begeš): the largest instrument in the orchestra. Because of its size the instrumentalist plays it standing up. The strings are stroked  with the help of the hands or a bit larger pick made mostly of leather. In a tamburitza orchestra the berde or begeš is not played with a bow, although its role is very similar to the role of the double bass. Its part is like the bass line in any musical system. With its deep sound, the berde or begeš is the foundation that supports the sound of the entire orchestra or group, where interactive playing of the berde and bugaria is characteristic (basic stroke and contra). Today the berde and double bass are often interchangeable.

In the Srem system or arrangement the berde or begeš is violin-shaped, plays the basic bass tones and is the cornerstone of the rhythmic foundation of the group. Its strings are: A, E, H1, Fis1.