Fretting Systems [Tamburica]

Fretting Systems: Dual-fifths system bears the name by Milutin Farkas’ Farkas system “. This system initially consisted of the first and second bisernom (the second name was still kontrašica), three brača, two of bugaria and berde. Later, they have an even čelović and čelo. This two-part note fifths system was widespread in Croatia, Bosnia and Herzegovina, Slovenia, Czechoslovakia and Western countries.

In the second half of the 19th century in Backa and Srem there was a two-part note fourths system, but it quickly grew into a Triple. Three-note fourths system developed in Backa late 19th century. It consisted of a first and second tamburica, third and fourth tambura, the first and second brothers and the bass. This composition of the drum, with the name changed instruments and additional forehead, was common in Srem. All are tamburica were pear-shaped, except for the bass, which had a shape similar to the double bass, and less frequently as the guitar.

The Triple-fifths system was first introduced Pera Z. Ilic 1897. These consisted of the first and second tamburica, the first and second brothers, cello, bass and counter attacks. All tamburica were pear-shaped. This system is in Croatia first applied Alfons Gucci, and later by little perfected. In 1930 this system became the leading system in Croatia, in 1939 it was accepted by the Croatian tamburica association, and since 1945, a member of the tambura orchestra of Radio Zagreb. The three-fifths tamburitzas are completely dry suction two-part (Farkas), who remained only in some Croatian regions. Four quart system developed from three quart, in the early twentieth century in Backa and Srem and hence his name “Srem” system.

It consists of a first receiving (pearl) and tercprima (other pearl), basprim and basprim thirds (brac I and II), celovic, bugaria and bass (berde, begeš). In Slavonia is also accepted Srijemski system, but the instruments are tuned to tone down, to give the so-called ” d-tuning ” instead of “e-tuning”.

Experimentation with different systems were conducted in the construction of these instruments with little or mixed success, argued Joseph Rorbaher from Osijek. The first conference tamburica experts held in 1958 in Novi Sad, Serbia, the conditions for the unity of all tamburica system accepted the unique scores and hence unique names. In this unique musical score are represented: the first and second bisernica, first and second brac, E-brac, cello, bass and Bulgaria and čelović.