Traditional timple at the Casa Museo Del Timple, Lanzarote, Spain. Timple seen from front Traditional timple at the Casa Museo Del Timple, Lanzarote, Spain. Timple seen from side The timple is a traditional 5-string plucked string instrument of the Canary Islands.The Stringed Instrument Database: T It started being manufactured in the 19th century.
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Timple seen from front Timple seen from side Migrating from North Africa in the 16th century to the Canary Islands and then on to Murcia, the timple has become the traditional instrument of the Canaries. In La Palma and in the north of the island of Tenerife some players omit the fifth string, tuning the timple like a ukulele, though nowadays this is often seen as non-standard by players in other regions where five strings are preferred. The popular tiple tuning is GCEAD.
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In La Palma island and in the north of the island of Tenerife, many timple players omit the fifth (D) string, in order to play the timple as a four-string ukulele, though this is considered less traditional by players and advocates of the five-string version. The players of the four-string style, in return, say that they are simply playing the timple in the old-fashioned way from before the time when a fifth string was introduced in the late nineteenth or early twentieth century. The common tuning is GCEAD. Notable timple players (timplistas) are Benito Cabrera (Lanzarote), Germán López (Gran Canaria), José Antonio Ramos, Totoyo Millares, and Pedro Izquierdo (Tenerife).
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Among the distinguished instruments are the timple canario and charango. It uses, moreover, the Puerto Rican cuatro, accordion and double bass to increase the variety of sonority.
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Although the Mexican vihuela has the same name as the historic Spanish plucked string instrument, the two are distinct. The Mexican vihuela has more in common with the Timple Canario (see: timple) due to both having five strings and both having vaulted (convex) backs. The Mexican vihuela is a small, deep-bodied rhythm guitar built along the same lines as the guitarrón. The Mexican Vihuela is used by Mariachi groups.
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Francisco Ramírez, artistically known as Maldito Ramírez, (born January 2, 1984, Las Palmas de Gran Canaria) is an eclectic Canarian singer-songwriter, between indie and fresh Canarian folk marked to the rhythm of timple.
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Although the Mexican vihuela has the same name as the historic Spanish plucked string instrument, the two are distinct. The Mexican vihuela has more in common with the Timple Canario (see: timple) due to both having five strings and both having vaulted (convex) backs. The Mexican vihuela is tuned similarly to the guitar. The difference is that the open G, the D and the A strings are tuned an octave higher than a guitar thus giving it a tenor sound or a higher pitch.
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Canarian timple An important musician from Tenerife is Teobaldo Power y Lugo Viña, a native of Santa Cruz and a pianist and composer, and author of the Cantos Canarios. The Hymn of the Canary Islands takes its melody from the Arrorró, or Lullaby, from Power y Lugo Viña's Cantos Canarios. Folkloric music has also flourished on the island, and, as in the rest of the islands, is characterized by the use of the Canarian Timple, the guitar, bandurria, laúd, and various percussion instruments. Local folkloric groups such as Los Sabandeños work to save Tenerife's musical forms in the face of increasing cultural pressure from the mainland.
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Benito Cabrera Hernández (born 1963 in Lanzarote) is a Canarian timple composer and virtuoso. He moved to Tenerife to study psychology in University of La Laguna. Hernández is the author of the official hymn of the Autonomous Community of the Canary Islands. Benito Cabrera is the author of the song Nube de Hielo "Ice Cloud", one of the most deeply rooted songs between canaries.
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In the Canary Islands, Isa, a local kind of Jota, is now popular, and Latin American musical (Cuban) influences are quite widespread, especially with the charango (a kind of guitar). Timple, a local instrument which resembles ukulele / cavaquinho, is commonly seen in plucked-string bands. A popular set on El Hierro island consists of drums and wooden fifes (pito herreño). The tabor pipe is customary in some ritual dances on the island of Tenerife.
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The Tahitian ukulele, another variant, is usually carved from a single piece of wood, and does not have a hollow soundbox. Close cousins of the ukulele include the Portuguese forerunners, the cavaquinho (also commonly known as machete or braguinha) and the slightly larger rajão. Other relatives include, the Venezuelan cuatro, the Colombian tiple, the timple of the Canary Islands, the Spanish vihuela, the Mexican requinto jarocho, and the Andean charango traditionally made of an armadillo shell. In Indonesia, a similar Portuguese-inspired instrument is the kroncong.
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Indian Ravanhatha at the Casa Museo Del Timple, Lanzarote, Spain. A ravanahatha (variant names: ravanhatta, rawanhattha, ravanastron, ravana hasta veena) is an ancient bowed, stringed instrument, used in India, Sri Lanka and surrounding areas. It has been suggested as an ancestor of the violin.Heron- Allen, Edward, Violin-making : as it was and is, being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional, Ward, Lock, and Co., 1885, pp.
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This suggests that the charango originated in the territory of what is now Peru via cultural exchange and then spread to the rest of the Andean area. This theory has not been proven either. Because the modern states of Peru and Bolivia had not yet been established at the time, it is difficult to trace the charango's origin to a specific country, and the issue remains highly debated among nationalists from both countries. One Bolivian musician has posited a third theory which is that the Charango was created as a variant of the timple canario from the Canary islands.
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The Guanche center was commanded by Bencomo, the right flank by Acaymo, mencey of Tacoronte; and the left flank by Tinguaro. The Castilian army extended from the present-day hermitage of Gracia, which was selected by Fernández de Lugo due to its height, dominating the plain, to the positions on the field taken by Bencomo's contingent of troops. Based on this information, Buenaventura Bonnet believes that the battle took place in the area now known as Barrio del Timple, Barrio Nuevo or Viña Nava, and the Urbanización de la Verdellada. Fernández de Lugo's forces included natives from the other Canary Islands, including the Christianized Guanche prince of Gran Canaria, Fernando Guanarteme; Fernando's brother Maninidra; Gomerans, Palmeros, and Guanches from the Christianized menceyato or kingdom of Güímar.
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Developed in the 1880s, the ukulele is based on several small guitar-like instruments of Portuguese origin, the machete, the cavaquinho, the timple, and the rajão, introduced to the Hawaiian Islands by Portuguese immigrants from Madeira and Cape Verde. Three immigrants in particular, Madeiran cabinet makers Manuel Nunes, José do Espírito Santo, and Augusto Dias, are generally credited as the first ukulele makers. Two weeks after they disembarked from the SS Ravenscrag in late August 1879, the Hawaiian Gazette reported that "Madeira Islanders recently arrived here, have been delighting the people with nightly street concerts." One of the most important factors in establishing the ukulele in Hawaiian music and culture was the ardent support and promotion of the instrument by King Kalākaua.
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West African Akonting at the Casa Museo Del Timple, Lanzarote, Spain. Akonting player in Bagaya The akonting (or ekonting in French transliteration) is the folk lute of the Jola people, found in Senegal, Gambia, and Guinea-Bissau in West Africa. It is a banjo-like instrument with a skin-headed gourd body, two long melody strings, and one short drone string, akin to the short fifth "thumb string" on the five-string banjo. Jola oral tradition places the birthplace of the akonting in the village of Kanjanka in Lower Casamance (Senegal), near the banks of the Casamance River. The name of the instrument's home village is recalled in the most common tuning pattern for the akonting's three open strings (from the 3rd short "thumb" string to the 1st long melody string): kan (the 5th note of the scale, tuned an octave higher), jan (root note), ka (flatted 7th note).
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