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The Russian Guitar by Ivan Krasnoshchekov. Construction of the Russian is very similar to that of the western 6-string guitar except for the additional string. The same basic components are present: headstock; nut; tuners; neck; fingerboard; frets; inlays; truss rod (in modern instruments); heel; body; bridge & bridge saddle; soundboard (top); sound hole and rosette; back; sides; strings.
"The Guitar Player" by V.A. Tropinin (1823) The Russian guitar or gypsy guitar is a seven-string acoustic guitar tuned to the open G tuning (DGBDGBD), [5] which arrived or was developed early in the 19th century in Russia, possibly as a development of the cittern, the kobza and the torban.
Russian-guitar Open G: The tuning of the Russian guitar; D-G-B-D-G-B-D is an open G tuning, approximately in major thirds. [12] [13] Minor: Cross-note.
Guitar tunings are the assignment of pitches to the open strings of guitars, ... The seven-string Russian guitar uses the open G tuning D–G–B–D–G–B–D, ...
Sometimes the balalaika is tuned "guitar style" by folk musicians to G 3 –B 3 –D 4 (mimicking the three highest strings of the Russian guitar), whereby it is easier to play for Russian guitar players, although classically trained balalaika purists avoid this tuning.
For the Russian guitar, the open strings form a G-major chord, which is twice repeated. The following tunings repeat their notes after three strings: Major-thirds tuning, such as E-G ♯-c-e-g ♯-c' and; D ♯-G-B-D ♯-G-B-D ♯, [7] Chord inversion is especially simple in major-thirds tuning. Chords are inverted simply by raising one or two ...
While the invention of the seven-string guitar has sometimes been attributed to Russian guitarist and composer Andrei Sychra, guitar historian Matanya Ophee has found evidence that seven-string classical guitars may have already existed in Europe in the late 18th century, when Sychra was just beginning his career. [1] A seven-string Russian guitar
Okudzhava tuned his Russian guitar to the "Russian tuning" of D'-G'-C-D-g-b-d' (thickest to thinnest string), and often lowered it by one or two tones to better accommodate his voice. He played in a classical manner, usually finger picking the strings in an ascending/descending arpeggio or waltz pattern, with an alternating bass line picked by ...