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A existência da Viola Braguesa, também designada de viola de Braga, surge documentada desde o séc.XVII e é o instrumento mais popular do Noroeste Português entre o Douro e Minho. Toca‐se a solo ou no acompanhamento do canto em “Rusgas”, “Chulas” e “Desafios”. Como todas as Violas Portuguesas, a Braguesa pertence a um género musical exclusivamente lúdico e festivo e integra o mesmo tipo fundamental comum a todos os cordofones da família das”guitarras” espanholas e europeias, a que pertence. Actualmente, esta Viola têm a abertura central em “boca de raia”, mas os modelos erepresentações antigas mostram exclusivamente bocas redondas ou ovais. A Viola Braguesa tem 10cordas, armadas em cinco ordens duplas e possui essencialmente dois tipos de afinação: Lá Mi Si Lá Ré,do agudo para o grave, e a “Mouraria Velha” Sol Ré Lá Sol Dó. Saber mais Categoria: Violas Tradicionais Portuguesas

Viola Braguesa
Arguably the best-known of the regional guitars or violas, there are records of the Viola Braguesa, or Viola de Braga, since the 18th century. It is the most popular instrument in northwestern Portugal, between the Douro and Minho rivers. Played solo or for accompanying the singing of Rusgas, Chulas and Desafios, as with all Portuguese violas, the Braguesa is especially suited to playful and festive music. Although historical examples have a round or oval soundhole, today the Braguesa soundhole is a half circle topped by two teardrops. As with baroque guitars, the fingerboard is flush with the top. The bridge features a decorative mustache, with leaves glued to each side. As with nearly all violas, the bridge is in two parts: the strings run first over a thin piece of wood which acts as a floating saddle sitting directly on the soundboard, then pass through holes in the glued-on bridge, and are finally turned back and looped around pins or screws on top of the bridge. The number of screws is not necessarily the number of strings, but is usually six. The Braguesa has 10 strings set in five double courses, the highest two being tuned in unison and the lowest three in octaves. The basic tuning is like the Lisboa guitar without the top course: D3D4 A3A4 B3B4 E4 A4 from low to high; the Mouraria Velha is one tone lower, as with the Coimbra guitar: C3C4 G3G4 A3A4 C4 G4.


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A viola amarantina, também designada de viola de Amarante, é típica da região do Douro Litoral. Menos conhecida do que a viola minhota, diferencia-se por ter uma escala mais comprida, até à boca, e ostenta dois corações, que se julga estarem ligados a uma história de amor envolvendo um trovador medieval. Esta Viola aparece principalmente nas “Festadas”, onde o seu tocador acompanha as “Chulas”, características da região do Baixo Tâmega. A viola amarantina possui 5 ordens de cordas duplas: as duas ordens mais agudas estão afinadas em uníssono, as três ordens mais graves estão afinadas em oitava. Algumas fontes dão a seguintes afinações : Lá Mi Si Lá Ré, do agudo para o grave, e a “Moda Velha” Lá Fá# Si Sol Ré.

The Viola Amarantina, also called Viola de Amarante, is from the Douro coast. Its fingerboard extends to its distinctive two-heart soundhole but is flush with the soundboard. The two hearts are thought to be connected to a love story involving a medieval troubadour. This guitar figures prominently in the festadas, where its player accompanies the Chulas, a characteristic dance from the region of Lower Tâmega. The bridge features a leaf motif glued to each side, and there is often also some inlay decoration beneath the bridge in the shape of a flower with leaves. As with nearly all violas, the bridge is in two parts: the strings run first over a thin piece of wood which acts as a floating saddle sitting directly on the soundboard, then pass through holes in the glued-on bridge, and are finally turned back and looped around pins or screws on top of the bridge. The Viola Amarantina has five courses of strings, the highest two being tuned in unison and the lowest three in octaves. Sources provide the following tunings: D3D4 A3A4 B3B4 E4 A4, from low to high, like the Lisboa guitar without the top course, and the Moda Velha: D3D4 G3G4 B3B4 F#4 A4.


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A Viola Beiroa apareceu na faixa leste do distrito de Castelo Branco e acompanhava descantes festivos, nas tabernas, e sobretudo em serenatas aos noivos. Praticamente desaparecida da Beira Baixa, esta viola pode ser ainda encontrada em ocasiões cerimoniais, destacando-se a sua aplicação na “Dança dos Homens” que remontam o Sec XVII. Além das cinco ordens de cordas, característica das violas portuguesas, a Viola Beiroa tem duas cordas mais agudas, conhecidas por “Requintas” ou “Cantadeiras”, presas a um cravelhal suplementar junto da caixa, e são sempre tocadas soltas. A Viola Beiroa pode conter as seguintes afinações: Ré Si Sol Ré Lá Ré, do agudo para o grave, e Mi Ré Lá Mi Si Ré, de modo a obter um maior enriquecimento sonoro e uma maior simplicidade nos acordes

The Viola Beiroa comes from the eastern side of the Castelo Branco area, where it accompanies festive descantes in taverns and in serenades to grooms. Having virtually disappeared from Beira Baixa, this guitar can still be found on ceremonial occasions, especially the Dança dos Homens – the Dance of the Men – that goes back to the 17th century. It is distinguished by its tight, slim waist and unique stringing: besides the five courses of strings characteristic of so many Portuguese violas, the Viola Beiroa has two higher strings, known as requintas or cantadeiras, set on separate tuning pegs close to the body, and always played as open strings. As with baroque guitars, the fingerboard is flush with the top. The bridge features a decorative mustache. As with nearly all violas, the bridge is in two parts: the strings run first over a thin piece of wood which acts as a floating saddle sitting directly on the soundboard, then pass through holes in the glued-on bridge, and are finally turned back and looped around pins or screws on top of the bridge. The number of screws is not necessarily the number of strings, but is usually six. The Viola Beiroa may have the following tunings: D5D5 (off the neck) A3A2 D4D3 G3 B3 D4 from low to high; and D5D5 (off the neck) B3B2 E4E3 A3 D4 E4, said to give a richer sound and greater chord simplicity.


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Também designada por Viola Alentejana, a Viola Campaniça era o instrumento musical usado para acompanhar os célebres cantares à desgarrada, ou " cantes a despique", nas festas e feiras do Alentejo. É a maior das violas portuguesas e possui 5 ordens de cordas, tocada de dedilhado apenas com o polegar, sendo que as cordas mais graves são geralmente tocadas soltas. Adaptada à exposição da melodia das modas e cantigas alentejanas pode possuir dois tipos de afinação: Sol Mi Dó Fá Dó, do agudo para o grave, e Mi Dó# Lá Ré Lá. Como particularidade, apesar de ser um instrumento de dez cordas, pode possuir doze afinadores o que indicia que o instrumento, que se crê que tenha evoluido a partir da “Vihuela de Mano” medieval , foi outrora dotado de uma sexta ordem de cordas duplas, mas que estas terão caído em desuso

Also called Viola Alentejana, the Viola Campaniça was the musical instrument used to accompany the famous cantares à desgarrada or cantes a despique in the festivities and fairs of Alentejo. It is the largest of Portuguese violas and has a tight, slim waist. As with baroque guitars, the fingerboard is flush with the top. The bridge may have decorative extensions, and there is often three stylized leaves inlaid beneath the bridge. As with nearly all violas, the bridge is in two parts: the strings run first over a thin piece of wood which acts as a floating saddle sitting directly on the soundboard, then pass through holes in the glued-on bridge, and are finally turned back and looped around pins or screws on top of the bridge. The number of screws is not necessarily the number of strings, but is usually six. Its five courses of strings are traditionally played only with the thumb, with the lower strings generally played open. Adapted to the rendition of melodies in modas and cantigas from Alentejo, it has two main tunings: C4C3 F4F3 C3 E3 G3, from low to high, and A3A2 D4D3 A3 C#4 E4. Despite having ten strings, it has twelve tuning pegs, suggesting that the lower courses may have been triple-strung, or, like the Vihuela de Mano of the Renaissance, it may have once had a sixth course of double strings.


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