The cavaquinho is a small string instrument that has a rich history and cultural significance in various regions of the world. Its origins can be traced back to Portugal in the 16th century, and it has since spread to other countries, including Brazil, Cape Verde and Hawaii (known as ukulele), where it has undergone modifications and adaptations, leading to the development of different variations of the instrument. The cavaquinho has left a lasting impact on the cultures it has touched, and its unique sound and versatility make it a cherished instrument among musicians and music enthusiasts alike.
Here, we are taking a closer look at its rich history, design, and cultural significance, as well as its influence on other instruments and musical genres. But it’s important to start with the appearance, construction and sound of the cavaquinho, to further understand its impact.
1. “Cavaquinho”, “Braguinha”, and “cavaquinho de Braga“
A small four-string guitar-shaped plucked chordophone, the cavaquinho has been designated, based on its origin in Minho, Portugal, in several ways, including “cavaquinho minhoto”, “cavaquinho rural”, “Braguinha” and “cavaquinho de Braga”.
The general design of the cavaquinho minhoto echoes the pattern of the viola braguesa, incorporating similar design elements such as the head, soundhole, bridge, and decorative motifs. The fretboard of the cavaquinho minhoto is always leveled (flat) with the top and is relatively short, typically having 12 frets. Its pitch range rests an octave above that of the viola braguesa. The original manifestation of the cavaquinho minhoto features four low-tension metal strings.
2. Construction
The construction of the cavaquinho minhoto follows a construction technique traced back to the 16th century in the Iberian Peninsula. The neck and upper block are integral with the body of the instrument, with the sides directly inserted into two pre-cut lateral slots. This construction method differs starkly from the Italo-French system, which involves crafting the body and neck separately and then joining them using a mortise/tenon joint.
3. Playing technique
The cavaquinho minhoto showcases a distinctive playing technique known as “rasgado.” This method involves the strumming hand sweeping across all the strings simultaneously, guided by diverse rhythmic patterns. Typically, the index and thumb work in tandem, executing a fluid combination of downward and upward strokes. Meanwhile, the fretting hand takes charge of establishing chord formations and carrying melody notes.
Tracing its origins back to the 16th century, the rasgado style of play is thought to have been adapted from the viola, possibly through the intermediary of the machinho/braguinha, a steel-string version of the cavaquinho from Madeira. These historical threads intertwine with the cavaquinho minhoto’s construction, attributes and playing technique, shaping its unique character and acoustic resonance.
4. History and Origin
The cavaquinho has a long history that dates back to the 16th century in Portugal. It was developed as a smaller version of the guitar and was initially used in traditional Portuguese music. In Portugal, the cavaquinho is deeply rooted in the country’s musical traditions. It is commonly used in genres such as fado, a melancholic and expressive style of music.
The region of Minho, with its historical connections to the foundation of the nation, played a significant role in the search for an authentic Portuguese identity during a time of profound transformations in the rural world and progressive industrialization.
In this context, the cavaquinho minhoto emerged as a symbol of regional culture, contributing to the construction of national pride. Early depictions of the cavaquinho minhoto show its presence in small gatherings of musicians and instrumental tocatas in Minho. It then became an integral part of student Tunas, showcasing its growing popularity and influence.
Starting from the 1930s, the cavaquinho minhoto gradually made its entrance into organized musical and dance ensembles, known as “ranchos,” situated in the northwest regions of Minho, Braga, Porto, and Aveiro. This period also saw its prominent presence at state-sponsored parades, festivals, fairs, and exhibitions.
As the early 1940s dawned, the use of the cavaquinho minhoto extended to the Beira Litoral region, a coastal area already familiar with the urban cavaquinho variant for around a century prior. This transition marked the cavaquinho minhoto’s integration into a larger “folkloric package,” exported as a representation of regional and national “authenticity.” This packaging strategy found its way to Portuguese diasporas across the globe in the ensuing decades.
The spread of the instrument from the north of Portugal also led to regional variations of the instrument, with its design displaying intriguing distinctions as it finds its place in diverse playing regions.
Noteworthy variations include the Lisbon variant, that hails from the capital city of Lisboa, while the Minho version originates in the northern Minho Province. Distinguishing the Portuguese cavaquinho are its round sound hole and a comparably petite body, setting it apart from other variations of the instrument worldwide.
At the heart of cavaquinho diversity stands the cavaquinho minhoto, a model steeped in tradition and universally acknowledged. The standard tuning adopted in Portugal adheres to the sequence C G A D, ascending from lower to higher pitches. This tuning configuration frequently graces traditional Portuguese music, including the iconic fado genre.
However, the cavaquinho minhoto is tuned to the pattern of D B G D or D B G G. its notes span from treble to bass notes. Compact, measuring a little over half a meter, its body takes on an octagonal shape, featuring two semi-tops in contrasting wood hues. These halves are united by a mouth evoking the shape of a “raia” fish, emblematic on Northern Portugal. Its neck stands relatively shallow against the body, culminating at the 12th fret. This cavaquinho features four strings, yet alternate versions sport four sets of double strings, amplifying its sonic presence.
In Lisbon, the cavaquinho is characterized by a shorter neck and a longer, wider body compared to the Minho achetype, with a 17-fret scale extending to a typically round soundhole.
These design differences may contribute to slight variations in sound between the Lisbon and Braga cavaquinhos. However, it’s important to note that the overall sound of the cavaquinho is influenced not only by its design but also by the playing technique and the style of music being performed.
By understanding the origins and characteristics of the cavaquinho minhoto, we can appreciate its unique contribution to the rich tapestry of global music.
5. Instruments influenced by the cavaquinho
The cavaquinho has evolved over time, with different variations of the instrument being developed in different regions. These regional variations in design contribute to the diverse musical expressions and genres associated with the cavaquinho. Whether it’s the melancholic fado of Portugal, the lively samba of Brazil, or the rhythmic melodies of Cape Verde, the cavaquinho continues to be a versatile and cherished instrument in various musical traditions.
Here as some of the most well-known and notorious ones:
5.1 Hawaii
Probably the most well-known derivation of the cavaquinho, is the Hawaiian Ukulele, an instrument unique on itself, but highly influenced by the Portuguese cavaquinho and the Portuguese people.
During the late 19th century, Portuguese immigrants ventured to the Hawaiian cost to work on sugar plantations, not knowing they would also be embarking on a musical saga.
This narrative takes root in 1879, when a contingent of immigrants arrived in Hawaii from Madeira. It suggests that either Augusto Dias or JoĂŁo Fernandes, or perhaps both, upon disembarking, serenaded the heavens with musical instruments, a heartfelt gesture of gratitude for their safe passage. This melodious offering enchanted a group of Hawaiians, that rapidly became captivated by the sound of the small string instrument, the cavaquinho.
Manuel Nunes is hailed for reimagining the braguinha, eventually giving birth to the ukulele. The overhaul included alterations to the tuning and size, facilitating smoother chord formations.
Controversy surrounds the interpretation of the Hawaiian term “ukulele.” The prevalent understanding likens it to “jumping flea”, illustrating the fingers’ dance on the fretboard. Hawaiian Queen Lili’uokalani, however, favored a more poetic interpretation: “uku” signifying “the gift” and “lele” representing “to come,” encapsulating the instrument’s significance as a cherished gift from Portugal to Hawaii.
The ukulele shares notable similarities in both dimensions and shape with the cavaquinho, although its body is less deep. The ukulele encompasses four prevalent types, each distinguished by varying sizes, progressing from the smallest to the largest: Soprano (recognized as the most traditional model), Concerto, Tenor and Baritone. Distinct from the cavaquinho, the ukulele’s fretboard often showcases a subtle elevation, mirroring the design found in guitars. Crafted predominantly from koa, an autochthonous acacia species native to the Hawaiian islands, ukuleles can also be fashioned using a diverse range of wood species.
The cavaquinho boasts steel strings, while the ukulele features nylon strings. This distinction results in the cavaquinho emitting a brighter sound, which allows it to carve through traditional songs and other instruments. Conversely, the ukulele produces a mellower, less aggressive sound, facilitated by its nylon strings, making it more comfortable to play.
Both instruments can undertake rhythmic or solo roles across diverse musical genres. Their roles depend on the context and the technical prowess and creativity of the performers. While the ukulele has found a home not only in traditional Hawaiian music but also in pop, rock, indie, and even jazz, the cavaquinho has often been used by modern musicians who adeptly incorporate the cavaquinho to imbue their compositions with a traditional timbre, adding an intriguing twist to their music.
5.2 Brazil
In Brazil, the cavaquinho is known as the Cavaquinho Brasileiro. It is slightly larger than the Portuguese cavaquinho and resembles a small classical guitar. Its neck is raised above the level of the soundbox, and the sound hole is usually round, like cavaquinhos from Lisbon and Madeira.
The standard tuning for the Brazilian cavaquinho is D G B D, this tuning contributes to its distinctive sound and is commonly used in samba and choro music. The Brazilian cavaquinho is often played with a pick and features sophisticated percussive strumming beats that connect rhythm and harmony.
5.3 Cape Verde
In Cape Verde, the present-day cavaquinho is very similar to the Brazilian one in dimensions and tuning. It is generally used as a rhythmic instrument in Cape-Verdean music genres, known for its lively sound, such as morna, coladeira, mazurka, contributing to the unique sound of the country’s musical heritage. However, it is occasionally used as a more melodic instrument as well.
