Miroslav Škoro – Sve Najbolje Vol. 1

Tamburitza (tamburica) is a South Slavic/Pannonian string-ensemble folk tradition centered on the long‑necked, fretted tambura family of instruments. It is most strongly associated with Slavonia (eastern Croatia), Vojvodina (northern Serbia), and the Hungarian regions of Baranya and Bačka, where Croat (Šokci), Bunjevac, Serb, and Hungarian communities have cultivated it for village dances, weddings, harvest feasts, and urban salon music. Typical ensembles combine high‑pitched lead tamburas (prim/bugarija/kontra, brač) with mid‑range “čelo” parts and a plucked bass (berda/bajs). The style blends bright, plectrum‑driven melody, nimble counter‑melody, chordal off‑beats, and a walking or two‑beat bass, supporting communal singing (bećarac couplets, love songs) and regional kolos. While primarily in duple and triple meters, local kolos and csárdás‑like pieces shape tempo and phrasing. The repertoire ranges from rustic dance tunes to urbanized arrangements with close vocal harmonies.

Bećarac is a humorous, improvisatory folk-song form from the Slavonia region of eastern Croatia that later spread across nearby Baranja, Srijem, southern Hungary and Vojvodina (Serbia). Performed by a lead singer and a small group or larger company, it unfolds as playful, teasing two-line (decasyllabic) couplets delivered in call-and-response over a repeating melody, typically accompanied by tamburica (tambura) ensembles and sometimes fiddle or accordion. Themes are flirtatious, boastful, satirical and often mildly lascivious, providing a socially accepted outlet for wit and innuendo at weddings, fairs and village gatherings. Although the name derives from bećar (bachelor/reveller), women have long sung bećarac as equals—frequently while dancing kolo—today participating as much as men.