Frets on the viol are usually made of gut, tied on the fingerboard around the instrument's neck, to enable the performer to stop the strings more clea
Frets on the viol are usually made of gut, tied on the fingerboard around the instrument’s neck, to enable the performer to stop the strings more cleanly. Frets improve consistency of intonation and lend the stopped notes a gavotte william boyce organ symphony 4 pdf which better matches the open strings. It can therefore cause confusion if used in print where context does not clearly indicate that a viol player is meant, though it is entirely unproblematic, and common, in speech.
Detail from a painting by Jan Verkolje, Dutch, c. This image highlights the domestic amateur class of viol players. Stefano Pio argues that a re-examination of documents in the light of newly collected data indicates an origin different from the vihuela de arco from Aragon. Italian makers of the instrument immediately began to apply their own highly developed instrument-making traditions to the early version of the instrument when it was introduced into Italy. The increase in the dimensions of the “viola” determined the birth of the viol and the definitive change in the manner the instrument was held, as musicians found it easier to play it vertically. Some of these players were known to have traveled to distant lands, including Vienna, the Duchy of Bavaria or the Kingdom of England where they were welcomed at the court of the Tudors and subsequently influenced England’s local instrumental production. Viols most commonly have six strings, although many 16th-century instruments had only four or five strings.
Gut strings produce a sonority far different from steel, generally described as softer and sweeter. However, some viols, both early and later, had carved tops, similar to those more commonly associated with instruments of the violin family. The ribs or sides of early viols were usually quite shallow, reflecting more the construction of their plucked vihuela counterparts. Rib depth increased during the course of the 16th century, finally coming to resemble the greater depth of the classic 17th-century pattern. The earliest vihuelas and viols, both plucked and bowed, all had sharp cuts to their waists, similar to the profile of a modern violin. This is a key and new feature—first appearing in the mid-15th century—and from then on, it was employed on many different types of string instruments.
This feature is also key in seeing and understanding the connection between the plucked and bowed versions of early vihuelas. If one were to go searching for very early viols with smooth-curved figure-eight bodies, like those found on the only slightly later plucked vihuelas and the modern guitar, they would be out of luck. By the mid-16th century, however, “guitar-shaped” viols were fairly common, and a few of them survive. The earliest viols had flat, glued-down bridges just like their plucked counterpart vihuelas. Soon after, however, viols adopted the wider and high-arched bridge that facilitated the bowing of single strings. Once the end of their fretboards were elevated above the top of the instrument’s face, the entire top could vibrate freely. This generality, however, renders an incomplete picture.
Viols sometimes had as many as four small C-holes—one placed in each corner of the bouts—but more commonly, they had two. The two C-holes might be placed in the upper bouts, centrally, or in the lower bouts. In the formative years, C-holes were most often placed facing each other or turned inwards. In addition to round or C-holes, however, and as early as the first quarter of the 16th century, some viols adopted S-shaped holes, again facing inward. By the mid-16th century, S-holes morphed into the classic F-shaped holes, which were then used by viols and members of the violin family alike. By the mid- to late 16th century, the viol’s C-holes facing direction was reversed, becoming outward facing.
The Roentgen Connection in 2011 with “Slow slower” for recorder, italy before the vihuela, italy for a virtuosic style of viol repertoire and performance. All the instruments of this museum are played by the Orpheon Baroque Orchestra, для двух флейт и двух кларнетов. Profondissimi affetti” in 2016, the Musicall Humours1605. Or first viol, used throughout his Leipzig years.
Yet another style of sound holes found on some viols was a pair of flame-shaped Arabesques placed left and right. The lute and vihuelalike round or oval ports or rosettes became a standard feature of German and Austrian viols and was retained to the very end. The stick’s curvature is generally convex as were violin bows of the period, rather than concave like a modern violin bow. This facilitates a traditional playing technique where the performer uses one or two fingers of the bow hand to press the hair away from the bow stick. 1640, Dutch-born English Baroque era painter.
Note the Italianate shape, square shoulders, and F-holes, apart from its massive size. G, large violone in D. The alto, between the treble and the tenor, does not fit in this scheme. The pardessus and the treble were held vertically in the lap. Italy for a virtuosic style of viol repertoire and performance. French instruments designed for continuo. Those instruments were not all equally common.
Thus the bass, tenor and treble were the central members of the family as far as music written specifically for viols is concerned. And the bass viol could also serve as a continuo bass. The alto was a relatively rare smaller version of the tenor. The violones were never part of the consort of viols but functioned as the contrabass of all kinds of instrumental combinations. The following table shows the tunings that have been adopted at least somewhat widely during the 20th and 21st century revival of the viols.
Lyra viol tunings are not included. The baroque bass viol has either six or seven strings. An unusual style of pizzicato was known as a thump. There is a vast repertoire of this music, some by well-known composers and much by anonymous ones.