648:
and German
Baroque lute music so as to not have to rethink their chord shapes when playing theorbo. These instruments came to be referred to as theorbo-lutes. Baron remarks that âthe lute, because of its delicacy, serves well in trios or other chamber music with few participants. The theorbo, because of its power, serves best in groups of thirty to forty musicians, as in churches and operas.â Theorbo-lutes would likely have been used alongside Italian theorbos and archlutes in continuo settings due to the presence of Italian musicians in German courts and also for the purpose of using instruments that were appropriate for whatever key the music was in.
832:
622:, soon became more popular. English theorbos were generally tuned in G and double strung throughout, with only the first course in reentrant tuning. Theorbos tuned in G were much better suited to flat keys, and so many English songs or consort pieces that involved theorbo were written in flat keys that would be very difficult to play on a theorbo in A. By the eighteenth century, the theorbo had fallen out of fashion in England due to its large size and low pitch. It was replaced by the
38:
673:
between theorbo and lute technique are that theorbo is played with the right thumb outside the hand, as opposed to
Renaissance lute which is played with the thumb under the hand. Additionally, the right hand thumb is entirely responsible for playing the bass diapasons and rarely comes up onto the top courses. Most theorbists play with the flesh of their fingers on the right hand, although there is some historical precedent from Piccinini, Mace, and
165:
2552:
2562:
1011:
611:
1776:
639:(1669), Fleury (1660), and Grenerin (1670). French theorbos had up to eight stopped strings and were often somewhat smaller and quieter than Italian theorbos. They were a standard scale length of 76 cm (30 in), which made them smaller than Italian instruments, which ranged from 85â95 cm (33â37 in).
686:
The theorbo's solo
Baroque repertoire came almost exclusively from Italy and France, with the exception of some English music written for the English theorbo, until the 21st century. The most effective and idiomatic music for the theorbo takes advantage of its two unique qualities: the diapasons and
647:
German theorbos would also today be called swan-necked
Baroque lutes; seventeenth-century German theorbists played single-strung instruments in the Italian tuning transposed down a whole step, but eighteenth-century players switched to double-strung instruments in the âd-minorâ tuning used in French
634:
The first mention of a theorbo in France was in 1637, and by the 1660s it had replaced the 10-course lute as the most popular accompanying instrument. The theorbo was a very important continuo instrument in the French court and multiple French theorbo continuo tutors (method books) were published by
672:
The theorbo is played much like the lute, with the left hand pressing down on the fingerboard to vary the resonating length of the strings (thus playing different notes and making chords, basslines and melodies playable) while the right fingertips pluck the strings. The most significant differences
542:
This is theorbo tuning in A. Modern theorbo players usually play 14-course (string) instruments (lowest course is G). Some players have used a theorbo tuned a whole step lower in G. Most of the solo repertoire is in the A tuning. The "re-entrant tuning" created new possibilities for
197:. Like a lute, a theorbo has a curved-back sound box with a flat top, typically with one or three sound holes decorated with rosettes. As with the lute, the player plucks or strums the strings with the right hand while "fretting" (pressing down) the strings with the left hand.
822:
The theorbo is labelled by
Praetorius as both a fundamental and an ornamental continuo instrument, meaning it is capable of supporting an ensemble as a primary bass instrument while also fleshing out the harmony and adding color to the ensemble by means of chord realizations.
527:
also appears to have single strings attached to the bridge. The string "courses", unlike those of a
Renaissance lute or archlute, were often single, although double stringing was also used. Typically, theorbos have 14 courses, though some used 15 or even 19 courses
818:
Thus, the preservation of the bass line and the sound of the instrument are of the highest priority when used as a continuo instrument. Breaking voice leading rules becomes necessary in order to preserve the bass line and bring out the unique tones of the theorbo.
677:
to use nails. Fingernails can be more effective on a theorbo than on a lute due to its single-strung courses, and the use of nails is most often suggested in the context of ensemble playing where tone quality becomes subservient to volume.
687:
the reentrant tuning. Campanella passages that allow scale passages to ring across multiple strings in a harp-like fashion are particularly common and are a highly effective tool for the skilled theorbist/composer.
249:
Theorbos were developed during the late sixteenth century in Italy, inspired by the demand for extended bass range instruments for use in the then-newly developed musical style of opera developed by the
594:(1602) that the theorbo is perfectly suited for accompanying the voice as it can give a very full support without being obscured by the vocalist, indicating the beginning of an Italian tradition of
2130:
785:
Breaking voice leading rules to capitalize on voicings that better express the instrument's natural sonority. The integrity of the true bass line is maintained through the use of creative
444:
and others used theorbos in chamber ensembles and opera orchestras. In France, theorbos were appreciated and used in orchestral or chamber music until the second half of the 18th century (
567:). In the French treatises, chords in which a lower note sounds after the bass were also used when the bass goes high. The English theorbo had just the first string at the lower octave (
697:
Toccatas - free, rhapsodic, harmonically adventurous. Piccinini's are more harmonically tight while
Kapsberger often breaks voice-leading rules in order to achieve the desired effect
373:
for a grinding board used by perfumers for grinding essences and herbs. It is possible the appearance of this new large instrument (particularly in a crowded ensemble) resulted in
807:; due to the theorbo's strong projection and rich resonance, a three or even two voice accompaniment will often be just as effective as a standard four-voice accompaniment on a
237:
parts (as part of the basso continuo group, which often included harpsichord, pipe organ and bass instruments), and also as a solo instrument. It has a range similar to that of
1312:
Kitsos, Theodoros. âContinuo
Practice for the Theorbo as indicated in Seventeenth-century Italian Printed and Manuscript Sources.â PhD dissertation, University of York, 2005.
537:
226:). A theorbo differs from a regular lute in its so-called re-entrant tuning in which the first two strings are tuned an octave lower. The theorbo was used during the
1042:
618:
The
Italian theorbo first came to England at the beginning of the seventeenth century, but an alternate design based on the English two-headed lute, designed by
1810:
781:
parameters could sometimes be difficult or even impossible. Thus, a style of continuo unique to the theorbo was developed that incorporated these factors:
777:
The theorbo's primary use was as a continuo instrument. However, due to its layout as a plucked instrument and its reentrant tuning, following strict
598:
accompanied by theorbo. Italians called the theorbo's diapasons its âspecial excellenceâ. Italians viewed the theorbo as an easier alternative to the
468:
in which the frets and strings which a player must press down are printed on a series of parallel lines which represent the strings on the fretboard.
377:
with popular local knowledge becoming lost over time and place. Robert
Spencer has noted the confusion the two names were already leading to in 1600:
1257:
Burris, Timothy. âLute and Theorbo in Vocal Music in 18th Century Dresden - A Performance Practice Study.â PhD dissertation, Duke University, 1997.
547:
and inspired a new right-hand technique with just thumb, index and middle fingers to arpeggiate chords, which Piccinini likened to the sound of a
1055:
172:
2596:
385:
had taken preference â reflected in modern practice, helping to distinguish the theorbo now from very different instruments like the
1763:
1366:
1190:
67:
1307:
harpsicord, or theorbo-lute . . . with variety of proper lessons and fuges, explaining the several rules throughout the whole work
417:, which were differently tuned instruments to accommodate a new repertoire of small ensemble or solo works. In the performance of
2355:
2085:
2601:
1803:
831:
664:. The Torban was manufactured and used mainly in Ukraine, but also occasionally encountered in neighbouring Poland and Russia.
1180:
1465:
1111:
321:
were both used to describe the instrument, they have different organological and etymological origins; chitarrone being in
2055:
1828:
391:
1408:
2591:
2365:
847:
429:
2606:
2410:
1037:
584:
The theorbo was developed in Italy, and so has a rich legacy in Italian music as both a solo and continuo instrument.
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2458:
2273:
1796:
1753:
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2395:
2240:
2110:
1642:
962:
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since the general attractiveness of its sound quality can cover over indifferent playing and lazy voice leading.
218:
186:
97:
2504:
991:
536:
757:
A few modern composers have begun to write new music for the theorbo; significant works have been composed by
811:. Additionally, playing more than a two-voice realization can become impossible with quick-moving bass lines.
2535:
2380:
2293:
2268:
1967:
1616:
1278:, pre-press version of the dissertation discussed in 1996 at the Faculty of Musicology, University of Pavia.
480:
of large theorbos is characterized by the octave displacement, or "re-entrant tuning", of the two uppermost
1343:. WolfenbĂŒttel, 1619. Translated by Hans Lampl. PhD dissertation, University of Southern California, 1957.
2565:
2542:
2519:
2514:
2150:
2035:
1914:
758:
2385:
2283:
2075:
1395:
873:
839:
793:
762:
691:
674:
2030:
374:
2160:
1758:
1662:
1047:
857:
750:
453:
433:
2278:
1962:
1957:
1909:
920:
746:
709:
508:
370:
251:
2561:
722:
Dance suites - the vast majority of French theorbo music consists of dance suites in the order of
2473:
2453:
2428:
2418:
2370:
2250:
2225:
2210:
2200:
2195:
2165:
1942:
1904:
1844:
1576:
1458:
723:
485:
362:
280:
275:
88:
2235:
879:
449:
1779:
2509:
2258:
2170:
2125:
2012:
1997:
1924:
1894:
1859:
1836:
1819:
1362:
1211:
1186:
1143:
1117:
1107:
1051:
1003:
555:"realisation" (the improvised playing of chords) above the bass instruments when accompanying
488:
mention the occasional use of metal strings (brass and steel, as opposed to gut strings). The
452:). Court orchestras in Vienna, Bayreuth and Berlin still employed theorbo players after 1750 (
437:
335:
293:
107:
79:
74:
288:
among the instruments required for performing the work. Musicians originally used large bass
2433:
2375:
2263:
2185:
2140:
2095:
2070:
2065:
2020:
1987:
1982:
1947:
1889:
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1732:
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264:
59:
1421:
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2002:
1932:
1854:
1849:
1727:
804:
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was another early Italian chitarrone player. Little solo music survives from England, but
55:
50:
37:
974:
745:
Transcriptions - French theorbists often transcribed pieces from opera composers such as
714:
Variations - highly sophisticated and challenging variations on often very simple themes
381:(chitarrone, or theorbo as it is called). By the mid-17th century, it would appear that
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2443:
2400:
2175:
2145:
2090:
2080:
1952:
1937:
1879:
1869:
1717:
997:
944:
938:
907:
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The theorbo came to Ukraine ca. 1700 and it was upgraded with treble strings (known as
585:
556:
504:
481:
477:
465:
445:
418:
259:
255:
231:
296:, but soon created neck extensions with secondary pegboxes to accommodate extra open (
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2423:
2309:
2215:
2205:
2100:
1992:
1977:
1516:
1451:
1033:
889:
778:
551:. The bass tessitura (range) and re-entrant stringing mean that in order to keep the
544:
441:
306:
234:
227:
20:
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2329:
2288:
2155:
2025:
1899:
1672:
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895:
786:
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552:
1010:
24:
2494:
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2220:
2190:
1972:
1884:
1874:
986:
968:
808:
568:
1414:
310:, for improvements in tonal clarity and an increased range of available notes.
2324:
2314:
1429:
1292:
Jones, E.H. âThe Theorbo and Continuo Practice in the Early English Baroque.â
1169:
Piotr Kowalcze, "Sympozjum: Teorban w polskich zbiorah muzealnych" Warsaw 2008
657:
564:
529:
422:
270:
168:
2334:
1215:
1121:
735:
727:
705:
701:
610:
519:(opposite in the same illustration which seems to have single strings). The
461:
135:
1566:
1390:
1147:
1304:
A compleat method for attaining to play a thorough bass upon either organ,
814:
Frequent restriking of chords to make up for the instrument's quick decay.
2319:
1647:
1601:
1551:
731:
623:
560:
413:
404:
213:
140:
112:
102:
1276:"La tiorba ed il suo uso in Italia come strumento per il basso continuo"
1275:
1737:
1722:
1712:
1687:
1667:
1586:
1581:
1541:
1436:
1357:
Die Laute und ihre Stimmungen in der ersten HĂ€lfte des 17. Jahrhunderts
330:
326:
127:
2339:
1707:
1677:
1626:
1611:
1571:
1531:
1402:
797:
661:
595:
194:
145:
1788:
1317:
The Chitarrone and its Repertoire in Early Seventeenth-Century Italy
1245:
Historisch-Theorisch und Practische Untersuchung des Instruments der
708:, continuing in the tradition of Italian lute dances dating back to
1657:
1652:
1621:
1606:
1596:
1591:
1546:
1536:
1500:
1009:
830:
739:
609:
399:(c. 55 cm (22 in) string length) also produced the
238:
1561:
1526:
1521:
1495:
1474:
599:
548:
396:
289:
190:
117:
1792:
1447:
1556:
511:
and attached to the base of the instrument â different to his
292:(c. 80 cm (31 in)+ string length) and a higher
122:
428:
The most prominent early composers and players in Italy were
343:
in its new flat-backed Spanish incarnation. The etymology of
1208:
A translation of Syntagma Musicum III by Michael Praetorius
1385:
347:
is still obscure; it is hypothesized the origin may be in
1443:
1283:
TraitĂ© dâaccompagnement pour le thĂ©orbe, et le clavecin
1250:. Nurnberg, 1727. Translated by Douglas Alton Smith as
1371:
Spencer, Robert. âChitarrone, Theorbo, and Archlute.â
1264:. Florence, 1601. Translated by H. Wiley Hitchcock as
193:
family, with an extended neck that houses the second
2482:
2409:
2348:
2302:
2249:
2124:
2011:
1923:
1835:
1746:
1700:
1635:
1509:
1488:
1481:
1334:
Continuo Playing on the Lute, Archlute, and Theorbo
1236:. Paris, 1688. Translated by Austin B. Caswell as
1182:
Continuo Playing on the Lute, Archlute, and Theorbo
1104:
Continuo playing on the lute, archlute, and theorbo
157:
87:
66:
44:
1285:. Paris, 1690. Translated by Charlotte Mattax as
769:, who has written the only concerto for theorbo.
325:an augmentation of (and literally meaning large)
1032:Harwood, Ian; et al. (2001). "Theorbo". In
1336:. Bloomington: Indiana University Press, 1986.
1043:The New Grove Dictionary of Music and Musicians
1329:. Bloomington: Indiana University Press, 1991.
1322:Mattax, Charlotte. Translator's Commentary to
1289:. Bloomington: Indiana University Press, 1991.
1234:Remarques Curieuses sur lâArte de Bien Chanter
718:France: de Visee, Bartolotti, Hurel, le Moyne
1804:
1459:
1240:. New York: Institute of MedĂŠval Music, 1968.
1160:N.Prokopenko "Kobza & Bandura" Kiev, 1977
765:, Bruno Helstroffer, Thomas Bocklenberg, and
614:A 1670 painting of an English theorbo player.
8:
1355:
1319:. Aberystwyth, Wales: Boethius Press, 1989.
521:
513:
490:
460:). Solo music for the theorbo is notated in
206:
30:
1271:. Middleton, Wisconsin: A-R Editions, 2009.
1254:. San Francisco: Instrumenta Antiqua, 1976.
1238:A Commentary upon The Art of Proper Singing
1811:
1797:
1789:
1485:
1466:
1452:
1444:
563:must sometimes be played an octave lower (
421:, theorbos were often paired with a small
1324:Accompaniment on Theorbo and Harpsichord,
1106:. Bloomington: Indiana University Press.
1287:Accompaniment on Theorbo and Harpsichord
635:Delair (1690), Campion (1716 and 1730),
1024:
333:was still in use, often referred to as
329:â Italian for guitar. The round-backed
300:unfretted) longer bass strings, called
1309:. London: J. Cullen and J. Young, 1707
154:
29:
1375:vol. 4 no. 4 (October 1976): 408-422)
173:Orchestra of the Age of Enlightenment
19:"Chitarrone" redirects here. For the
7:
1775:
1428:Kenny, Elizabeth (11 January 2019).
1386:The virtual home-page of the theorbo
1142:. Instrumenta Antiqua Publications.
1133:
1131:
1097:
1095:
1093:
1091:
1089:
1087:
1085:
1083:
1081:
838:(The Theorbo Player), a painting by
503:by Praetorius, has doubled strings (
375:jokes and a humour induced reference
268:(1602 and 1614). For his 1607 opera
1417:article from the Early Music Studio
216:, the German baroque lute, and the
23:family of musical instruments, see
800:in order to play on the diapasons.
523:Lang Romanische Theorba: Chitarron
14:
1430:"Introducing the Baroque Theorbo"
395:. Similar adaptations to smaller
169:âIntroducing the Baroque Theorboâ
2560:
2551:
2550:
2086:Giovanni Pierluigi da Palestrina
1774:
1391:Chitarrone, theorbo and archlute
660:). This instrument was called a
535:
254:and new musical works utilising
163:
36:
789:that masks improper inversions.
379:Chitarone, ĂČ Tiorba che si dica
1138:Baron, Ernst Gottlieb (1976).
1014:Scott Pauley playing a theorbo
749:or keyboard composers such as
690:Italy: Kapsberger, Piccinini,
200:The theorbo is related to the
1:
1829:List of Renaissance composers
883:
861:
851:
358:, meaning 'bag' or 'turban'.
1206:Praetorius, Michael (1957).
1185:. Indiana University Press.
848:Giovanni Girolamo Kapsperger
430:Giovanni Girolamo Kapsperger
2623:
2597:Basso continuo instruments
2459:Petrus Phalesius the Elder
2274:English Virginalist School
652:Ukraine, Poland and Russia
48:chitarrone, theorbo lute;
18:
2530:
2241:Jan Pieterszoon Sweelinck
1826:
1772:
868:Angelo Michele Bartolotti
796:of the bass line down an
753:to perform as solo pieces
187:plucked string instrument
162:
94:
53:téorbe, théorbe, tuorbe;
35:
1393:by Robert Spencer; from
1353:Schulze-Kurz, Ekkehard.
1046:(2nd ed.). London:
876:(1580â27 September 1649)
230:era (1600â1750) to play
2269:English Madrigal School
1243:Baron, Ernst Gottlieb.
947:(born 30 December 1961)
492:Laute mit AbzĂŒgen: oder
339:to distinguish it from
2602:Orchestral instruments
2111:TomĂĄs Luis de Victoria
1915:Oswald von Wolkenstein
1399:, vol. 4, October 1976
1356:
1350:, L'Epos, Pelermo 2012
1302:Keller, J. Gottfried.
1299:25 (July 1972): 67â72.
1015:
977:(born 2 February 1954)
941:(born 16 October 1952)
935:(born 19 October 1953)
904:(born 2 February 1964)
843:
836:Il suonatore di tiorba
615:
522:
514:
491:
369:was a nickname in the
341:chitarra alla spagnola
245:Origin and development
207:
2131:Transition to Baroque
2076:Pierre de Manchicourt
1420:Discussion of use of
1339:Praetorius, Michael.
1232:Bacilly, BĂ©nigne de.
1179:North, Nigel (1987).
1102:North, Nigel (1987).
1013:
959:(born 31 August 1965)
874:Bellerofonte Castaldi
854:1580â17 January 1651)
840:Antiveduto Grammatica
834:
613:
2161:Girolamo Frescobaldi
1968:CristĂłbal de Morales
1341:Syntagma Musicum III
1315:Mason, Kevin Bruce.
1073:Musurgia Universalis
1071:Athanasius Kircher,
1048:Macmillan Publishers
915:Contemporary players
858:Alessandro Piccinini
575:Regional differences
454:Ernst Gottlieb Baron
434:Alessandro Piccinini
262:'s two collections,
2592:Baroque instruments
2279:Florentine Camerata
2251:Composition schools
1910:Gaspar van Weerbeke
1701:Related instruments
1075:, Rome 1650, p. 476
921:Xavier Diaz-Latorre
515:Paduanische Theorba
507:) passing over the
371:Neapolitan language
313:Although the words
252:Florentine Camerata
171:, Elizabeth Kenny,
89:Related instruments
32:
2607:String instruments
2474:Thomas Vautrollier
2454:Ottaviano Petrucci
2429:Pierre Attaingnant
2419:Hieronymus Andreae
2226:Michael Praetorius
2211:Claudio Monteverdi
2201:Giovanni de Macque
2196:Luzzasco Luzzaschi
2166:Alfonso Fontanelli
2056:Francisco Guerrero
2031:Antonio de CabezĂłn
1943:Thomas Crecquillon
1925:Middle (1470â1530)
1905:Johannes Tinctoris
1845:Alexander Agricola
1409:Grove Music Online
1274:Cantalupi, Diego.
1016:
971:(born 5 June 1954)
870:(died before 1682)
860:(30 December 1566â
844:
724:unmeasured prelude
616:
486:Michael Praetorius
472:Tuning and strings
387:chitarrone moderno
363:Athanasius Kircher
276:Claudio Monteverdi
208:théorbe des piÚces
175:, January 11, 2019
80:String instruments
16:Musical instrument
2587:Necked bowl lutes
2574:
2573:
2171:Giovanni Gabrieli
1998:Philippe Verdelot
1895:Johannes Ockeghem
1837:Early (1400â1470)
1820:Renaissance music
1786:
1785:
1696:
1695:
1405:from 1589 to 1818
1346:Rebuffa, Davide.
1260:Caccini, Giulio.
1252:Study of the Lute
1140:Study of the lute
1057:978-1-56159-239-5
1004:Matthew Wadsworth
742:(with variations)
495:Testudo Theorbata
438:Giuliano Paratico
336:chitarra Italiana
294:re-entrant tuning
179:
178:
153:
152:
108:Chitarra Italiana
75:Necked bowl lutes
2614:
2564:
2554:
2553:
2434:Vittorio Baldini
2411:Music publishing
2186:Hans Leo Hassler
2141:Gregorio Allegri
2096:Cipriano de Rore
2071:Vicente Lusitano
2066:Orlando di Lasso
2021:Jacques Arcadelt
1988:Pierre de la Rue
1983:Josquin des Prez
1963:Clément Janequin
1958:Antoine de FĂ©vin
1948:Antonius Divitis
1890:Johannes Martini
1865:Guillaume Du Fay
1813:
1806:
1799:
1790:
1778:
1777:
1733:Guitarra morisca
1486:
1468:
1461:
1454:
1445:
1440:
1434:
1403:Theorbo timeline
1359:
1262:Le nuove musiche
1220:
1219:
1203:
1197:
1196:
1176:
1170:
1167:
1161:
1158:
1152:
1151:
1135:
1126:
1125:
1099:
1076:
1069:
1063:
1061:
1029:
981:Christina Pluhar
957:Massimo Marchese
951:Robert MacKillop
933:Yasunori Imamura
885:
863:
853:
591:Le nuove musiche
539:
525:
517:
500:Syntagma Musicum
497:that appears in
494:
484:. Piccinini and
409:liuto attiorbato
265:Le nuove musiche
210:
202:liuto attiorbato
167:
166:
155:
40:
33:
2622:
2621:
2617:
2616:
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2464:Girolamo Scotto
2449:Antonio Gardano
2405:
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2298:
2245:
2236:Heinrich SchĂŒtz
2231:Philippe Rogier
2181:Orlando Gibbons
2133:
2129:
2120:
2116:Giaches de Wert
2106:Christopher Tye
2061:Claude Le Jeune
2051:Claude Goudimel
2046:Nicolas Gombert
2041:Andrea Gabrieli
2036:Jacobus Clemens
2007:
2003:Adrian Willaert
1933:Martin Agricola
1919:
1855:Antoine Busnois
1850:Gilles Binchois
1831:
1822:
1817:
1787:
1782:
1768:
1742:
1728:Guitarra latina
1692:
1631:
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1482:Types by region
1477:
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1297:Society Journal
1281:Delair, Denis.
1229:
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880:Robert de Visée
829:
803:Use of thinner
775:
684:
682:Solo repertoire
670:
654:
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632:
620:Jaques Gaultier
608:
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458:Francesco Conti
450:Robert de Visée
247:
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158:External videos
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2017:
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1935:
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1860:Loyset CompĂšre
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1424:on the theorbo
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1388:
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1380:External links
1378:
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1351:
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1332:North, Nigel.
1330:
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1034:Sadie, Stanley
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998:Stephen Stubbs
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945:Rolf Lislevand
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939:Jakob Lindberg
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908:Roman Turovsky
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557:basso continuo
473:
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466:music notation
446:Nicolas Hotman
419:basso continuo
260:Giulio Caccini
256:basso continuo
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232:basso continuo
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62:tiorba, tuorba
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21:Latin American
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2303:Musical forms
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2216:Thomas Morley
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2209:
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2206:Luca Marenzio
2204:
2202:
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2102:
2101:Thomas Tallis
2099:
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2019:
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2016:
2014:
2010:
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1993:John Taverner
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1978:Jacob Obrecht
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2505:Architecture
2439:Jacob Bathen
2156:John Dowland
2026:William Byrd
1900:Leonel Power
1747:Other topics
1682:
1673:Swedish lute
1435:– via
1394:
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1027:
975:Paul O'Dette
902:Stephen Goss
896:Scott Fields
835:
821:
817:
787:arpeggiation
776:
767:Stephen Goss
756:
717:
689:
685:
671:
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617:
589:
588:comments in
583:
553:figured bass
541:
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475:
464:, a form of
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2495:Renaissance
2490:Early music
2386:Netherlands
2366:Elizabethan
2221:Jacopo Peri
2191:Alonso Lobo
2151:John Cooper
2013:Late (1530)
1973:Jean Mouton
1885:Jean Japart
1875:Walter Frye
1422:fingernails
1396:Early Music
1373:Early Music
1006:(born 1974)
1000:(born 1951)
994:(born 1960)
987:Lynda Sayce
983:(born 1965)
969:Nigel North
965:(born 1963)
953:(born 1959)
929:(born 1959)
923:(born 1968)
910:(born 1961)
898:(born 1955)
892:(died 1692)
809:harpsichord
569:Thomas Mace
45:Other names
2581:Categories
2520:Philosophy
2515:Literature
2483:Background
2349:Traditions
2325:Magnificat
2315:Intermedio
2259:Burgundian
1294:The Galpin
1113:0253314151
1019:References
763:David Loeb
706:Gagliardas
658:prystrunky
637:Bartolotti
565:Kapsberger
530:Kapsberger
423:pipe organ
315:chitarrone
258:, such as
2335:Offertory
2264:Colorists
2126:Mannerism
1754:Composers
1643:Angélique
1269:New Music
827:Composers
792:Frequent
728:allemande
702:Correntes
700:Dances -
668:Technique
462:tablature
401:arciliuto
392:guitarrĂłn
302:diapasons
286:chitaroni
219:angélique
136:Tambouras
98:Angélique
58:Theorbe;
25:GuitarrĂłn
2556:Category
2533: â
2396:Portugal
2320:Madrigal
2294:Venetian
1648:Archlute
1602:Shamisen
1552:Kutiyapi
1361:, 1990,
1348:Il liuto
1216:68427186
1122:14377608
1040:(eds.).
805:textures
773:Continuo
751:Couperin
736:saraband
732:courante
692:Castaldi
624:archlute
561:bassline
414:tiorbino
405:archlute
331:chitarra
327:chitarra
307:bourdons
224:angelica
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2546:â
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2356:British
1780:Commons
1764:Players
1723:Gittern
1713:Cittern
1688:Vihuela
1683:Theorbo
1668:Mandora
1663:Mandore
1587:Sanxian
1582:Sanshin
1542:Dramyin
1437:YouTube
1433:(Video)
1415:Theorbo
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1227:Sources
1148:2076633
643:Germany
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586:Caccini
505:courses
482:strings
353:Turkish
323:Italian
271:L'Orfeo
189:of the
183:theorbo
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2134:c.1600
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1636:Europe
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798:octave
662:torban
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349:Slavic
345:tiorba
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284:(two)
278:lists
212:, the
195:pegbox
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2510:Dance
2401:Spain
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1653:Cobza
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1052:ISBN
600:lute
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476:The
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317:and
298:i.e.
281:duoi
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