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In later Baroque lutes, two upper courses are single. The courses are numbered sequentially, counting from the highest pitched, so that the chanterelle is the first course, the next pair of strings is the second course, etc. Thus an 8-course Renaissance lute usually has 15 strings, and a 13-course Baroque lute has 24.
Lutes used by griots have a V- or fan-shaped bridge, a feature unique to East African lutes, while non-griot lutes use cylindrical bridges; a few use two-footed bridges in the shape of an upside-down "u", while the Hausa wase places the bridge under the head, creating a ridged lump upon which the strings rest. [3]
[ * ] The number of strings and courses on a lute can vary widely depending on period and geographical region. Among the more common forms are 6, 7, 8, 10, and 13 courses. (Pictured: 8 course Renaissance Lute.) Cretan lyra: 3 strings 3 courses. D 3 • A 3 • E 5: Crete, Greece
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. [3] The theorbo was a very important continuo instrument in the French court and multiple French theorbo continuo tutors (method books) were published by Delair (1690), Campion (1716 and 1730 ...
The lute has "a very attractive and finely varnished maple back, and soundboard with many original bars, made by Sixtus Rauwolf". [2] The lute's owner, lutenist Jakob Lindberg, describes the instrument: "My lute... would originally have been probably a 7 or 8-course lute. There is also inside the lute a label of Leonhard Mausiel of Nüremberg ...
The initial B.C. Rich Bich design is a six-course instrument, with four two-string courses. The top E and B strings are strung as unison pairs, and the G and D strings as pairs with a principal and octave string, in the manner of the top four courses of a twelve-string guitar. The A and lower E strings are single-string courses.
His primary work, Le Secret des Muses, contains compositions and instruction for the 10-course Renaissance lute. It was published in two parts in 1615 and 1616. It was among the last compositions to appear for this instrument, before it was supplanted by the Baroque lute. He also wrote a Psalms of David (in 1615) and Regia Pietas (in 1622).
Georg Gerle (1520–1591) was a Renaissance luthier specialising in lutes, from Füssen, Germany. He worked in Northern Italy and in Austria . His instruments survive at the Kunsthistorisches Museum , Vienna , Austria .
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