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Lyra Viol
The lyra viol is a small bass viol, used primarily in England in the seventeenth century. Described as "the smallest of the bass viols", one should consider that the consort bass was much larger in 17th century England than most bass viols nowadays (hovering between 78 and 80 cm string length, while the division viol hovers around 76 cm (30 inches according to Christopher Simpson). The lyra viol therefore is the "smallest" and according to James Talbot (end of the 17th century) is therefore 72 cm string lengthJohn Talbot's 17th century measurements for viols There is a large and important repertoire which was developed specifically for the lyra viol. Due to the number of strings and their rather flat layout, the lyra viol can approximate |
Bowed String Instrument
Bowed string instruments are a subcategory of string instruments that are played by a bow rubbing the strings. The bow rubbing the string causes vibration which the instrument emits as sound. Despite the numerous specialist studies devoted to the origin of the bowing the problem of the origin of the bowing is unresolved Some say that the bow was introduced to Europe from the Middle East while others say the bow was not introduced from the Middle East but the other way round and that that the bow may have had its origin from a more frequent intercourse with North Europe and Western Europe List of bowed string instruments Violin family * Pochette * Violin (violino) * Viola (altviol, bratsche) * Cello (violoncello) * Double bass (contrabasso) ;Variants on the standard members of the violin family include: * Tenor violin * Five string violin * Cello da spalla * Baroque violin * Kontra * Kit violin * Sardino * Stroh violin * Låtfiol * Hardanger fiddle * Lira da bracc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christopher Simpson
Christopher Simpson (1602/1606–1669) was an English musician and composer, particularly associated with music for the viola da gamba. Life Simpson was born between 1602 and 1606, probably at Egton, North Yorkshire. He was the eldest son of Christopher Sympson, a Yorkshireman, who is usually described as a cordwainer but who was also the manager of a theatre company patronised by wealthy Yorkshire Catholics. It is thought that Sympson senior may have preferred to portray himself at times as a simple craftsman, rather than a high-profile Catholic sympathiser, at a time when Catholics were harshly persecuted in England. There is a theory (put forward by Urquhart) that Christopher Simpson (junior), the musician, could have been the same Simpson (or Sampson) who was educated as a Jesuit in continental Europe and was ordained as a Catholic priest in 1629. However, Simpson's death in 1669 is at odds with the evidence that the Jesuit Simpson lived until 1674. Simpson fought in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ornament (music)
In music, ornaments or embellishments are musical flourishes—typically, added notes—that are not essential to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line (or harmony), provide added interest and variety, and give the performer the opportunity to add expressiveness to a song or piece. Many ornaments are performed as "fast notes" around a central, main note. There are many types of ornaments, ranging from the addition of a single, short grace note before a main note to the performance of a virtuosic and flamboyant trill. The amount of ornamentation in a piece of music can vary from quite extensive (it was often extensive in the Baroque period, from 1600 to 1750) to relatively little or even none. The word ''agrément'' is used specifically to indicate the French Baroque style of ornamentation. Improvised vs. written In the Baroque period, it was common for performers to improvise ornamentation on a given melodic li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scordatura
Scordatura (; literally, Italian for "discord", or "mistuning") is a tuning of a string instrument that is different from the normal, standard tuning. It typically attempts to allow special effects or unusual chords or timbre, or to make certain passages easier to play. It is common to notate the finger position as if played in regular tuning, while the actual pitch resulting is altered (scordatura notation). When all the strings are tuned by the same interval up or down, as in the case of the viola in Mozart's ''Sinfonia Concertante for Violin, Viola and Orchestra'', the part is transposed as a whole. Bowed string instruments The invention of scordatura tuning has been attributed to Thomas Baltzar, a prodigious German violinist and composer who is known to have used the technique in around the 1660s, at least a decade before Biber composed his ''Rosary Sonatas'' in which he employed the tuning technique. Of course, German violinist Hans Hake (1628 – after 1667) includes three ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Leading
Voice leading (or part writing) is the linear progression of individual melodic lines ( voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. In ''Jazz Theory'', Gabriel Sakuma writes that " the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music."Terefenko, Dariusz (2014). ''Jazz Theory: From Basic to Advanced Study'', p. 33. Routledge. . Marc Schonbrun also states that while it is untrue that "popular music has no voice leading in it, ..the largest amount of popular music is simply conceived with chords as blocks of information, and melodies are layered on top of the chords."Schonbrun, Marc (2011). ''The Everything Music Theory Book'', pp. 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tablature
Tablature (or tabulature, or tab for short) is a form of musical notation indicating instrument fingering rather than musical pitches. Tablature is common for fretted stringed instruments such as the guitar, lute or vihuela, as well as many free reed aerophones such as the harmonica. Tablature was common during the Renaissance and Baroque eras, and is commonly used today in notating many forms of music. Three types of organ tablature were used in Europe: German, Spanish and Italian. To distinguish standard musical notation from tablature, the former is usually called " staff notation" or just "notation". Etymology The word ''tablature'' originates from the Latin word ''tabulatura''. ''Tabula'' is a table or slate, in Latin. To tabulate something means to put it into a table or chart. Origin The first known occurrence in Europe is around 1300, and was first used for notating music for the organ. Concepts While standard notation represents the rhythm and duration of each ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Lawes
William Lawes (April 160224 September 1645) was an English composer and musician. Life and career Lawes was born in Salisbury, Wiltshire and was baptised on 1 May 1602. He was the son of Thomas Lawes, a vicar choral at Salisbury Cathedral, and brother to Henry Lawes, a very successful composer in his own right. It is possible the young William was a member of the cathedral choir there. His patron, Edward Seymour, Earl of Hertford, apprenticed him to the composer John Coprario, which probably brought Lawes into contact with Charles, Prince of Wales at an early age. Both William and his elder brother Henry received court appointments after Charles succeeded to the British throne as Charles I. William was appointed as "musician in ordinary for lutes and voices" in 1635 but had been writing music for the court prior to this. Lawes spent all his adult life in Charles's employ. He composed secular music and songs for court masques (and doubtless played in them), as well as sacr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles Coleman (composer)
Charles Coleman may refer to: Entertainment * Charles Coleman (English painter) (1807–1874), English painter * Charles Caryl Coleman (1840–1928), American painter * Charles Coleman (actor) (1885–1951), Australian-American actor * Charles C. Coleman (director) (1900–1972), American film director * Charles Coleman (music producer) (born 1977), American record producer and songwriter Other * Charles Coleman (British Army officer) (1903–1974), British general * Charles Coleman (American football) (born 1963), American football player * Charles Coleman (politician), American member of the Wisconsin State Assembly * Charles Coleman (murderer) (1947–1990), American convicted murderer * Charles Coleman (engineer) (1926–2005), electronic engineer - video tape recording * Chase Coleman III Charles Payson "Chase" Coleman III (born June 1,1975) is an American billionaire hedge fund manager, and the founder of Tiger Global Management. As of April 2023, his net worth is es ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Jenkins (composer)
John Jenkins (1592–1678), was an English composer who was born in Maidstone, Kent and who died at Kimberley, Norfolk. Biography Little is known of his early life. The son of Henry Jenkins, a carpenter who occasionally made musical instruments, he may have been the "Jack Jenkins" employed in the household of Anne Russell, Countess of Warwick in 1603. The first positive historical record of Jenkins is amongst the musicians who performed the masque ''The Triumph of Peace'' in 1634 at the court of King Charles I. Jenkins was considered a virtuoso on the lyra viol. Charles commented that Jenkins did "wonders on an inconsiderable instrument." When the English Civil War broke out in 1642 it forced Jenkins, like many others, to migrate to the rural countryside. During the 1640s he was employed as music-master to two Royalist families, the Derham family at West Dereham and Hamon le Strange of Hunstanton. He was also a friend of the composer William Lawes (1602–1645), who was sh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Cooper (composer)
John Coprario (c. 1570 – 1626), also known as Giovanni Coprario or Coperario, was an English composer and viol player. According to later commentators such as John Playford and Roger North, he changed his name from either Cowper or Cooper to Coperario in the early 17th century (at least as early as February 1601), though he himself spelled his name "John Coprario". Anthony Wood said he changed his name after an extended visit to Italy, and though he is documented as having visited the Low Countries in 1603, evidence confirming his presence in Italy has not been found. From 1622 he served and may have taught the Prince of Wales, for whom he continued to work upon his succession as Charles I. His longtime patron was Edward Seymour, Earl of Hertford, for whom, according to Thomas Fuller's ''The History of the Worthies of England'' (1662), he taught William Lawes. Among Coprario's works are fantasias, suites and other works for viols and violins, and two collections of song ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Violone
The term violone (; literally "large viol" in Italian, " -one" being the augmentative suffix) can refer to several distinct large, bowed musical instruments which belong to either the viol or violin family. The violone is sometimes a fretted instrument, and may have six, five, four, or even only three strings. The violone is also not always a contrabass instrument. In modern parlance, one usually tries to clarify the 'type' of violone by adding a qualifier based on the tuning (such as "G violone" or "D violone") or on geography (such as "Viennese violone"), or by using other terms that have a more precise connotation (such as "bass violin", "violoncello", or "bass viol"). The term violone may be used correctly to describe many different instruments, yet distinguishing among these types can be difficult, especially for those not familiar with the historical instruments of the viol and violin families and their respective variations in tuning. Usage In modern usage, the term mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sylvestro Di Ganassi Dal Fontego
Silvestro di Ganassi dal Fontego, also given as Sylvestro di Ganassi dal Fontego, Silvestro Ganasi dal Fontego, and Silvestro dal Fontego (1 January 1492 – 1565) was a Venetian musician and author of two important treatises on instrumental technique. His first treatise covers recorder playing: ''Opera intitulata Fontegara'' (Venice, 1535). His second (in two volumes) is about the viola da gamba: ''Regola Rubertina'' (Venice, 1542) and ''Lettione Seconda'' (Venice, 1543). They cover both technicalities of playing and the subtleties of expression. There is also guidance on ornamentation—''passaggi''. The revival of interest in historically aware musical performance has resulted in renewed interest in Ganassi's writings. His treatises are now available in modern editions. Viol technique Ganassi's ''Regola Rubertina'' is among the earliest sources of advice to the viol player on how to hold the bow. In Chapter III, Ganassi says: You know that the bow is to be held with three ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
