The lute's strings are arranged in courses, of two strings each, though the highest-pitched course usually consists of only a single string, called the chanterelle. In later Baroque lutes two upper courses are single.
Each single string or pair of strings is called a course. The pair of strings within a course may be tuned to the same pitch (unison), but the pairs in the lower-pitched courses are often tuned an octave apart. The upper courses are normally tuned with the interval of a fourth or third between them, but on instruments with more than six courses, those courses below the first six may be …
Mar 03, 2016 · The lute’s double strings, or courses, tuned in octaves and unisons on the higher strings, produce a different timbre than the guitar’s thicker, single strings.
Don't try to tune a lute strung in G into an 'A' tuning or the strings will break! Instead, transpose the whole tuning scheme down, as appropriate to the size of your lute. The letters in the table are given in Scientific pitch notation and are specified for an instrument as if it were tuned at A=440. For Baroque lutes this is not typically the ...
Mediaeval lute music was generally played with a plectrum, on an instrument with five ‘courses’ or pairs of strings. For most of the sixteenth century a lute with six courses, in a tuning close to that of the modern guitar, was used.
Curt Sachs defined the word lute in the terminology section of The History of Musical Instruments as "composed of a body, and of a neck which serves both as a handle and as a means of stretching the strings beyond the body".
The lute is plucked or strummed with one hand while the other hand "frets" (presses down) the strings on the neck's fingerboard. By pressing the strings on different places of the fingerboard, the player can shorten or lengthen the part of the string that is vibrating, thus producing higher or lower pitches (notes).
As a small instrument, the lute produces a relatively quiet sound . The player of a lute is called a lutenist, lutanist or lutist, and a maker of lutes (or any similar string instrument, or violin family instruments) is referred to as a luthier .
They produce a bass that differs somewhat in timbre from nylon basses. The lute's strings are arranged in courses, of two strings each, though the highest-pitched course usually consists of only a single string, called the chanterelle. In later Baroque lutes two upper courses are single.
The lute player either improvises ("realizes") a chordal accompaniment based on the figured bass part, or plays a written-out accompaniment (both music notation and tablature ("tab") are used for lute). As a small instrument, the lute produces a relatively quiet sound.
There were several sizes, and by the end of the Renaissance, seven different sizes (up to the great octave bass) are documented. Song accompaniment was probably the lute's primary function in the Middle Ages, but very little music securely attributable to the lute survives from the era before 1500.
The lute is used in a great variety of instrumental music from the Medieval to the late Baroque eras and was the most important instrument for secular music in the Renaissance. During the Baroque music era, the lute was used as one of the instruments which played the basso continuo accompaniment parts.
The lute is a classical and historical musical instrument that is still being constructed and played today. Unlike a guitar, the lute has “courses,” or sets of two strings, which give it a more lyrical and expansive sound.
From left to right, the base notes of the courses on a 6-course lute are: G, C, f, a, d, g.
Memorize the letters that go with each fret line. Use the alphabet to label each fret, working from the top of the lute neck to the bottom. Identify the topmost fret as “B,” then continue working your way down. Keep in mind that there’s no “C” label in lute sheet music—instead, the uppercase form of the Greek letter gamma is used (Γ), which also looks like a lowercase “r.” The frets continue as follows: D, E, F, G, H, I, K, M, N.
French tablature is one of the most well-known styles used in lute sheet music, and uses the Latin and Greek alphabet to label the notes and frets.
Check the bottom of the lute to find the course, chanterelle, and tie block. Examine the thick, rounded portion of the instrument, where the lute’s sound comes from. Find a series of at least 6 courses (12 strings), then look to the right to find a single string, otherwise known as a chanterelle.
Examine the neck to find the pegbox, pegs, and frets. Hold your lute carefully or lay it down on a flat surface to take a closer look at its parts. Look at the long, thin neck sticking out at the top of the instrument, with a large, diagonal wooden piece sticking out behind the lute.
Since the lute has such an extensive history, there are several different versions of the music and chords, otherwise known as tablatures, displayed in the sheet music. Italian tablature uses numbers to tell you which notes to play. German tablature presents the notes in a grid-like format.
In many 7 course pieces, the 7th course (usually low D or F) is used frequently as both an open string AND as a fretted string. Composers writing for the 7 course lute will voice chords and jump between the 6th and 7th courses in a way that takes advantage of the fact that they are adjacent strings.
9 course lute - All of above plus songs needing a low E/Eb or C (or any three of the notes F, E/Eb, D or C)- 7 course repertoire can be even more complicated to play due to bass string jumps. Common Tuning: GDAFCG + (F, Eb, & D) or (F, D, C) Diapasons
11 -13 course - Usually refers to theorboed lutes specifically in D-minor tuning. These instruments are suited to much of the early Scottish manuscripts , Weiss, and later baroque composers such as Bach. (Note: Instruments tuned in D-minor can’t play the renaissance G lute repertoire without significant retuning or re-ordering of almost all of the strings.) FDAFDA + (G,F,E,D,C,B,A) Diapasons.
Throughout the early-to mid-16th century, lutes were most commonly strung with 5 courses and a single treble string. This is explained as early as 1511 by Sebastien Virdung in Musica Getutscht:#N#I advise, therefore, that you take up a lute with eleven strings, [a type] that is found almost everywhere....First you must know that the eleven strings are distributed among six courses, always two strings for each course, with the sole exception of the sixth course which normally has only a single string” [1]
The six-course lute didn’t offer the harmonic flexibility needed to perform fugues or continuo, so gradually more and more strings were (quite literally) added to Renaissance lutes. Much to the dismay of historians, many 6 course Renaissance lutes were ‘cannabilised’ in the 17th century, fitted with extension pieces and new peg boxes to hold more strings.
These hindrances, along with the rising popularity of violins and keyboards, pushed the lute almost to extinction.[21]
Diapason refers to a bass string below the normal 6 course register. You should be able to fret these strings down to a low C (depending on the lute) but at least down to a low D or 9th course on a 10 course lute and certainly all the Diapasons on a 7, 8 or 9 course lute.
The lute is a descendent of the oud, which was most likely brought to Western Europe by the Moors in the 9th century, when they occupied Spain. While the Spanish would seem a likely conduit for the instrument to enter the rest of Europe, they generally rejected the instrument, and the oud instead traveled with merchants through Sicily ...
First came Francesco Spinacino in 1507, and then Joan Ambrosio Dalza in 1508. What becomes quickly apparent from these early publications is the high level of lute playing that is present so soon after the development of a polyphonic technique. The lute then exploded in the 16th century.
Courts like those of Henry VIII, Francois I and the Pope in Rome hired lutenists as personal musicians and as means of cultural competition, pitting lute players against each other in contests that often impacted a ruler’s status amongst his peers. The highest-level lute players were paid in amounts comparable to modern NBA stars. Alberto da Ripa of Mantua, for example, was hired by the French court of Francois I, as the royal lutenist. In addition to earning the second-highest salary at court (of everyone, not just musicians!), he was given land and yearly stipends of food and alcohol. Intense competitions for these lucrative jobs produced musicians of unbelievable capability.
The strings of lutes today are also generally either made of animal gut, nylgut (a synthetic gut), or nylon, while the classical guitar generally uses only nylon strings (wound and unwound). Depending on the type of the lute strings, the sound can be crisper and brighter than the modern guitar. The most obvious difference between the lute and ...
The oud is a fretless melodic instrument, double-strung in courses, that is perfectly suited to the subtle tunings, systems and scales of the Middle East. In order to better integrate the instrument into Western European music, a few changes were made; adding frets was the first of these changes. Because Western European music was ...
Despite the obvious harmonic implications that frets allow, the lute remained largely a melodic instrument until the beginning of the 16th century. Like oud players, the new European lute players continued to play the instrument with a plectrum or a bird quill.
The fretting hand seems to have been very similar to modern technique. Depending on the size of the instrument, the thumb of the fretting hand could hang over the neck and even fret notes when needed, or if the instrument was too large, the thumb remained relaxed behind the neck. The end of the 15th century marked an amazing change for the lute, ...
The letters in the table are given in Scientific pitch notation and are specified for an instrument as if it were tuned at A=440. For Baroque lutes this is not typically the case, but still with your pitch set to A=415 or otherwise, the pitch names are still the same.
The following table is provided as an aid for students of the lute and is based on a table originally assembled by Matthew Leigh Embleton. Any corrections or additions are welcomed and can be sent to the webmaster.
Please note that this list it is not entirely comprehensive, as there were so very many experimental and variant tunings. Lutes in other keys would transpose the whole scheme as necessary. Don't try to tune a lute strung in G into an 'A' tuning or the strings will break! Instead, transpose the whole tuning scheme down, as appropriate to the size of your lute.
Many people taking up the lute begin with a seven-course renaissance instrument. Not only is there much excellent music specifically for this instrument, but being similar in sound to a six-course instrument, it is suitable for playing the entire sixteenth century repertoire.
The instrument is capable of producing the most beautiful sounds, and has a vast repertoire of music, which it would take a lifetime to explore fully. This repertoire includes not only solo music, but a substantial body of songs, duets, and consort pieces, and so the lute offers opportunities for social as well as solo playing.
Relevant articles also appear from time to time in The Galpin Society Journal, Recercare, Chelys, Early Music,The Fellowship of Makers and Researchers of Historical Instruments, also JAMS, ML, etc. Two good recent books are Douglas Alton Smith, A History of the Lute from Antiquity to the Renaissance (Lute Society of America, 2002) and Matthew Spring, The Lute in Britain, A History of the Instrument and its Music (Oxford University Press, 2001). The best way to put a specific question to a large number of people nowadays is to post it to the lute discussion groups on the internet.
Miguel Yisrael, Method for the Baroque Lute (Ut Orpheus Edizioni) very extensive at 356 pages. Ut Orpheus Edizioni have also published a tutor for theorbo.
Lutes were and are made in different keys; the most common renaissance lute today is an instrument tuned in G, at modern pitch (A=440Hz) with a string length of around 60cm. Some singers may welcome an instrument tuned a little lower, perhaps in F, and if you want to play with baroque instrumentalists you will need an instrument tuned in F# (A=415Hz); while those with small hands might find a lute tuned in A less of a stretch for certain areas of the repertoire, but a lute in G is generally to be recommended, not least for the purposes of playing duets with other lutenists, playing lute songs at written pitch, and renaissance consort playing. Again, if in doubt, ask a teacher.
As the seventeenth century progressed yet more strings were added, and different tuning schemes were tried; a popular configuration of ‘Baroque’ lute was an instrument of eleven, twelve or thirteen courses, with a tuning scheme based on a D minor arpeggio. The high points of composition for these later instruments were were attained in the works of the seventeenth-century French composers Mouton, de Visée, Dufaut, Gallot and the Gaultiers, and eighteenth-century German composers, including Weiss, Bach, Hagen and Falkenhagen.
If you are not familiar with the full range of the lute repertoire, it is worth listening to CD recordings of lute music music of different eras. Lute News gives quarterly listings and reviews of new lute CDs. Early Music Review (tel: 01480 452076) includes some lute CD reviews. The Lute Society also publishes a leaflet of ‘Recommended listening’, which gives results of a Lute Society survey of members’ all-time favourite recordings.
This is piece no.18 from the Lute Society’s ‘114 Early to Intermediate Pieces for Renaissance Lute’, a fascinating anthology which includes the complete contents of a 1603 manuscript now in Dresden.
The first challenge is bringing out the beautiful melody smoothly, especially as many melody notes will fall to the weak ring finger.
There are a few rather scary shifts, such as the middle note of bar 6. Shifts need to be managed by the whole arm, guided by your thumb on the back of the neck.
The right hand fingering simply alternates thumb and index throughout; the thumb takes the first note and every subsequent note on a beat; the index finger takes every off-beat note.
Left Hand. In the left hand , you may use the 1st and 2nd fingers or the 2nd and 3rd fingers throughout the first 5 bars. If you choose the slightly easier option of 1st and 2nd, you must shift your 1st finger back to the 1st fret in bar 6, and remain in that position for the rest of the piece.
Lesson 1 of our beginners lessons, by Lynda Sayce, August 2009
One needs a very relaxed right arm, a relaxed hand lying directly along the plane of the strings (rather than diagonally across it, as some later techniques require), and the right hand little finger resting on the soundboard and acting as a pivot for the technique. The plucking movement is steered by the whole arm; resist the urge to 'pick' with the fingers. For thumb strokes, let gravity take the weight of the arm, and the thumb will drop through a course quickly and cleanly, impelled by the weight of the arm rather than a twitching of the end joint. On the return journey the index finger is again carried through the course by the upward movement of the arm. Play slowly but regularly, and gradually increase the speed. It may be helpful to think of the thumb and index finger as the two faces of a large, soft plectrum, and to think of each course as a narrow tape rather than two individual strings. Don't be afraid of string contact. Aim to put a large slice of thumb or finger in the middle of the tape, and you should catch both strings simultaneously. The small joints of the thumb and fingers do not need to move at all, though they will be displaced a little by the tension of the strings. The whole technique uses a relatively tiny movement of a relatively large unit, and is therefore fast and efficient. The thumb notes should be audibly stronger than the index notes, because they have the weight of the arm behind them. Think 'doo-by-doo-by-doo' but DON'T swing the rhythm! Keep the line as smooth as possible; lift left-hand fingers at the last possible moment, and when you cross to a higher open course, aim to lift the finger stopping the previous note at the same time as you pluck the open string.
Lutes are made almost entirely of wood. The soundboard is a teardrop-shaped thin flat plate of resonant wood (typically spruce). In all lutes the soundboard has a single (sometimes triple) decorated sound hole under the strings called the rose. The sound hole is not open, but rather covered with a grille in the form of an intertwining vine or a decorative knot, carved directly out of the wood of t…
Curt Sachs defined lute in the terminology section of The History of Musical Instruments as "composed of a body, and of a neck which serves both as a handle and as a means of stretching the strings beyond the body". His definition focused on body and neck characteristics and not on the way the strings were sounded, so the fiddle counted as a "bowed lute". Sachs also distinguished bet…
The words lute and oud possibly derive from Arabic al-ʿoud (العود - literally means "the wood"). It may refer to the wooden plectrum traditionally used for playing the oud, to the thin strips of wood used for the back, or to the wooden soundboard that distinguished it from similar instruments with skin-faced bodies.
Many theories have been proposed for the origin of the Arabic name. Music scholar Eckhard Ne…
The lute enjoyed a revival with the awakening of interest in historical music around 1900 and throughout the century. That revival was further boosted by the early music movement in the twentieth century. Important pioneers in lute revival were Julian Bream, Hans Neemann, Walter Gerwig, Suzanne Bloch and Diana Poulton. Lute performances are now not uncommon; there are many pr…
Lutes were in widespread use in Europe at least since the 13th century, and documents mention numerous early performers and composers. However, the earliest surviving lute music dates from the late 15th century. Lute music flourished during the 16th and 17th centuries: numerous composers published collections of their music, and modern scholars have uncovered a vast numbe…
The revival of lute-playing in the 20th century has its roots in the pioneering work of Arnold Dolmetsch (1858–1940); whose research into early music and instruments started the movement for authenticity. The revival of the lute gave composers an opportunity to create new works for it.
One of the first such composers was Johann Nepomuk David in Germany. Composer Vladimir Vavilov was a pioneer of the lute revival in the USSR, he was also the author of numerous musical …
Lutes were made in a large variety of sizes, with varying numbers of strings/courses, and with no permanent standard for tuning. However, the following seems to have been generally true of the Renaissance lute.
A 6-course Renaissance tenor lute would be tuned to the same intervals as a tenor viol, with intervals of a perfect fourth between all the courses except the …