The Viola Da GambaCover -- Title -- Copyright -- Contents -- List of illustrations -- Abbreviations -- 1 Getting acquainted -- 1.1 What exactly is a viol? -- 1.2 What is the viol called? -- In Italian -- In German -- In French -- In English -- In Spanish -- In Greek and Latin -- 1.3 What are the instruments of the viol family? -- 1.4 How is the viol tuned? -- 1.5 What does the viol sound like? -- 2 Anatomy of a viol -- 2.1 The body -- 2.2 The neck and fretboard -- 2.3 The bridge -- 2.4 Decoration -- 2.5 The bow -- 2.6 The strings -- 2.7 Frets and temperaments: problems of compatibility -- 3 Antecedents -- 3.1 Origins -- 3.2 Shapes -- 3.3 Names -- 3.4 Some technical details -- 3.5 Playing positions -- 3.6 Musical and social fields of application -- 3.7 The innovations of the early Renaissance -- 4 Renaissance -- 4.1 Italy, ca 1500 -- The archival sources -- A technical drawing -- The iconoeraphic sources -- Results -- 4.2 A new instrument achieves recognition in Europe (ca 1510-50) -- Germany -- Italy -- Other European countries -- 4.3 Repertoire -- 'To sing, and to play on all kinds of instruments' -- What? -- With whom? -- How? -- Idiomaticisation and soloism: the viola bastarda -- 4.4 Tunings -- Pitch and transposition -- Viol-tunings in 16th-century treatises -- Consequences -- The tuning of the viola bastarda -- 4.5 Playing technique -- 4.6 Viol structures and viol makers -- False witnesses? -- Details -- The road to standardisation -- 5 Baroque and classical -- 5.1 Italy -- The early 17th century -- After 1640: on the scent -- Instruments -- Italian viol music in Italy -- Miscellaneous theoretical accounts -- Interchange across the Alps -- 5.2 England -- The Golden Age (ca 1600-60) -- The instruments: "Three sorts of Ba[beta]-Viols -- Tunings -- Sympathetic strings -- The music: "Three manners of ways in playing -- Music for consort viol -- Music for lyra viol |
