lute

A lute ( or ) is any plucked string instrument with a neck and a deep round back enclosing a hollow cavity, usually with a sound hole or opening in the body. It may be either fretted or unfretted. More specifically, the term "lute" commonly refers to an instrument from the family of European lutes, which were themselves influenced by short-necked lutes in Gandhara which became the predecessor of the Islamic, the Sino-Japanese and the European lute families. The term also refers generally to any necked string instrument having the strings running in a plane parallel to the sound table (in the Hornbostel–Sachs system). The strings are attached to pegs or posts at the end of the neck, which have some type of turning mechanism to enable the player to tighten the tension on the string or loosen the tension before playing (which respectively raise or lower the pitch of a string), so that each string is tuned to a specific pitch (or note). The lute is plucked 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). The European lute and the modern Near-Eastern oud descend from a common ancestor via diverging evolutionary paths.…

A lute ( or ) is any plucked string instrument with a neck and a deep round back enclosing a hollow cavity, usually with a sound hole or opening in the body. It may be either fretted or unfretted. More specifically, the term "lute" commonly refers to an instrument from the family of European lutes, which were themselves influenced by short-necked lutes in Gandhara which became the predecessor of the Islamic, the Sino-Japanese and the European lute families. The term also refers generally to any necked string instrument having the strings running in a plane parallel to the sound table (in the Hornbostel–Sachs system). The strings are attached to pegs or posts at the end of the neck, which have some type of turning mechanism to enable the player to tighten the tension on the string or loosen the tension before playing (which respectively raise or lower the pitch of a string), so that each string is tuned to a specific pitch (or note). The lute is plucked 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). The European lute and the modern Near-Eastern oud descend from a common ancestor via diverging evolutionary paths. 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 that played the basso continuo accompaniment parts. It is also an accompanying instrument in vocal works. 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. The player of a lute is called a lutenist, lutanist or lutist, and a maker of lutes (and by extension, any string instrument, such as those of the violin family) is referred to as a luthier.

First lutes

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 between the "long-necked lute" and the short-necked variety. The short-necked variety contained most of our modern instruments, "lutes, guitars, hurdy-gurdies and the entire family of viols and violins". The long lutes were the more ancient lutes; the tanbūr ... faithfully preserved the outer appearance of the ancient lutes of Babylonia and Egypt". He further categorized long lutes with a "pierced lute" and "long neck lute". The pierced lute had a neck made from a stick that pierced the body (as in the ancient Egyptian long-neck lutes, and the modern African gunbrī ). The long lute had an attached neck, and included the sitar, tanbur and tar: the dutār had two strings, setār three strings, čārtār four strings, pančtār five strings. Sachs's book is from 1941, and the archaeological evidence available to him placed the early lutes at about 2000 BC. Discoveries since then have pushed the existence of the lute back to . Musicologist Richard Dumbrill today uses the word lute more categorically to discuss instruments that existed millennia before the term "lute" was coined. Dumbrill documented more than 3,000 years of iconographic evidence of the lutes in Mesopotamia, in his book The Archaeomusicology of the Ancient Near East. According to Dumbrill, the lute family included instruments in Mesopotamia before 3000 BC. He points to a cylinder seal as evidence; dating from about 3100 BC or earlier and now in the possession of the British Museum, the seal depicts on one side what is thought to be a woman playing a stick "lute". Like Sachs, Dumbrill saw length as distinguishing lutes, dividing the Mesopotamian lutes into a long variety and a short. His book does not cover the shorter instruments that became the European lute, beyond showing examples of shorter lutes in the ancient world. He focuses on the longer lutes of Mesopotamia, various types of necked chordophones that developed throughout the ancient world: Indian (Gandhara and others), Greek, Egyptian (in the Middle Kingdom), Iranian (Elamite and others), Jewish/Israelite, Hittite, Roman, Bulgar, Turkic, Chinese, Armenian/Cilician cultures. He names among the long lutes, the pandura and the tanbur The line of short-necked lutes was further developed to the east of Mesopotamia, in Bactria and Gandhara, into a short, almond-shaped lute. Curt Sachs talked about the depictions of Gandharan lutes in art, where they are presented in a mix of "Northwest Indian art" under "strong Greek influences". The short-necked lutes in these Gandhara artworks were "the venerable ancestor of the Islamic, the Sino-Japanese and the European lute families". He described the Gandhara lutes as having a "pear-shaped body tapering towards the short neck, a frontal stringholder, lateral pegs, and either four or five strings".

Persian barbat

Bactria and Gandhara became part of the Sasanian Empire (224–651). Under the Sasanians, a short almond-shaped lute from Bactria came to be called the barbat or barbud, which was developed into the later Islamic world's oud or ud. When the Moors conquered Andalusia in 711, they brought their ud or quitra along, into a country that had already known a lute tradition under the Romans, the pandura. During the 8th and 9th centuries, many musicians and artists from across the Islamic world flocked to Iberia. Among them was Abu l-Hasan 'Ali Ibn Nafi' (789–857), a prominent musician, who had trained under Ishaq al-Mawsili (d. 850) in Baghdad and was exiled to Andalusia before 833. He taught and has been credited with adding a fifth string to his oud and with establishing one of the first schools of music in Córdoba. By the 11th century, Muslim Iberia had become a center for the manufacture of instruments. These goods spread gradually to Provence, influencing French troubadours and trouvères and eventually reaching the rest of Europe. While Europe developed the lute, the oud remained a central part of Arab music, and broader Ottoman music, undergoing a range of transformations. Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo after the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo's royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194–1250) continued integrating Muslims into his court, including Moorish musicians. Frederick II made visits to the Lech valley and Bavaria between 1218 and 1237 with a "Moorish Sicilian retinue". By the 14th century, lutes had spread throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands. By 1500, the valley and Füssen had several lute-making families, and in the next two centuries the area hosted "famous names of 16th and 17th century lutemaking". Although the major entry of the short lute was in Western Europe, leading to a variety of lute styles, the short lute entered Europe in the East as well; as early as the sixth century, the Bulgars brought the short-necked variety of the instrument called komuz to the Balkans.

Back

The back or the shell is assembled from thin strips of hardwood (maple, cherry, ebony, rosewood, gran, wood and/or other tonewoods) called ribs, joined (with glue) edge to edge to form a deep rounded body for the instrument. There are braces inside on the soundboard to give it strength.

Neck

The neck is made of light wood, with a veneer of hardwood (usually ebony) to provide durability for the fretboard beneath the strings. Unlike most modern stringed instruments, the lute's fretboard is mounted flush with the top. The pegbox for lutes before the Baroque era was angled back from the neck at almost 90° (see image), presumably to help hold the low-tension strings firmly against the nut which, traditionally, is not glued in place but is held in place by string tension only. The tuning pegs are simple pegs of hardwood, somewhat tapered, that are held in place by friction in holes drilled through the pegbox. As with other instruments that use friction pegs, the wood for the pegs is crucial. As the wood suffers dimensional changes through age and loss of humidity, it must retain a reasonably circular cross-section to function properly—as there are no gears or other mechanical aids for tuning the instrument. Often pegs were made from suitable fruitwoods such as European pearwood, or equally dimensionally stable analogues. Matheson, 1720, said, "If a lute-player has lived eighty years, he has surely spent sixty years tuning."

Bridge

The bridge, sometimes made of a fruitwood, is attached to the soundboard typically between a fifth and a seventh of the belly length. It does not have a separate saddle but has holes bored into it to which the strings attach directly. The bridge is made so that it tapers in height and length, with the small end holding the trebles and the higher and wider end carrying the basses. Bridges are often colored black with carbon black in a binder, often shellac and often have inscribed decoration. The scrolls or other decoration on the ends of lute bridges are integral to the bridge, and are not added afterwards as on some Renaissance guitars (cf Joachim Tielke's guitars).

Frets

The frets are made of loops of gut tied around the neck. They fray with use, and must be replaced from time to time. A few additional partial frets of wood are usually glued to the body of the instrument, to allow stopping the highest-pitched courses up to a full octave higher than the open string, though these are considered anachronistic by some (though John Dowland and Thomas Robinson describe the practice of gluing wooden frets onto the soundboard). Given the choice between nylon and gut, many luthiers prefer to use gut, as it conforms more readily to the sharp angle at the edge of the fingerboard.

Strings

Strings were historically made of animal gut, usually from the small intestine of sheep (sometimes in combination with metal) and are still made of gut or a synthetic substitute, with metal windings on the lower-pitched strings. Modern manufacturers make both gut and nylon strings, and both are in common use. Gut is more authentic for playing period pieces, though unfortunately it is also more susceptible to irregularity and pitch instability owing to changes in humidity. Nylon offers greater tuning stability, but is seen as anachronistic by purists, as its timbre differs from the sound of earlier gut strings. Such concerns are moot when more recent compositions for the lute are performed. Of note are the catlines used as basses on historical instruments. Catlines are several gut strings wound together and soaked in heavy metal solutions to increase the string mass. Catlines can be quite large in diameter compared to wound nylon strings of the same pitch. 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 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. The courses are tuned in unison for high and intermediate pitches, but for lower pitches one of the two strings is tuned an octave higher (the course where this split starts changed over the history of the lute). The two strings of a course are virtually always stopped and plucked together, as if a single string—but in rare cases, a piece requires that the two strings of a course be stopped or plucked separately. The tuning of a lute is a complicated issue, described in a section of its own below. The lute's design makes it extremely light for its size. However, none of these patterns were de rigueur, and a modern lutenist occasionally retunes one or more courses between pieces. Manuscripts bear instructions for the player, e.g., 7 e chœur en fa = "seventh course in fa" (= F in the standard C scale). The early 17th century was a period of considerable development for the lute, particularly with new tuning schemes developed in France. At this time French lutenists began to explore the expressive capabilities of the lute through experimentation in tuning schemes on the instrument. Today these tunings are often labeled as transitional tunings or Accords nouveaux (French: “new tunings”). Transitional tunings document the transition from the established Renaissance lute tuning, to the later established Baroque d-minor tuning scheme. This development in tuning is credited to French lutenists of the early 17th century, who began increasing the number of major or minor thirds on the adjacent open strings of the 10-course lute. As a result the French lutenist found a more sonorous sound and increased sympathetic vibration on the instrument. This led to new compositional styles and playing techniques on the instrument, most notably the Style brisé (French: "broken style"). Manuscript sources from the first half of the 17th century provide evidence that French transitional tunings gained popularity and were adopted across much of continental Europe. The most used transitional tunings during this time were known as the "sharp" and "flat" tunings. Read from the tenth to the first course on a 10-course lute, the sharp tuning reads: C, D, E, F, G, C, F, A, C, E. The flat tuning reads, C, Db, Eb, F, G, C, F, Ab, C, Eb. However, by around 1670 the scheme known today as the "Baroque" or "D minor" tuning became the norm, at least in France and in northern and central Europe. In this case, the first six courses outline a d-minor triad, and an additional five to seven courses are tuned generally scalewise below them. Thus the 13-course lute played by composer Sylvius Leopold Weiss would have been tuned or with sharps or flats on the lower 7 courses appropriate to the key of the piece. Modern lutenists tune to a variety of pitch standards, ranging from A = 392 to 470 Hz, depending on the type of instrument they are playing, the repertory, the pitch of other instruments in an ensemble and other performing expediencies. No attempt at a universal pitch standard existed during the period of the lute's historical popularity. The standards varied over time and from place to place. Instruments et oeuvres d'art – search-phrase: Mot-clé(s) : luth Facteurs d'instruments – search-phrase: Instrument fabriqué : luth Photothèque – search-phrase: Instrument de musique, ville ou pays : luth Lutes at the Metropolitan Museum of Art Articles and resources Pioneers of the Lute Revival by Jo Van Herck (Belgian Lute Academy) Original: Over de pioniers van de luitrevival; Luthinerie / Geluit no. 15 (September 2001) and no. 16 (December 2001) Photos and Paintings French Lutenists and French Lute Music in Sweden La Rhétorique des Dieux Lautenweltadressbuch: A List of Extant Historical Lutes from Lute Society of America

Text derived from https://en.wikipedia.org/w/index.php?oldid=1373919831 under CC BY-SA 4.0; modifications have been made.