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The main differences between the archlute and the "baroque" lute of northern Europe are that the baroque lute has 11 to 13 courses, while the archlute typically has 14, [2] and the tuning of the first six courses of the baroque lute outlines a d-minor chord, while the archlute preserves the tuning of the Renaissance lute, [3] with perfect fourths surrounding a third in the middle for the first ...
As with the lute, the player plucks or strums the strings with the right hand while "fretting" (pressing down) the strings with the left hand. The theorbo is related to the liuto attiorbato , the French théorbe des pièces , the archlute , the German baroque lute, and the angélique (or angelica ).
Most Renaissance lute music has been transcribed for guitar (see List of composers for lute). The baroque guitar (c.1600–1750) was a string instrument with five courses of gut strings and moveable gut frets. The first (highest pitched) course was sometimes a single string.
Guitar tablature is not standardized and different sheet-music publishers adopt different conventions. Songbooks and guitar magazines usually include a legend setting out the convention in use. The most common form of lute tablature uses the same concept but differs in the details (e.g., it uses letters rather than numbers for frets). See above.
A prolific and highly original composer, Kapsberger is chiefly remembered today for his lute and theorbo (chitarrone) music, which was seminal in the development of these as solo instruments. First measures of the tablature of the first tocatta of the libro primo d'intavolatura di chitarone (first book of chitarone tablature) by Johannes ...
The guitar, which had so far been tuned in re-entrant tuning (e' - b - g - d' - a), took over the 6th course and the tuning of the mandora (e' - b - g - d - A - G, later also e' - b - g - d - A - E), whereas the mandora took over the stringing with single strings instead of courses, as had been introduced to the guitar. The so-called ...
French lute music declined during the second part of the 16th century; however, various changes to the instrument (the increase of diapason strings, new tunings, etc.) prompted an important change in style that led, during the early Baroque, to the celebrated style brisé: broken, arpeggiated textures that influenced Johann Jakob Froberger's ...
Galbraith generally tunes (B)EADGBEA which puts standard 6 string guitar chord voicings and scale shapes within the neck and allows him to read lute tablature directly (a whole step higher). Vynograd chooses to tune AEADGCEA (notice the b string is tuned up a half step) which allows him to play the top 6 strings like a guitar a 4th higher.