Viol in the context of Stringed instruments

Lutes are stringed musical instruments that include a body and "a neck which serves both as a handle and as a means of stretching the strings beyond the body".

The lute family includes not only short-necked plucked lutes such as the lute, oud, pipa, guitar, citole, gittern, mandore, rubab, and gambus and long-necked plucked lutes such as banjo, tanbura, bağlama, bouzouki, veena, theorbo, archlute, pandura, sitar, tanbur, setar, but also bowed instruments such as the yaylı tambur, rebab, erhu, and the entire family of viols and violins.

Baroque music (UK: /bəˈrɒk/ or US: /bəˈroʊk/) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition (the galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and continues to be widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". Key composers of the Baroque era include Johann Sebastian Bach, George Frideric Handel, Henry Purcell, Antonio Vivaldi, Georg Philipp Telemann, Domenico Scarlatti, Claudio Monteverdi, Girolamo Frescobaldi, Alessandro Scarlatti, Jean-Baptiste Lully, Jean-Philippe Rameau, Arcangelo Corelli, François Couperin, Heinrich Schütz, Dieterich Buxtehude, and Heinrich Ignaz Franz Biber.

The Baroque saw the formalization of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this type of harmony has continued to be used extensively in Western classical and popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.

The violin family of musical instruments was developed in Italy in the 16th century. At the time the name of this family of instruments was viole da braccio which was used to distinguish them from the viol family (viole da gamba). The standard modern violin family consists of the violin, viola, cello, and (possibly) double bass.

Instrument names in the violin family are all derived from the root viola, which is a derivative of the Medieval Latin word vitula (meaning "stringed instrument"). A violin is a "little viola", a violone is a "big viola" or a bass violin, and a violoncello (often abbreviated cello) is a "small violone" (or literally, a "small big viola"). (The violone is not part of the modern violin family; its place is taken by the modern double bass, an instrument with a mix of violin and viol characteristics.)

The citole was a string musical instrument, closely associated with the medieval fiddles (viol, vielle, gigue) and commonly used from 1200–1350. It was known by other names in various languages: cedra, cetera, cetola, cetula, cistola, citola, citula, citera, chytara, cistole, cithar, cuitole, cythera, cythol, cytiole, cytolys, gytolle, sitole, sytholle, sytole, and zitol.

Like the modern guitar, it was manipulated at the neck to get different notes, and picked or strummed with a plectrum (the citole's pick was long, thick, straight and likely made of ivory or wood). Although it was largely out of use by the late 14th century, the Italians "re-introduced it in modified form" in the 16th century as the cetra (cittern in English), and it may have influenced the development of the guitar as well. It was also a pioneering instrument in England, introducing the populace to necked, plucked instruments, giving people the concepts needed to quickly switch to the newly arriving lutes and gitterns. Two possible descendant instruments are the Portuguese guitar and the Corsican Cetera, both types of cittern.

Early music generally comprises Medieval music (500–1400) and Renaissance music (1400–1600), but can also include Baroque music (1600–1750) or Ancient music (before 500 AD). Originating in Europe, early music is a broad musical era for the beginning of Western classical music.

The vihuela (Spanish pronunciation: [viˈwela]) is a 15th-century fretted plucked Spanish string instrument, shaped like a guitar (figure-of-eight form offering strength and portability) but tuned like a lute. It was used in 15th- and 16th-century Spain as the equivalent of the lute in Italy and has a large resultant repertory. There were usually five or six doubled strings.

A bowed version, the vihuela de arco (arco meaning bow), was conceived in Spain and made in Italy from 1480. One consequence was the phrase vihuela de mano being thereafter applied to the original plucked instrument. The term vihuela became "viola" in Italian ("viole" in Fr.; "viol" in Eng.), and the bowed vihuela de arco was to serve as a prototype in the hands of the Italian craftsmen for the "da gamba" family of fretted bowed string instruments, as developed starting in 1480. Their vihuela-inherited frets made these easier to play in tune than the rebec family (precursors of the "da braccio" family), and so they became popular for chamber music.

The violoncello (/ˌvaɪələnˈtʃɛloʊ/ VY-ə-lən-CHEL-oh, Italian pronunciation: [vjolonˈtʃɛllo]), commonly abbreviated as cello (/ˈtʃɛloʊ/ CHEL-oh), is a medium-low pitched bowed (sometimes plucked and occasionally hit) string instrument of the violin family. Its four strings are usually tuned in perfect fifths: from low to high, C₂, G₂, D₃ and A₃. The viola's four strings are each an octave higher. Music for the cello is generally written in the bass clef; the tenor clef and treble clef are used for higher-range passages.

Played by a cellist or violoncellist, it enjoys a large solo repertoire with and without accompaniment, as well as numerous concerti. As a solo instrument, the cello uses its whole range, from bass to soprano, and in chamber music, such as string quartets and the orchestra's string section, it often plays the bass part, where it may be reinforced an octave lower by the double basses. Figured bass music of the Baroque era typically assumes a cello, viola da gamba or bassoon as part of the basso continuo group alongside chordal instruments such as organ, harpsichord, lute, or theorbo. Cellos are found in many other ensembles, from modern Chinese orchestras to cello rock bands.

Baroque music (UK: /bəˈrɒk/ or US: /bəˈroʊk/) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition (the galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and continues to be widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". Key composers of the Baroque era include Jacopo Peri, who wrote the first operas; Alessandro Stradella, who originated the concerto grosso style; and Arcangelo Corelli, who was one of the first composers to publish widely and have his music performed across Europe.

The Baroque saw the formalization of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this type of harmony has continued to be used extensively in Western classical and popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.

Bass violin is the modern term for various 16th- and 17th-century bass instruments of the violin (i.e. viola da braccio) family. They were the direct ancestor of the modern cello. Bass violins were usually somewhat larger than the modern cello, but tuned to the same nominal pitches or sometimes one step lower. Contemporaneous names for these instruments include "basso de viola da braccio," "basso da braccio," or the generic term "violone," which simply meant "large fiddle." The instrument differed from the violone of the viol, or "viola da gamba" family in that like the other violins it had at first three, and later usually four strings, as opposed to five, six, or seven strings, it was tuned in fifths, and it had no frets. With its F-holes and stylized C-bouts it also more closely resembled the viola da braccio.

The name "bass violin" is also sometimes used for the double bass.

The term violone (Italian pronunciation: [vi.oˈloːne, vjo-]; literally 'large viol', -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.

A fretless bass is an electric bass guitar whose neck lacks frets and thus is smooth like traditional string instruments, and like the neck of an acoustic double bass. While the fretless bass is played in all styles of music, it is most common in pop, rock, and jazz. It first saw widespread use during the 1970s, although some players used them before then.

The Fender Precision Bass was introduced in 1951, with frets to help performers find the proper note (i.e. to provide precision). This concept of the fretted bass guitar has since become the standard, as other companies followed with similar electric fretted basses, like the Höfner 500/1 of Beatle Paul McCartney, which resembled a viol but with frets.

The pardessus de viole is the highest-pitched member of the viol family of instruments. It is a bowed string instrument with either five or six strings and a fretted neck. The pardessus first appeared in the early 18th century, and was commonly played by women, particularly in French-speaking countries.

The lira da braccio (or lira de braccio or lyra de bracio) was a European bowed string instrument of the Renaissance. It was used by Italian poet-musicians in court in the 15th and 16th centuries to accompany their improvised recitations of lyric and narrative poetry. It is most closely related to the medieval fiddle, or vielle, and like the vielle had a leaf-shaped pegbox with frontal pegs. Fiddles with drone strings are seen beginning in the 9th century (Byzantine lyra), and the instrument continued to develop through the 16th century. In many depictions of the instrument, it is being played by mythological characters, frequently members of angel consorts, and most often by Orpheus and Apollo. The lira da braccio was occasionally used in ensembles, particularly in the intermedi, and may have acted as a proto-continuo instrument.

The instrument was shaped essentially like a violin, but with a wider fingerboard and flatter bridge. Generally, it had seven strings, five of them tuned like a violin with a low d added to the bottom (that is, d–g–d'–a'–e'') with two strings off the fingerboard which served as drones and were usually tuned in octaves. Michael Praetorius shows the instrument with frets, although he is the only one to do so (see image at right). The wide fingerboard and flat bridge, along with long, strongly curved bows, facilitated chordal playing on the instrument. Although Praetorius depicts the instrument as lyra de bracio with various viols "da gamba" (see image), it was in fact played on the shoulder, as is implied by its name, which refers to the arm, or braccio in Italian. From the few treatises and compositions which survive, it seems that the lira was played with triple and quadruple stops. The player was somewhat limited in terms of what inversions they could play, and it is believed that the top strings may have been used for melody, and the lower strings for chordal playing. In addition, it is believed that when accompanying singing, the instrument played at a higher pitch than the performer sang. Eventually in the late 16th century a fretted bass version of the lira da braccio with an expanded number of strings was developed, the lirone, also known as the lira da gamba, which was played "da gamba", or between the legs.