![]() The format of these songbooks was intended to be performed with a solo voice and an accompaniment, but some did include variations for multiple voices and additional instruments. The last book published was by John Attey in 1622, called First Book of Ayres. The compositions were short, homophonic songs with minimal phrase repetition with their own lyrics. Philip Rosseter, court musician, composer, and theatrical manager, published a collection in 1601, A Book of Ayres, with composer and poet Thomas Campion. Problems playing this file? See media help. John Dowland's ayres, like other composers, used music from dance forms such as pavane, galliard and jig, for the melody. The music was printed on the page, so that when placed in the center of a table it could be read by the performers around the table. This is considered the beginning of the popularity of the lute songs, that set the standard for other composer’s songbooks of English ayres. The first written record of the lute songs or ayres is a 1597 publication First Booke of Songes or Ayres, which was composed by John Dowland. In England, the lute song was usually called an "ayre", possibly borrowed from the French word, air. Italy had forms of song such as the frottola that were much like the lute song, but the lute song seemed more prominent in England and France. Collections of the French airs were published in England, Germany and Holland. Collections of airs de cour were used in other countries, besides England and France. In France, the chanson is a precursor to the lute song or air de cour. This was an earlier strophic form of music that was for a solo voice accompanied by a small group of string instruments. The consort song, popular in England, is considered to be closely related to the lute song. King Louis XIII was believed to be fond of the simple songs, which led to a volume of work during his reign.Ĭomposers of the lute song usually composed other forms of music as well such as madrigals, chansons, and consort songs. The lute song was popular among the Royalty and nobility. ![]() These songs were composed for professional and amateur performers, which had variations for solo and ensemble. The text could be written by the composer or most often borrowed from a poem, set in verse form. In England, the songs tended to range from extended contrapuntal compositions to short harmonized tunes. The basic style of lute songs is light and serious, with poetic lyrics that usually followed word-setting to composed music. The composition could be performed either solo or with a small group of instruments. It was not uncommon for other forms of accompaniments such as bass viol or other string instruments, and could also be written for more voices. The composition was written for a solo voice with an accompaniment, usually the lute. Lute songs were generally in strophic form or verse repeating with a homophonic texture. The term lute song is given to a music style from the late 16th century to early 17th century, late Renaissance to early Baroque, that was predominantly in England and France. A concert, painting by Lorenzo Costa, in the National Gallery, London For the 1946 stage musical, see Lute Song (musical). For Ming Dynasty-era Chinese play, see Tale of the Pipa. There’s also a bit more information about the medieval lute and its construction.This article is about a style of music. ![]() This video includes one of my favourite medieval tunes: the Trotto. This was taken to extremes in the Renaissance with fifteen strings or more.Īgain, like other stringed instruments it was very quiet and suitable for playing indoors only. When there were more than five, they were strung in pairs. The lute could have anywhere between four and ten gut strings. As you’ll see in one of the videos, the player could form notes by pressing strings against the soundboard itself. It usually had two intricately carved holes, one behind the bridge and one just beyond the reach of the player’s fingers at the bottom of the neck. The body was made from thin strips of wood glued together and the sound board was glued to the front. There were frets on the fingerboard, although there was some variety in the number of them. It could be played with a plectrum, or it could be plucked with the fingers. The strings were attached to tuning pegs, which were at an angle to the neck. Like the other stringed instruments we’ve seen, it had a body and a neck.
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