Baroque guitar

Hall's main field of study is the baroque guitar and viheula.

Ryckaert was also a noted performer on the Baroque guitar.

After the intermission, he played 17th-century works for the five-course Baroque guitar.

Included in its ancestry is the baroque guitar.

He is regarded as one of the greatest virtuosos of the Baroque guitar.

Renaissance and Baroque guitars are the gracile ancestors of the modern classical guitar.

It has also similarities with the 5 course baroque guitar, that elsewhere evolved into the modern guitar.

Apart from the instruments mentioned, he was considered expert on the Renaissance and Baroque guitars.

The Baroque guitar replaced the Renaissance lute as the most common instrument found in the home.

The body of the Viola Toeira is slender in shape, similar to the baroque guitar.

The baroque guitar is one of the earliest instruments considered a guitar, and the first to have significant surviving repertoire.

Surviving baroque guitars have (or originally had) nine or ten strings, in five courses.

His best known work is a collection of pieces for baroque guitar entitled Poema harmónico that was published in 1694.

He wrote four books for the five-coursed baroque guitar, which mainly comprised simple battute solos.

The baroque guitar has five courses, with the top four always double strung, and the bass string either double or single.

Intimately tied to the development of the Baroque guitar is the alfabeto system of notation.

It has a history that was shaped by contributions from earlier instruments, such as the lute, the vihuela, and the baroque guitar.

This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an integral part of an interpretation.

It is very likely that the battente is derived from the baroque guitar, of which is shares many characteristics.

Main composers for the baroque guitar:

Paulo Galvão: Chacoinas (2) in A minor for baroque guitar.

His life coincided with the evolution of the guitar from the five-course baroque guitar to its modern six string classical form.

Much of the vihuela's place, role, and function was taken up by the subsequent Baroque guitar (also sometimes referred to as vihuela or bigüela).

(He played the baroque guitar.)

The Italian, French, and Spanish six-string guitars all differed from the baroque guitar in more or less the same ways.