The arpeggione is a six-stringed musical instrument, fretted and tuned like a guitar, but bowed like a cello, and thus similar to the bass viola da gamba .< sup > photo </ sup > The body shape of the instrument, is however more similar to a medieval fiddle than either the guitar or the bass viol.

gamba > jambe ), the regular outcome of Latin Gallia would have been * Jaille in French.

* Picard gambe ~ Old French jambe ( leg ; pronounced rather than the modern – is the ge sound in beige ), from * gambe ( vulgar Latin gamba ): absence of palatalization of in Picard before tonic and.

In general there are two major approaches to the design outline shape of the double bass, these being the violin form ( shown in the labelled picture to the right ), and the viol da gamba form ( shown in the header picture ).

A low seventh string was supposedly added in France to the bass viol by Monsieur de Sainte-Colombe ( c. 1640 – 1690 ), whose students included the French gamba virtuoso and composer Marin Marais.

In the Baroque period, the term was also occasionally used for both vocal and instrumental compositions, such as Claudio Monteverdi's Scherzi musicali ( 1607 ), Antonio Brunelli's Scherzi, Arie, Canzonette e Madrigale ( 1616 ) for voices and instruments, Johann Schenk's Scherzi musicale ( fourteen suites for gamba and continuo ) or the scherzo of Johann Sebastian Bach's Partita No. 3 for harpsichord.

* Barthold Kuijken ( flute ), Sigiswald Kuijken ( violin ), Wieland Kuijken ( viola da gamba ), Robert Kohnen ( harpsichord ) ( Deutsche Harmonia Mundi, 1994 )

Examples are the six sonatas for harpsichord and solo violin ( BWV 1014 – 1019 ), three sonatas for harpsichord and viola da gamba ( BWV 1027 – 1029 ), and three sonatas for harpsichord and flute ( BWV 1030 – 1032 )

Recent research has suggested that the suites were not written for the familiar cello played between the legs ( da gamba ), but an instrument played rather like a violin, on the shoulder ( da spalla ).

But his most popular book is probably Tous les matins du monde ( All the Mornings in the World ), about 17th-century viola de gamba player Marin Marais and his teacher, Sainte-Colombe, which was adapted for the screen in 1991, by director Alain Corneau.

Many archive documents testify that from 1585 to 1895 Brescia was the cradle of a magnificent school of string players and makers, all styled " maestro ", of all the different kinds of stringed instruments of the Renaissance: viola da gamba ( viols ), violone, lyra, lyrone, violetta and viola da brazzo.

The continuo forces include two harpsichords ( duoi gravicembani ), a double harp ( arpa doppia ), two or three chitarroni, two pipe organs ( organi di legno ), three bass viola da gamba, and a regal or small reed organ.

* Marin Marais, Les Folies d ' Espagne, La reveuse, L ' arabesque, Le badinage, Sonnerie de Ste-Genevieve du Mont ; performers: Jordi Savall ( Bass viola da gamba ), Pierre Hantaï ( Harpsichord ), Rolf Lislevand ( Theorbo ); recording label: Alia Vox, 9821 ; 2002.

From 1947 to 1962, Jaunet was involved in baroque chamber music in the Zunfthaus zur Meise in Zürich, where he played with Hans Andreae ( harpsichord ), James Whitehead ( cello ), Claude Starck ( cello ), Karl Maria Schwamberger ( viola da gamba ), Hugues Cuenod ( tenor ), Hermann Leeb ( lute, guitar ), Heribert Lauer ( violin ) and others.

At age sixteen, Bruhns, together with his younger brother Georg, was sent to Lübeck to live with his uncle Peter, who would teach Bruhns the violin and the viola da gamba.

The bass viola da gamba continued to be used into the 18th century as a solo instrument ( and to complement the harpsichord in basso continuo ).

It is designed to be used in conjunction with a stop of similar tonal quality of its own, normally a Viola da gamba ( Viole de gambe ) or Salicional.

In Southeast Asia, the rebab is a large instrument with a range similar to the viola da gamba, whereas versions of the instrument further west tend to be smaller and higher-pitched.

She is considered to be one of the world's finest viola da gamba players, specializing in solo and ensemble music of the 17th and 18th centuries.

Over the centuries, Europe continued to have two distinct types of fiddles: one, relatively square-shaped, held in the arms, became known as the lira da braccio ( arm viol ) family and evolved into the violin ; the other, with sloping shoulders and held between the knees, was the lira da gamba ( leg viol ) group.

In Elizabethan English, the word " gambo " ( for gamba ) appears in many permutations ; e. g., " viola de gambo ", " gambo violl ", " viol de gambo ", or " viole de gambo ", used by such notables as Tobias Hume, John Dowland, and William Shakespeare in Twelfth Night.

However, in the viola da gamba, it is the reverse ; thus violinists, violists, and cellists look like they are " pulling " on the strong beats when they play, whereas gamba players look like they are " stabbing " on the strong beats.

* 1743 – 1746 Bach revises his St Matthew Passion ( two organs used again, but Viola da gamba still retained ; Recitatives revised so that now only the vox Christi recitatives have sustained Continuo parts ).

Over the centuries that followed, Europe continued to have two distinct types of bowed instruments: one, relatively square-shaped, held in the arms, became known as the lira da braccio ( arm viol ) family ; the other, with sloping shoulders and held between the knees, was the lira da gamba ( leg viol ) group.

Sainte-Colombe was a celebrated master of the viola da gamba ; it is said that he added the seventh string ( AA ) on the bass viol.

The name comes from the Medieval Latin word gamba, meaning horse's hock or leg.

It is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family.

He states that, while the exterior of the double bass may resemble the viola da gamba, the internal construction of the double bass is nearly identical to instruments in the violin family, and very different from the internal structure of viols.

The double bass is closest in construction to violins, but has some notable similarities to the violone ( literally " large viol "), the largest and lowest member of the viola da gamba family.

A notable exception is the Brandenburg Concerto No. 6 composed by J. S. Bach, scored for 2 violas, cello, 2 violas da gamba, and continuo, in which the two violas were placed in the primary melodic role.

The viol ( also known as the viola da gamba ) is any one of a family of bowed, fretted and stringed musical instruments developed in the mid-late 15th century and used primarily in the Renaissance and Baroque periods.

The viola da gamba is occasionally confused with the viola, the alto member of the modern violin family and a standard member of both the symphony orchestra and string quartet.

It is common enough ( and justifiable ) today for modern players of the viola da gamba to call their instruments violas and likewise to call themselves violists.

These include luca for a thousand pesos, quina for five hundred pesos ( quinientos is Spanish for " five hundred "), and gamba for one hundred pesos.

The difference almost certainly results from the different ways in which the bow is held in these instrument families: violin / viola / cello players hold the wood part of the bow closer to the palm, whereas gamba players use the opposite orientation, with the horsehair closer.

Viola da braccio means the normal viola, and is used here to distinguish it from the " viola da gamba ".

This number calls for two orchestras: one is an ensemble scene with strings with sordino, oboe, tiorba, harp, bassoons and viola da gamba concertante.

Important early images like this are key and essential for seeing and understanding the origins and connections between plucked vihuela and bowed vihuela, that is vihuela de arco, otherwise known as viola da gamba ( in Italian ) or viol s.

Unlike a Western string bow, the bow of the rebab is deeper and held underhand like that of a viola da gamba.

Johannes Voorhout: Domestic Music Scene ( the man at the harpsichord is almost certainly Reincken, on his left most probably Dieterich Buxtehude playing the viola da gamba, and on his right, below the harpsichord, possibly Johann Theile ).

His work The Bladder-Stone Operation, for viola da gamba and harpsichord, includes composer's annotations such as " The patient is bound with silken cords " and " He screameth.