The 7th string was added later on the viola da gamba.
(btw, check out the movie of the same name, it's nice :))
But this isn't relavant: The common feature is the "bastarda" style.
While diminutions usually apply to the upper voice, bastarda goes
through all the voices.
The soloist needs to find a way through every layer of polyphony,
connecting different voice layers with elegant lines.
This is obviously only possible using an instrument with a wide range.
The viola bastarda is the intermediate size that will allow you to reach
the top notes and the bass easily without reaching your lowest note or
having to fiddle around on unfretted space.
The 7course lute of Terzi is also able to achieve that, so the
repertoire or bastarda playing is naturally interchangable.
It seems Terzi was the first to explicitly use bastarda diminution on
the lute.
Or are there other duets that are similar?
On 02.07.20 23:11, Sean Smith wrote:
Dear all, I have a question regarding the overlap in repertoire between
the viola bastarda and Terzi.
In his second book (1599) he includes Chi farà fede [Striggio] with
the note, "... accommodato à modo di Viola bastarda per suonar in
Concerto con Liutto grande".
I take it to mean that it's 'in the style of' the v.b. and not actually
for the v.b. but I was wondering if there were viols with the necessary
7th string a 4th below #6 at the time suitable for this rep.
Any thoughts on this? Sean
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