citole – Early Music Muse

The English estampie: interpreting a medieval dance(?) tune (revised, with new analysis & new video)

Ian Pittaway citole, Douce Francis, English dance, estampida, estampie, gymel, historically informed performance, istanpitta, Jean de Grouchy, Johannes de Grocheio, medieval notation, stampetum, stantipede, stantipedem, stantipedis, stantipes 4th December 20244th December 2024 13 Comments

One of the earliest extant pieces of English instrumental music has survived with the 13^th–14^th century manuscript, Douce 139, now in the Bodleian Library, Oxford. It is exciting in its musical drive and complexity, but interpretation of the neume notation has its problems, leaving us to make judgements about intention. The music is untitled, and is often named Estampie or English Dance in modern sources.

This article works through the puzzles to gain performable answers. What is an estampie? Is the Douce 139 piece an estampie? Was the estampie really a dance? How can the musical problems left by the scribe’s imperfect notation be reconciled? This article looks for historically informed solutions, with a video of the music played on citole.

This is a revised version of an article first published in February 2019, with a more detailed analysis of the music and a new performance video.

Medieval plectrums: the written, iconographical and material evidence. Part 2/2: Medieval and early renaissance plectrum technique.

Ian Pittaway Astripotens famulos (Kind ruler of the stars), Cantigas de Santa María, cetra, cithara, citole, ductia, Foweles in the frith, Foweles in þe frith, Francesco da Milano, gittern, historically informed performance, iconography, kithara, lute, lute manuscripts and books, Mater dei (Mother of God), Milano Francesco da, Miro genere (By a wondrous birth), plectra, plectrum, plectrums, polyphony, psaltery, septime estampie Real, Stella splendens, Stuttgart Psalter, Uitime estampie Real 2nd October 20243rd October 2024 4 Comments

Part 1 brought together the written, iconographical and material evidence for the characteristics of plectrums used to play the gittern, lute, psaltery, citole and cetra, made from quills, gut strings, metal, bone, and ivory.

In part 2 we examine the practical evidence for medieval plectrum technique. Iconography is presented to demonstrate medieval ways of holding a plectrum; suggestions are made for easy accompaniment of monophonic melodies; the myth that plectrum instruments could not play polyphony is disproven; and evidence is presented for an intermediate stage in the 15^th century between playing with a plectrum and playing with fingertips, using both simultaneously. Finally, we answer the question: were plectrums always used to play medieval plucked chordophones?

This article includes 7 videos to illustrate medieval and early renaissance plectrum technique, beginning with citole and gittern playing an untitled polyphonic instrumental – probably a ductia – from British Library Harley 978, folio 8v-9r, c. 1261–65.

This is a revised version of the article originally published in January 2023, now with additional information, more examples of iconography, and a new illustrative video.

Medieval plectrums: the written, iconographical and material evidence. Part 1/2: Medieval plectrum materials and manufacture.

Ian Pittaway Astripotens famulos (Kind ruler of the stars), cetra, cithara, citole, estampie, gittern, historically informed performance, kithara, lute, lyre, Mater dei (Mother of God), Miro genere (By a wondrous birth), plectra, plectrum, psaltery, septime estampie Real, Stuttgart Psalter, Uitime estampie Real 2nd October 20243rd October 2024 5 Comments

Studies of medieval musical instruments draw upon written testimony, iconography (manuscript art, painting, drawing, sculpture and stained glass windows) and surviving instruments to describe their characteristics and the way they developed over time. In my search for evidence about medieval plectrums, I was surprised to find not one dedicated paper, book chapter or webpage. This article is an attempt to bring the written, iconographical and material evidence together and present some new research, focussing on the characteristics of plectrums used to play the gittern, lute, psaltery, citole and cetra, made from quills, gut strings, metal, bone, and ivory.

This is a revised version of the article originally published in January 2023, now with more information, extra illustrations, and a new illustrative video: La Uitime estampie Real (The Eighth Royal estampie), c. 1300, played on citole and gittern with plectrums of antler, horn and gut string.

In the second article, we survey the evidence for plectrum playing technique, with practical applications for modern players of medieval music; and evaluate whether all medieval plucked instruments were played with plectrums.

The complete French estampies of c. 1300: music, analysis, performance

Ian Pittaway Ars musice, Chansonnier du Roi, chant, church modes, citole, contrary motion, Doctrina de compondre dictates, drones, ecclesiastical chant, Edi beo thu heuene quene, Edi beo thu hevene quene, estampida, estampie, estanpie, fiddle, gittern, harp, heterophony, historically informed performance, istanpitta, Johannes de Grocheio, Manuscrit du Roi, medieval fiddle, medieval harp, modes, monophony, musica falsa, musica ficta, musica recta, musica vera, Notre Dame school, organum, parallel harmonies, parallel polyphony, polyphony, postlude, prelude, prime Estampie Royal, quarte Estampie Royal, quinte estampie Real, rhythmic modes, Roman de Horn, seconde Estampie Royal, septime estampie Real, Sexte estampie Real, stampen, stampita, stantipede, stantipedem, stantipedis, stantipes, tierce Estampie Roial, Uitime estampie Real, viella, vielle 4th September 20247th November 2024 2 Comments

Among the treasures of surviving medieval instrumental music are eight French royal estampies in the Manuscrit or Chansonnier du roi, c. 1300. This article includes:

• an outline of the manuscript, putting the estampies in context;
• a description of the estampie form from a contemporaneous French source, Ars musice by Johannes de Grocheio, c. 1300;
• a video of each of the eight royal estampies performed on either gittern, citole or medieval harp;
• the music for all the royal estampies in the original neume notation and in modern notation;
• music analysis and historically-informed performance suggestions, looking at a different aspect of performance for each estampie.

How reliable is medieval music iconography? Part 2/3: 10 principles for interpreting iconography

Ian Pittaway cithara, citole, cittern, cobza, Elbląg 'gittern', Elbląg coboz, Elbląg koboz, Elbląg kobza, fiddle, fiddle tunings, gittern, guitar, harp, iconography, instrument straps, Jerome of Moravia, kithara, koboz, kobza, lute, medieval fiddle, medieval fiddle tunings, musical instrument straps, organ, organetto, organino, organistrum, Pierre de Limoges, portative organ, rota, rote, rothe, rotta, simfonie, simfony, sinfonie, straps, symfony, symphonia, symphonie, therobo, Tractatus de Musica, viella, vielle, vielle tunings 24th April 202410th August 2024 0 Comment

Our chief source of information for medieval musical instruments is iconography, meaning the art of manuscripts, paintings, and sculptures. That this art must be viewed critically is a commonplace understanding. Due to its highly stylised nature, some argue that all medieval iconography is suspect and of no value for gleaning real-world information. This series of articles argues that this conclusion is a mistake: if we come to iconography with an historically-informed approach, medieval art has much to teach us about historical musical instruments.

How do we judge medieval symbolism, artistic conventions and the limitations of the medium (manuscript, stone, paint) so as to gather information valuable to a luthier, a music historian and a modern player of medieval instruments? That is what this article sets out to describe, outlining 10 principles when viewing iconography for practical musical purposes.

The first article introduced the topic by outlining the characteristics of medieval art. The third and final part puts the 10 principles of the present article into practice with the recreation of a gittern painted by Simone Martini in 1312-18.

How reliable is medieval music iconography? Part 1/3: Understanding medieval art

Ian Pittaway bray harp, bray lute, citole, gittern, harp, iconography, lute, pipe and tabor 17th April 20241st May 2024 0 Comment

Medieval art or iconography is a rich resource for the researcher of medieval musical instruments, giving information about the physical features of gitterns, citoles, lutes, fiddles, and so on, the extent of their popularity and geographical reach, and design changes over time.

However, common features of medieval art, such as size distortion and perspective distortion, mean that an individual instrument cannot be reconstructed from the page, painting or sculpture uncritically. This has led some commentators to suggest that medieval art is wholly defective and unreliable for instrument makers and players.

Using examples from iconography, I aim to show that illustrations of medieval instruments yield valuable and practically applicable data if we have a considered and historically informed approach.

This article, the first of three, discusses:

• the debate about representation and idolatry in the early church, and how this affected art;
• how symbolism is fundamental to representation and meaning in medieval art;
• how and why proportion in medieval art is often symbolic rather than naturalistic;
• nonetheless, the case for realism in medieval art, that it gives important real-world information, with examples from farming and ornithology;
• and that this real-world information extends to our knowledge of medieval instruments, with examples.

We begin with a video of medieval instruments – bray lute, citole, gittern, harp and bray harp – playing the three voice polyphonic Mariam Matrem Virginem attolite from El Llibre Vermell de Montserrat (The Red Book of Montserrat), 1396-99, with a commentary of instrument information. Further information about these instruments, gleaned from iconography, is summarised in this article.

Having made the case for the value of iconography in this first article, the second article continues by suggesting 10 principles for gaining musical instrument information from medieval art. These principles are then tested in the third and final article by the recreation of a gittern painted by Simone Martini in 1312-18.

Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Ian Pittaway alliterative literature, animals playing instruments, bagpipes, bells, Beowulf, Beverley Minster, cithara, citole, Doll thi ale, drum, duct flute, fiddle, flute, Foweles in the frith, Foweles in þe frith, harp, horn, hunting horn, iconography, kithara, medieval fiddle, medieval harp, minstrels, miracle plays, misericords, musical animals, mystery plays, Piers Plowman, pipe and tabor, psaltery, Puritans, recorder, septime estampie Real, Sir Gawain and the Green Knight, St. Mary's Church Cogges, viella, vielle, vielle tunings, viola 18th November 202310th August 2024

Alliteration was a foundational feature of medieval verse. Animals playing musical instruments are regularly seen in medieval art. The 14^th century stone-carved musicians of Saint Mary’s Church, Cogges, Oxfordshire, delightfully bring these two elements together: there are nine instruments played by eight alliterative animals (one plays two), including a sheep playing a citole and a boar playing a bagpipe (above).

This article begins with examples of alliteration in medieval poetry (Beowulf, Sir Gawain and the Green Knight, Piers Plowman), songs (Foweles in þe frith, Doll thi ale), and the medieval mystery plays; followed by illustrations of animals playing music in medieval and renaissance art. That is the background for a brief history of Saint Mary’s Church, Cogges, and an explanation of its eight alliterative animals playing medieval music, with photographs of every carving and a video of each instrument being played.

The evidence for straps used with medieval, renaissance and baroque musical instruments

Ian Pittaway archlute, baroque guitar, citole, cittern, cobza, gittern, guitar, harp, iconography, instrument straps, koboz, kobza, lute, medieval harp, musical instrument straps, nakers, organ, organetto, organino, organistrum, pipe and tabor, portative organ, psaltery, simfonie, simfony, sinfonie, straps, symfony, symphonia, symphonie, theorbo 11th October 202310th August 2024

To play a musical instrument comfortably, sometimes the player needs a strap to stabilise it. What is the historical evidence for the types of straps used for medieval, renaissance and baroque instruments?

As this article will show, in trying to discover the historical evidence for straps, we immediately encounter the conventions of artistic representation. Medieval artists until the 15^th century typically did not show straps, even when an instrument was impossible to play without one; and renaissance and baroque artists showed straps inconsistently and often only partially.

This article takes a roughly chronological look, sifting the artistic conventions from the practical realities to discover if and how straps were used on a range of historical instruments: citole; gittern; harp; psaltery; portative organ; simfony; pipe and tabor; cittern; guitar; nakers; and lutes from the medieval, renaissance and baroque periods.

The medieval minstrels of Beverley Minster. Part 8/8: The strange and continuing history of the minstrels’ neglect.

Ian Pittaway Beverley Minster, citole, fiddle, gittern, iconography, medieval fiddle, minstrels 23rd August 202310th August 2024 4 Comments

This is the last of eight articles about the iconography of Beverley Minster in Yorkshire: 71 musical minstrels carved in stone and wood in the 14^th century; musical misericords of the 16^th century; and neo-Gothic musicians carved in the early 20^th century. Beverley Minster has more medieval musicians and more misericords than any other church in the world.

The first article gives a potted history of the building being established in the 8^th century, then expanded in the 13^th and 14^th century, then the medieval minstrels being smashed by Puritans in the 16^th-17^th century and restored in the late 19^th and early 20^th century. The second, third and fourth articles describe all the 14^th century carvings of musicians, and the fifth sought to answer the question: why are there so many more medieval minstrels in this church than anywhere else? The sixth article explains the meanings of the 14^th century allegorical carvings; and the seventh describes the musical misericords of 1520 and the neo-Gothic organ screen of 1878–80 and 1919. This final article seeks to answer one central question: why, in the modern age, has the Minster’s medieval iconography been so poorly served?

Through a review of literature about Beverley Minster from the late 19^th century to the present, we will see the repeated pattern of either ignoring the minstrels altogether or muddled misnaming of the medieval instruments. This has been widespread in academic journals, in specialist books, and in publications for the general reader. This is a situation which still persists today, perpetuated by literature published by Beverley Minster.

First we outline the Beverley Minster Project, which would have provided an accurate book about the minstrels with illustrative photographs, complete with music CD/downloads; a concert with all the instruments of the Minster being played by medieval music specialists; an audio-visual tour of the minstrels for visitors; education for guides; and a new website about the minstrels linked to the main Beverley Minster site. This proposal would have been fully-funded by the Heritage Lottery Fund, at no cost to the Minster – indeed they would have generated money from it – and it would have promoted the Minster as an educational attraction for schools and individuals on the subject of historical music. The project was turned down without any engagement.

The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls.

Ian Pittaway bagpipes, Beverley Minster, citole, cornet, cornett, cornetto, cup cymbals, cymbals, drum, fiddle, fiddle tunings, gittern, harp, horn, hunting horn, hurdy gurdy, iconography, Jerome of Moravia, medieval fiddle, medieval fiddle tunings, medieval harp, minstrels, olifant, oliphant, olyphant, organ, organetto, organino, organistrum, pipe and tabor, portative organ, psaltery, serpent, simfonie, simfony, sinfonie, symfony, symphonia, symphonie, tambourine, timbrel, trumpet, vielle, zink 19th July 202310th August 2024 0 Comment

There are 71 images of 14^th century musicians in stone and wood in Beverley Minster, a church in the East Riding of Yorkshire, more than in any other medieval site. This is the third in a series of eight articles about the Minster’s medieval minstrels, surveying the musical life of 14^th century England. This article explores the carved musicians of the west, north and south walls, who are depicted playing medieval fiddles (vielles or viellas), gitterns, timbrel (tambourine), bagpipes, portative organs, citoles, harps, pipes and tabors, horns, cymbals, simfony, psaltery, nakers, and trumpets. Each instrument is described, with a photograph and a link to a video of the instrument being played.

In this article, the carvings on the walls teach us about: the meaning of minstrel; fashions of the 14^th century; a medieval menagerie of captive animals from overseas; a transition in the form of the portative organ; the fog of confusion in differentiating between the citole and gittern, only recently lifted; evidence of medieval fiddle tunings; and the difficult art of restoration and repair in both medieval art and medieval music.

This is followed in the fourth article with photographs and commentary on the minstrels in the tombs, altar screen, Saint Katherine’s chapel and south transept; and in the fifth article by a gathering of evidence to answer the question: why are there so many medieval minstrels in the Minster? The sixth article describes the 14^th century allegorical carvings of real and mythical beasts; and the seventh article explores musical aspects of the 16^th century misericords and 19^th–20^th century neo-Gothic organ screen. The final article puzzles over the paucity of print publications about the magnificent medieval minstrels, and Beverley Minster’s declared lack of interest in accurate information about their uniquely important iconography.

The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital.

Ian Pittaway bagpipes, Beverley Minster, bombard, citole, drum, fiddle, fiddle tunings, gittern, harp, lute, medieval fiddle, medieval fiddle tunings, medieval harp, nakers, organ, organistrum, pipe and tabor, portative organ, psaltery, shawm, simfonie, simfony, sinfonie, symfony, symphonia, symphonie, tambourine, timbrel, vielle 12th July 202310th August 2024 6 Comments

This is the second in a series of eight articles about the 14^th century carvings of medieval minstrels in Beverley Minster, a church in the East Riding of Yorkshire. There are 71 images of musicians in stone and wood, more than in any other medieval site. This article explores the carved musicians of the arcades, triforium and a capital, depicted playing harps, fiddles, bagpipes, timbrels, shawms, gittern, citole, portative organ, psaltery, pipe and tabor, nakers, and a drum. Each instrument is described, accompanied by a photograph of the Minster minstrel carving, with a link to a video of the instrument being played. This article thereby acts as a survey of the musical life of 14^th century England.

This is followed in the third and fourth articles with photographs and commentary on the minstrels in the rest of the church, and in the fifth article by a gathering of evidence to answer the fundamental question: why are there so many medieval minstrels in the Minster? The sixth article describes the 14^th century allegorical carvings; and the seventh article focuses on musical aspects of the 16^th century misericords and 19^th–20^th century neo-Gothic organ screen. The final article puzzles over the paucity of print publications about the magnificent medieval minstrels, and the Minster’s lack of interest in accurate information about their uniquely important iconography.

Polyphonic treasure in Lambeth Palace: three unique pieces from MS 457, c. 1200

Ian Pittaway Astripotens famulos (Kind ruler of the stars), citole, gittern, gymel, historically informed performance, Lambeth Palace Library MS 457, Mater dei (Mother of God), medieval notation, Miro genere (By a wondrous birth), Notre Dame school, polyphony, rhythmic modes 23rd November 202225th January 2023 5 Comments

Lambeth Palace Library, the national library and archive of the Church of England, has a collection of medieval and renaissance manuscripts which includes MS 457, a compilation of religious matters and, on one folio, four pieces of music from c. 1200, all unique to this source. Three are complete, and two have not been previously performed or recorded to my knowledge.

This article presents a video performance of the three complete and beautiful polyphonic pieces:

Miro genere (By a wondrous birth)
Astripotens famulos (Kind ruler of the stars)
Mater dei (Mother of God)

In the video, each piece is sung in two or three voices as in the manuscript, then played polyphonically on citole or gittern. The article then explains the principles of interpreting the medieval notation.

The citole: from confusion to clarity. Part 2/2: playing style and repertoire

Ian Pittaway Appalachian dulcimer, citole, dance, dulcimer, Edi beo thu heuene quene, Edi beo thu hevene quene, fiddle, Foweles in the frith, Foweles in þe frith, historically informed performance, jongleurs, kithara, lap dulcimer, medieval fiddle, minstrels, polyphony, scheitholt, septime estampie Real, Stella splendens, troubadours, trouvères 9th November 202210th August 2024 3 Comments

Following on from the first article outlining the evidence for the citole’s multiple physical forms, string material and tuning, this second article examines the evidence for the citole’s playing style, repertoire, and the social contexts in which it was played. We examine the reliability of playing positions in iconography; overturn the modern myth that the thumb-hole restricts the fretting hand; show that the citole is easily capable of playing two voice polyphony; and give evidence for the musical genres citole players engaged in, including songs, jongleur (minstrel), troubadour and trouvère material, religious repertoire and dance music.

We begin this article with a video of La septime estampie Real – The seventh Royal estampie, c. 1300, played on a copy of the surviving British Museum citole.

The citole: from confusion to clarity. Part 1/2: What is a citole?

Ian Pittaway Cantigas de Santa María, cetra, cetula, cithara, citole, cittern, fiddle, gittern, guitar, iconography, kithara, medieval fiddle, seconde Estampie Royal, Tinctoris Johannes, vielle 2nd November 202218th October 2024 14 Comments

The citole, a plucked fingerboard instrument of the 13^th and 14^th centuries, is today the most misunderstood of all medieval instruments. It is regularly wrongly identified as a plucked fiddle or a guitar, often confused with the cetra, and mistaken assumptions are made about its string material and its distinctive wedge neck with a thumb-hole.

Using the surviving British Museum citole, medieval iconography and medieval testimony, these two articles set out the evidence, drawing on the ground-breaking research of Laurence Wright, Crawford Young and Alice Margerum, with some additional observations.

This first article describes the citole’s physical form, string material and tuning. The second article describes the playing style and repertoire of the instrument.

We begin this article with video of a copy of the British Museum citole playing music from c. 1300: La seconde Estampie Royal – The second Royal Estampie. Read more

“the verray develes officeres”: minstrels and the medieval church

Ian Pittaway Ars musicae, bagpipes, Berkeley manuscript, Beverley Minster, bombard, Bosch Hieronymous, Bosch Jheronimus, bray harp, Canterbury Tales, carols, Chaucer Geoffrey, cithara, citole, cymbala, ductia, dulcimer, estampie, fiddle, Garden of Earthly Delights (Bosch painting), gittern, hammer dulcimer, harp, Jean de Grouchy, Jerome of Moravia, Johannes de Grocheio, jongleurs, lute, minstrels, monochord, nota, Notre Dame school, Order of the Ancient Company or Fraternity of Minstralls in Beverley, organ, organistrum, organum, pipe and tabor, portative organ, psaltery, rebab, recorder, rubeba, Saint Mary’s Church Beverley, shawm, simfonie, simfony, sinfonie, stantipes, Summa musice, symfony, symphonia, symphonie, Tractatus de Musica, vielle, violin 16th June 202123rd August 2023 8 Comments

In the middle ages, minstrels were regularly accused by church commentators of vanity, idleness, inflaming carnal desire, lechery, and leading others into vice. In the 12^th century, Bishop of Chartres John of Salisbury expressed the view that all minstrels should be exterminated. Because of this reputation, the church wanted to ensure that its most sacred music was different in kind to minstrel music, and restated several times that only the voice and organ were allowed in the liturgy, not instruments of minstrelsy. Still some writers complained bitterly of secular styles of music corrupting singers’ voices in sacred chant.

How can we account for the contradiction between clergy’s invectives against minstrels and the innumerable quantity of medieval and renaissance paintings in which gitterns, shawms, harps, fiddles, lutes – the instruments of minstrels – are shown in worship of the Virgin Mary and in praise of the infant Jesus? How can we reconcile the critiques of clerics against minstrels with their regular appearance in religious manuscripts, their likenesses carved in churches, and their employment by the church? This article seeks answers through the evidence of medieval Christian moralists; church councils; music treatises; religious paintings; records of church ceremonies; and the relationship of the church with organised minstrelsy.

Images from *The Luttrell Psalter*, 1325-1340 (BL Add MS 42130).
**Top row, left to right:** church singers (f. 171v); bishop (f. 31r); pilgrim (f. 32r); nun (f. 51v).
**This row, left to right**, players of: harp (f. 174v); pipe and tabor (f. 164v);
organistrum, also called the symphony (f. 176r); portative organ (f. 176r).

The guitar: a brief history from the renaissance to the modern day

Ian Pittaway baroque, baroque guitar, Broonzy Bill, Carthy Martin, citole, cittern, early instruments, early music, folk music, gittern, guitar, kithara, Latin guitar, Moorish guitar, orpharion, Paul Les, renaissance, renaissance guitar 4th September 202028th August 2024 4 Comments

The origins of the guitar are much-discussed and much-disputed, and some pretty wild and unsubstantiated claims are made for its heritage, based on vaguely guitar-like instruments in medieval and even pre-medieval iconography, about which we often know little or nothing beyond an indistinguishable drawing, painting or carving; or based on instruments which have names that sound like ‘guitar’. This article is an attempt to slice through the fog with a brief history of the instrument, charting its development from the renaissance, through the baroque period to the modern day, based only on what can be claimed with evidence. The article is illustrated with pictures, videos and sound recordings, beginning with a short video of guitar history.

This is an expanded version of an article originally published in 2015, with a new video.

Performing medieval music. Part 1/3: Instrumentation

Ian Pittaway Beverley Minster, Cantigas de Santa María, carols, citole, fiddle, gittern, harp, historically informed performance, mediaeval, medieval, medieval fiddle, medieval harp, monophony, recorder, rota, tabulae, vielle 1st August 201823rd August 2023 17 Comments

The most fundamental question of all in playing early music today is: how can the music be played to reflect historical practice? This is the first of three articles looking at historically-informed ways of performing medieval music, aiming to be a practical guide, with plenty of musical examples and illustrations, and a bibliography for those who wish to delve further.

This first article discusses the use of instruments and instrument combinations in medieval music. The illustrations in two manuscripts are used as typical representative examples: the 13^th century Iberian Cantigas de Santa Maria and the 14^th century English Queen Mary Psalter. The second article gives practical methods for making arrangements of medieval monophonic music according to historical principles, with an example to illustrate each method; and the third article discusses questions of style, including the performance of the non-mensural (non-rhythmic) music of the troubadours, ornamentation, and the medieval voice. Read more

The mysteries of the medieval fiddle: lifting the veil on the vielle

Ian Pittaway Agricola Martin, Berkeley manuscript, bourdon, church modes, citole, crwth, fiddle, fiddle tunings, Guido of Arezzo, Guidonian hand, Henry VIII, hexachord, hurdy gurdy, Jerome of Moravia, Johannes Tinctoris, jongleurs, kithara, lira da braccio, lute, lyra da braccio, lyre, Mary Rose, medieval fiddle, medieval fiddle tunings, medieval modes, medieval scales, minstrels, modes, musica ficta, organistrum, organum, re-entrant tuning, rebec, simfony, Tractatus de Musica, troubadours, trouvères, viella, vielle, vielle à roue, vielle tunings 22nd November 201530th October 2023 16 Comments

The vielle or medieval fiddle was the most popular instrument in its heyday for secular song accompaniment. It first appeared in western Europe in the 11^th century and continued to be played until the middle of the 16^th century, flourishing in the 12^th and 13^th centuries. There is a wealth of vielle iconography, which can tell us a great deal about the variety of its form and the context of its use. There is a medieval source for its tuning, Jerome of Moravia in the 13^th century, who gives 3 tunings for 5 strings, leaving us with some puzzles as to what exactly they mean in practice, and whether they can be applied to fiddles with fewer than 5 strings. Our only renaissance tuning source is Johannes Tinctoris in the 15^th century, which isn’t entirely clear in its meaning.

This page provides a detailed discussion of the different ways in which we can make sense of historical fiddle tunings and, in the light of that, a closely argued case for the relationship between the vielle and the crwth or bowed lyre, demonstrating that they were identical in style, having more in common with the hurdy gurdy family than modern bowed strings.

There are two editions of this article. This one includes detailed analysis. For a brief introduction, go to On the medieval fiddle: a short introduction to the vielle.

The gittern: a short history

Ian Pittaway Berkeley manuscript, Chaucer Geoffrey, citole, cobza, early music, Elbląg 'gittern', Elbląg coboz, Elbląg koboz, Elbląg kobza, gittern, koboz, kobza, Tinctoris Johannes 14th July 201530th June 2024 25 Comments

The gittern was one of the most important plucked fingerboard instruments of the late medieval period. Loved by all levels of society, it was played by royal appointment, in religious service, in taverns, for singing, for dancing, and in duets with the lute. Yet we know of no specific pieces played on this instrument. What we do have are many representations of it being played in a wide variety of contexts and one surviving instrument of the 15^th century, and from this we can reconstruct something of the history and repertoire of this widely-loved instrument. This article begins with a video of an estampie from c. 1300 played on gittern.

Medieval music: a quick guide to the middle ages

Ian Pittaway Astripotens famulos (Kind ruler of the stars), Cantigas de Santa María, citole, ductia, early music, estampie, gittern, Lambeth Palace Library MS 457, Mater dei (Mother of God), mediaeval, medieval, Mirie it is while sumer ilast, Miro genere (By a wondrous birth), polyphony, Sexte estampie Real, Sumer is icumen in 9th July 20157th July 2024 4 Comments

The middle ages covers a period of a thousand years – and yet much of its music-making is a mystery to us. We’re not completely in the dark, though, so the aim of this article is to give a broad beginner’s guide to the principles of secular medieval music. When were the middle ages? How do we know what the music sounded like? What were the earliest surviving songs? What was its dance music like? Why does medieval music sound so different to today’s? How did medieval musicians harmonise?

This article features 4 illustrative videos of medieval music and several links to further articles (click on blue text).