Viol (viola da gamba): history, characteristics, repertoire and revival

Characteristics and construction

Several physical features distinguish the viol from the violin family. Viols commonly have six strings (though some have five or seven), a fretted fingerboard (with frets originally made of gut), and a flat or gently arched back and sloping shoulders. The bow is held underhand with the palm facing upward, producing a different articulation and a gentle, nuanced attack. The fingerboard and frets make precise intonation and polyphonic playing — including chords and cross‑string contrapuntal writing — more accessible to the player.

• Stringing: usually gut strings, contributing to a warm, mellow timbre.
• Frets: tied or fixed frets aid tuning and ornamentation typical of the period.
• Bowing: underhand grip allows subtle dynamic shading and sustained polyphony.
• Sizes: family includes treble, tenor and bass members, forming consorts of matched instruments.

History and development

The viol emerged in the late Middle Ages and became prominent in the Renaissance and Baroque eras. It was widely used in domestic music-making as well as in court and church settings. Ensembles of viols, known as consorts, were central to English and continental repertoire for several centuries. Composers wrote fantasias, dances, and elaborate solo works that exploited the instrument’s capacity for multiple voices and expressive nuance.

From the 17th century onward, instruments of the violin family — louder and more projecting — grew in popularity for public concerts and operatic orchestras. As public performance venues expanded, the more penetrating sound and technical possibilities of violins, violas and cellos led to a gradual decline in the prominence of the viol by the late 18th century.

Repertoire and uses

Viols appear in a range of musical contexts: intimate consort music for matched viols, unaccompanied solo repertoire featuring intricate polyphony and ornamentation, and continuo or accompaniment roles in vocal and instrumental music. Notable Baroque composers contributed substantial music for the instrument, and in the English tradition the viol consort repertoire was particularly rich. Common forms include fantasias, dance suites and variations.

Technique, notation and distinctions

Players of the viol rely on techniques distinct from violin technique: a lower, underhand bow hold, use of frets, and frequent chordal writing. Notation historically varied, but much repertoire is preserved in tablature and in conventional staff notation adapted for the instrument’s tuning. Compared with the violin family, viols emphasize blended, intimate sonorities rather than bright, projecting tone; they excel in contrapuntal textures and subtle dynamic shading.

Revival and modern practice

The 20th century saw a revival of interest in the viol as part of the historically informed performance movement. Scholars, players and luthiers recreated instruments and performance methods, bringing neglected repertoire back into concert life and recordings. Today, early‑music ensembles, conservatories and makers continue to study and produce viols, and the instrument enjoys renewed presence in both academic and concert settings.

For further reading and resources, consult period studies and modern introductions to historical performance practice. Representative online starting points and reference materials can be found here:

1. Overview and basic history
2. Renaissance development of bowed instruments
3. Baroque repertoire and composers
4. Playing technique and fretted fingerboards
5. Comparison with violin family instruments
6. Consort music and ensemble practice
7. Historical sources and editions
8. Recordings and performance examples
9. Modern lutherie and instrument makers
10. Educational resources and conservatory courses