Definition, Meaning & Synonyms | English word VIOL

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Definitions of VIOL

1. To play the viol.
2. (musical instrument) A stringed instrument related to the violin family, but held in the lap between the legs like a cello, usually with C-holes, a flat back, a fretted neck and six strings, played with an underhanded bow hold
3. (nautical) A large rope used to manipulate the anchor

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Examples of Using VIOL in a Sentence

• The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family.
• Separating these from other bowed string instruments such as the viola da braccio (viol for the arm) was the instruments' orientation; members of the older viol family were played with the neck oriented upwards, the rounded bottom downwards to settle on the lap or between the knees.
• The six-string viola d'amore and the treble viol also have approximately the same ambitus or range of playable notes.
• One player plays the bass line on a bass instrument such as a bass viol, violone, violoncello, or bassoon.
• There is no arbitrary isolation of one theme from another; they mingle and interpenetrate throughout, to the music of Pan's flute, and of Love's viol, and the bugle-call of Endeavour, and the passing-bells of Death.
• Since the early music revival however, increased attention has come to his other compositions, with his keyboard works championed by Glenn Gould, while his madrigals and viol fantasies are popular among early music ensembles.
• The count's servant saw the viol inside and told the young smith that he had heard a new Italian instrument played by some minstrels at the count's court.
• He is noted for developing the viol consort fantasia, being influenced in the 1630s by an earlier generation of English composers including Alfonso Ferrabosco the younger, Thomas Lupo, John Coprario and Orlando Gibbons.
• The baryton is a bowed string instrument similar to the viol, but distinguished by an extra set of sympathetic but also pluckable strings.
• His published music includes pieces for viols (including many solo works for the lyra viol) and songs.
• From the left: viol, flute, mandora or gittern, fiddle or rebec, shawm, harp, slide trumpet or clarion trumpet, cornett, clavichord.
• Jean Rousseau (1 October 1644 – 1 June 1699) was a French viol player, theorist, composer, and author remembered principally for his Traité de la viole (1687), a valuable source of information on the performance practices of his time, as well as on techniques used in the construction of viols.
• Under Charles II, the choir was often augmented by violinists from the royal consort; at various times, the Chapel has also employed composers, lutenists, and viol players.
• In addition to Byrd & Gibbons, composers John Coprario, Alfonso Ferrabosco, Thomas Lupo, John Ward, and William White continued to expand the genre for viol consort while examples by William Lawes, John Jenkins, William Cranford, Matthew Locke, and Henry Purcell are regarded as highly exceptional from the late 17th-century.
• He was a tenor, and he was able to accompany himself on the viol or the archlute; he sang at various entertainments, including weddings and affairs of state, and took part in the sumptuous intermedi of the time, the elaborate musical, dramatic, visual spectacles which were one of the precursors of opera.
• The show included a diverse and eclectic mix of performers and music from around the world — music and musicians which have included Brazilian choro music from the Robison-Lubambo-Baptista Trio, American gospel group the Albert McNeil Jubilee Singers, Latin-American and African carols and folk dances from Andrew Lawrence-King and The Harp Consort, the viol quartet Phantasm, jazz trumpeter Art Farmer, Bolivian Andean music specialists Rumillajta, eclectic composer Mark O'Connor and the Appalachia Waltz Trio, and African-American Latino wind group Imani Winds.
• By the time of that recording the ensemble consisted of Custer LaRue (soprano), Ronn McFarlane (lute), Mary Anne Ballard (viols, fiddle), Larry Lipkis (bass viol, recorder), Chris Norman (flutes, bagpipes, bodhran), Howard Bass (bandora), and Mark Cudek (cittern, bass viol).
• The inventories of Gigault's possessions, taken in 1662 and in 1700 (on the account of his marriage and his wife's death, respectively), reveal that already by 1662 he was no longer poor and could afford a well-furnished home with a collection of paintings and sculptures, and a large number of musical instruments: a chamber organ, two harpsichords (one with two manuals, the other with one), three spinets, two clavichords, a bass viol, two treble viols, a theorbo and a guitar.
• 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.
• Amongst the extant works of Sainte-Colombe are sixty-seven Concerts à deux violes esgales, and over 170 pieces for solo seven-string viol, making him perhaps the most prolific French viol composer before Marin Marais.
• Tailpieces of the violin family or viol families of instruments, including double basses, are attached by a "tailgut" looped around the tailpin or end button, which is let into the bottom bock of the instrument.
• In modern parlance, one usually tries to clarify the 'type' of violone by adding a qualifier based on the tuning (such as "G violone" or "D violone") or on geography (such as "Viennese violone"), or by using other terms that have a more precise connotation (such as "bass violin", "violoncello", or "bass viol").
• Athanasius Kircher (Musurgia universalis, 486) applied the name of chelys to a kind of viol with eight strings.
• The citole was a string musical instrument, closely associated with the medieval fiddles (viol, vielle, gigue) and commonly used from 1200–1350.
• The theorbo lacked the higher notes of the bass lines and the increasing practise of doubling the continuo part with a bowed bass (cello or viol) made the archlute's lack of power in the tenor and bass a less important shortcoming.

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