Viol 32644 225934251 2008-07-16T02:25:07Z RodC 12965 /* History */ [[Image:Viola da gamba.png|thumb|300px|Various sizes of viol, from Michael Praetorius' ''Syntagma musicum'' (1618).]] [[Image:Viol Raphael St.Cecilia1510.jpg|thumb|300px|Early Italian tenor viola da gamba, detail from the painting ''St. Cecilia'', by [[Raphael]] Sanzio, c. 1510.]] The '''viol''' (also called '''viola da gamba''') is any one of a family of [[bow (music)|bowed]], [[fret]]ted, [[stringed instruments|stringed]] [[musical instrument]]s developed in the 1400s and used primarily in the [[Renaissance music|Renaissance]] and [[Baroque music|Baroque]] periods. The family is related to and descends primarily from the Spanish [[vihuela]] (a [[guitar]]like plucked string instrument). Some degree of developmental influence, if only in playing posture, is credited to the Moorish [[rebab]] as well.<ref>[http://www.marcosalerno.it/Rebecs.html Marco Salerno: Rebecs], Woodfield 1984</ref><!-- unclear: is the "school of Rossiglione, Perpignan," image the ref for the posture claim? --> == History == [[Image:Viol early16th-type woodcut.jpg|thumb|300px|Woodcut of an early 16th-century pattern six-string viola da gamba, illuminating and reflecting the plucked vihuela origins of viols.]] [[Image:ViolguitarLGambara Ita1560.jpg|thumb|300px|Detail from an Italian fresco, c. 1560, painted by Lattanzio Gambara, featuring a guitar-shaped viol (no waist-cuts) and some nice period costuming. The [[:Image:Concert_LGambara_Ita1560.jpg|full concert scene]] includes a [[lute]], bass viol, [[virginal]], and flute.]] [[Image:Viol VerkoljeJan Dutch 1674.jpg|thumb|300px|Detail from a painting by Jan Verkolje, Dutch, c. 1674, ''Elegant Couple'' (A Musical Interlude). The theme is similar to the classic ''Music Lesson'' genre, and features a bass viol, virginal, and cittern (in the woman's hand, out of frame in this detail; see [[:Image:VerkoljeJan_CoupleDutch1674.jpg|full image]]). This image highlights the domestic amateur class of viol playing.]] [[Vihuela|Vihuelists]] began playing their flat-bridged instruments with a bow in the second half of the 15th century. Within two or three decades, this led to the evolution of an entirely new and dedicated bowed string instrument that retained many of the features of the original plucked vihuela: a flat back, sharp waist-cuts, frets, thin ribs (initially), and an identical tuning&mdash;hence its [[Spanish language|Spanish]] name '''vihuela de arco''' (''arco'', meaning "bow"). Inspired by another local instrument, the Moorish ''rebab'', this new vihuela was usually held upright, either resting on the lap or held between the legs, similar to the playing posture of a [[cello]]. This ''a gamba'' playing position was more suited to larger instruments than was the ''a braccio'' position of the modern violin. The instrument was imported to Italy from Spain by the Borgia family. This gave rise to its [[Italian language|Italian]] name '''viola da gamba''', meaning "viol for the leg," which also helped differentiate it from the early [[violin family]], which the Italians called ''[[viola da braccio]]'' (lit. "viol for the arm"). and was played along with the [[crumhorn]] by Henry VIII ==Construction== Viols most commonly had six strings, although many 16th-century instruments had five or even four strings. Viols were (and are) strung with (low-tension) [[Catgut|gut]] strings, unlike the steel strings used by members of the modern violin family. Gut strings produce a sonority far different from steel, the former generally described as softer and sweeter. Around 1660, gut or silk core strings overspun with [[copper]] wire first became available; these were then used for the lowest-pitched bass strings on viols, and on many other string instruments as well. Viols are fretted in a manner similar to early guitars or [[lute]]s, by means of movable wrapped-around and tied-on gut frets. A low seventh string was supposedly added in [[France]] to the bass viol by [[Monsieur de Sainte-Colombe]] (c. 1640&ndash;1690), whose students included the French gamba [[virtuoso]] and composer [[Marin Marais]]. Also, the painting [http://en.wikipedia.org/wiki/Image:StCeciliaDomenichinoLouvre.jpg ''Saint Cecilia with an Angel''] (1618) by [[Domenico Zampieri|Domenichino]] (1581&ndash;1641) shows what may be a seven-string viol. Unlike members of the [[violin family]], which are tuned in [[Perfect fifth|fifths]], viols are usually tuned in fourths with a major third in the middle, mirroring the tuning employed on the vihuela de mano and [[lute]] during the 16th century and similar to that of the modern six-string [[guitar]]. Viols were first constructed much like the ''vihuela de mano'', with all surfaces, top, back, and sides made from flat slabs or pieces of joined wood, bent or curved as required. However, some viols, both early and later, had carved tops, similar to those more commonly associated with instruments of the violin family. The ribs or sides of early viols were usually quite shallow, reflecting more the construction of their plucked vihuela counterparts. Rib depth increased during the course of the 16th century, finally coming to resemble the greater depth of the classic 17th-century pattern. The flat backs of most viols have a sharply angled break or ''canted'' bend in their surface close to where the neck meets the body. This serves to taper the back (and overall body depth) at its upper end to meet the back of the neck joint flush with its heel. Traditional construction uses animal glue, and internal joints are often reinforced with strips of either [[linen]] or [[vellum]] soaked in hot animal glue—a practice also employed in early plucked vihuela construction. The peg boxes of viols (which hold the tuning pegs) were typically decorated either with elaborate carved heads of animals or people or with the now familiar spiral ''scroll'' finial. The earliest vihuelas and violas, both plucked and bowed, all had sharp cuts to their waists, similar to the profile of a modern violin. This is a key and new feature&mdash;first appearing in the mid-1400s&mdash;and from then on, it was employed on many different types of string instruments. This feature is also key in seeing and understanding the connection between the plucked and bowed versions of early vihuelas. If one were to go searching for very early viols with smooth-curved figure-eight bodies, like those found on the only slightly later plucked vihuelas and the modern guitar, they would be out of luck. By the mid-1500s, however, "guitar-shaped" viols were fairly common, and a few of them survive. The earliest viols had flat, glued-down bridges just like their plucked counterpart vihuelas. Soon after, however, viols adopted the wider and high-arched bridge that facilitated the bowing of single strings. The earliest of viols would also have had the ends of their [[fretboard]]s flat on the deck, level with or resting upon the top or sound board. Once the end of their fretboards were elevated above the top of the instrument's face, the entire top could vibrate freely. Early viols did not have sound posts, either (again reflecting their plucked vihuela siblings). This reduced dampening again meant that their tops could vibrate more freely, contributing to the characteristic "humming" sound of viols; yet the absence of a sound post also resulted in a quieter and softer voice overall. It is commonly believed that C-holes (a type and shape of pierced sound port visible on the top face or belly of string instruments) are a definitive feature of viols, a feature used to distinguish viols from instruments in the violin family, which typically had F-shaped holes. This generality, however, renders an incomplete picture. The earliest viols had either large, open, round, sound holes (or even round pierced [[rosette]]s like those found on lutes and vihuelas), or they had some kind of C-holes. Viols sometimes had as many as four small C-holes&mdash;one placed in each corner of the bouts&mdash;but more commonly, they had two. The two C-holes might be placed in the upper bouts, centrally, or in the lower bouts. In the formative years, C-holes were most often placed facing each other or turned inwards. In addition to round or C-holes, however, and as early as the first quarter of the 16th century, some viols adopted S-shaped holes, again facing inward. By the mid-1500s, S-holes morphed into the classic F-shaped holes, which were then used by viols and members of the violin family alike. By the mid- to late 16th century, the viol's C-holes facing direction was reversed, becoming outward facing. That configuration then became a standard feature of what we today call the “classic” 17th-century pattern. Yet another style of sound holes found on some viols was a pair of flame-shaped Arabesques placed left and right. The lute and vihuelalike round or oval ports or rosettes became a standard feature of German and Austrian viols and was retained to the very end. That feature or “genetic marker” was exclusively unique to viols and reminded one always of the viol's more ancient plucked vihuela roots, the "luteness" of viols. Historians, makers, and players generally distinguish between ''[[Renaissance music|Renaissance]]'' and ''[[Baroque music|Baroque]]'' viols. The latter are more heavily constructed and are fitted with a [[bass bar]] and [[sound post]], like modern stringed instruments. === Viol bows === The [[bow (music)|bow]] is held underhand (palm up), similar to a German [[double bass]] bow grip, but away from the frog towards the balance point. The stick's curvature is generally convex as were violin bows of the period, rather than concave like a modern violin bow. The "frog" (which holds the bowhair and adjusts its tension) is also different from that of modern bows: whereas a violin bow frog has a "slide" (often made of [[Nacre|mother of pearl]]) to hold the hair flat across the frog, viol bows have an open frog that allows more movement of the hair. This is essential to allow the traditional playing technique in which the player tensions the bow hair with one or two fingers of the right hand between the hair and the bow stick in order to control [[articulation (music)|articulation]] and inflection while playing. [[Image:Violone PeterLely1649DutEng.jpg|thumb|300px|[[Violone]] or ''great bass viol''. Painting by Sir [[Peter Lely]], c. 1640, Dutch-born English Baroque era painter. Note the Italianate shape, square shoulders, and F-holes, apart from its massive size.]] [[Image:Viols divis Simpson Eng1660.jpg|thumb|300px|Plate from [[Christopher Simpson]]'s book, ''The Division Violist'', England, 1659&ndash;1667 edition.]] ==Versions== The gamba (as the name is often abbreviated for convenience) comes in six sizes: "pardessus de viole" (which is relatively rare), treble, alto, tenor, bass, and contrabass (also known as a [[violone]]). The treble is about the size of a [[violin]], but with a deeper body; the standard bass is a bit smaller than a [[cello]]. The English made smaller basses known as [[division viol]]s, and the still-smaller [[Lyra viol]]. [[Germany|German]] consort basses were larger than the French instruments designed for continuo. Two closely related instruments include the [[baryton]] and the [[viola d'amore]], although the latter is played under the chin, viola-fashion. == Tuning == The standard tuning of the viol is in [[perfect fourth|fourths]], with a [[major third]] in the middle (like the standard Renaissance [[lute]] tuning). For bass viols, the notes would be (from the lowest) D-G-c-e-a-d', with an additional low A for seven-string bass viols. For the tenor viol, the tuning is G-c-f-a-d'-g'. The treble viol is one [[octave]] higher than the bass. Alternate tunings (called [[wiktionary:scordatura|scordatura]]) were often employed, particularly in the solo [[lyra viol]] style of playing, which also made use of many techniques such as [[chord (music)|chords]] and ''[[pizzicato]]'', not generally used in consort playing. An unusual style of pizzicato was known as a '''thump'''. Lyra viol music was also commonly written in [[tablature]]. There is a vast repertoire of this music, some by well-known composers and much by anonymous ones. Much viol music predates the adoption of [[equal temperament]] tuning by musicians. The moveable nature of the tied-on frets permits the viol player to make adjustments to the tempering of the instrument, and some players and consorts adopt [[meantone temperament]]s, which are arguably more suited to Renaissance music. There are several recognised fretting schemes in which the frets are spaced unevenly in order to give "better-sounding" chords in a limited number of [[key (music)|keys]]. In some of these schemes, the two strands of gut that comprise the fret are separated so that the player can finger a slightly sharper or flatter version of a note to suit different circumstances. ==Treatises== [[Image:Virdung Lutes PluckBow 1511.jpg|thumb|300px|Illustration from [[Sebastian Virdung]]'s (German) 1511 treatise ''Musica Getutsch'', showing the lute family&mdash;plucked and bowed. This is the first printed illustration of a viol in history.]] Descriptions and illustrations of viols are found in numerous early 16th-century musical treatises, including those authored by: *[[Sebastian Virdung]]: ''Musica getutsch'', 1511 *[[Hans Judenkunig]]: ''Ain schone kunstliche Vunderwaisung'', 1523 *[[Martin Agricola]]: ''Musica instrumentalis deutsch'', 1528 *[[Hans Gerle]]: ''Musica Teusch'' (or ''Teutsch''), 1532 Both Agricola's and Gerle's works were published in various editions. There were then several important [[treatise]]s concerning or devoted to the viol. The first was by [[Silvestro Ganassi]]: ''Regola Rubertina & Lettione Seconda'' (1542/3). [[Diego Ortiz]] published ''Trattado de Glosas'' ([[Rome]], 1553), an important book of music for the viol with both examples of ornamentation and pieces called ''Recercadas''. In England, [[Christopher Simpson]] wrote the most important treatise, with the second edition being published in 1667 in parallel text ([[English language|English]] and [[Latin]]). This has [[variation (music)|divisions]] at the back that are very worthwhile repertoire. A little later, in England, [[Thomas Mace]] wrote ''Musick's Monument'', which deals more with the lute but has an important section on the viol. After this, the French treatises by [[Le Sieur de Machy|Machy]] (1685), [[Jean Rousseau|Rousseau]] (1687), [[Danoville]] (1687), and [[Loulie]] (1700) show further developments in playing technique. == Popularity == Viols were second in popularity only to the lute (although this is disputed), and like lutes, were very often played by amateurs. Affluent homes might have a so-called ''[[chest of viols]]'', which would contain one or more instruments of each size. Gamba ensembles, called ''[[consort of instruments|consorts]]'', were common in the 16th and 17th centuries, when they performed vocal music (consort songs or [[verse anthem]]s) as well as that written specifically for instruments. Only the treble, tenor, and bass sizes were regular members of the viol consort, which consisted of three, four, five, or six instruments. Music for consorts was very popular in [[England]] in [[Elizabeth I of England|Elizabethan]] times, with composers such as [[William Byrd]] and [[John Dowland]], and, during the reign of King Charles I, [[John Jenkins (composer)|John Jenkins]] and [[William Lawes]]. The last music for viol consorts before their modern revival was probably written in the early 1680s by [[Henry Purcell]]. [[Image:Lute-viol ABosse Fr 1635.jpg|thumb|300px|Painting by Abraham Bosse, ''Musical Society'', French,<br>c. 1635. Subject matter depicts amateur social music making, featuring lute, bass viol, and singers, with part books spread around the table. This is also representative of one kind of broken consort, albeit with minimal instrumentation.]] Perhaps even more common than the pure consort of viols was the mixed or [[broken consort]] (also called Morley consort). Broken consorts combined a mixture of different instruments&mdash;a small band, essentially&mdash;usually comprising a gathering of social amateurs and typically including such instruments as a bass viol, a [[lute]] or [[orpharion]] (a wire-strung lute, metal-fretted, flat-backed, and festoon-shaped), a [[cittern]], a treble viol (or [[violin]], as time progressed), sometimes an early keyboard instrument ([[virginal]], [[spinet]], or [[harpsichord]]), and whatever other instruments or players (or singers) might be available at the moment. The single most common and ubiquitous pairing of all was always and everywhere the lute and bass viol: for centuries, the inseparable duo. [[Image:Viol7 ABouys MMarais1704Fr.jpg|thumb|300px|Portrait of French composer and viola da gamba master [[Marin Marais]], by Andre Bouys, 1704.]] [[Image:Viol Abel TGainsborough1765.jpg|thumb|300px|Portrait of [[Carl Friedrich Abel]], composer and viol master&mdash;German-born but residing in England most of his life&mdash;posed with his viola da gamba. By [[Thomas Gainsborough]], c. 1765.]] The bass viola da gamba continued to be used into the 18th century as a [[solo (music)|solo]] instrument (and to complement the [[harpsichord]] in [[basso continuo]]). It was a favorite instrument of [[Louis XIV of France|Louis XIV]] and acquired associations of both courtliness and "Frenchness" (in contrast to the Italianate violin). Composers such as [[Marin Marais]], [[Johann Sebastian Bach]], [[Antoine Forqueray]], and [[Carl Friedrich Abel]] wrote virtuoso music for it. However, viols fell out of use as concert halls grew larger and the louder and more penetrating tone of the violin family became more popular. In the last one hundred years or so, the viola da gamba and its repertoire were revived by [[early music]] enthusiasts, an early proponent being [[Arnold Dolmetsch]]. == The viol today == Today, the viol is attracting ever more interest, particularly among amateur players. This may be due to the increased availability of reasonably priced instruments from companies using more automated production techniques, coupled with the greater accessibility of music editions. The viol is also regarded as a suitable instrument for adult learners; [[Percy Scholes]] wrote that the viol repertoire "...belongs to an age that demanded musicianship more often than virtuosity." There are now many societies for people with an interest in the viol. The first was [http://www.vdgs.demon.co.uk The Viola da Gamba Society], which was established in the United Kingdom in 1948 and has a worldwide membership. Since then, similar societies have been organized in several other nations. A living museum of historical musical instruments was created by Prof [[José Vázquez]] of the University of Vienna as a center for the revival of the instrument. More than 100 instruments, including approximately 50 historical viola da gambas in playable condition, are the property of this new concept of museum: the [[Orpheon Foundation Museum of Historical Instruments]]. All the instruments of this museum are played by the Orpheon Baroque Orchestra, the Orpheon consort, or by musicians who receive an instrument for a permanent loan. The instruments can be seen during temporary exhibitions[http://www.orpheon.org/Seiten/exhibition/exhibit.htm]. They are studied and copied by violin makers, contributing to the extension of the general knowledge we have on the viola da gamba, its forms, and the different techniques used for its manufacture. The 1991 [[feature film]] ''[[Tous les matins du monde]]'' (All the Mornings of the World) by [[Alain Corneau]], based on the lives of [[Monsieur de Sainte-Colombe]] and [[Marin Marais]], prominently featured these composers' music for the viola da gamba and brought viol music to new audiences. The film's bestselling [[soundtrack]] features performances by [[Jordi Savall]], one of the best-known modern viola da gamba players. Among the foremost modern players of the viols are [http://www.a2violes.com/ Jonathan Dunford], [[José Vàzquez]], [[Paolo Pandolfo]], [[Jordi Savall]], [[Wieland Kuijken]], [[Vittorio Ghielmi]], [[Hille Perl]], and [[Guido Balestracci]]. Many fine modern viol consorts (ensembles) are also recording and performing, among them the groups [[Fretwork (music group)|Fretwork]] and [[Phantasm (music group)|Phantasm]]. The [[Baltimore Consort]] specializes in Renaissance song (mostly English) with broken consort (including viols). ===New compositions for viol=== A number of contemporary composers have written for viol, and a number of soloists and ensembles have commissioned new music for viol. [[Fretwork (music group)|Fretwork]] has been most active in this regard, commissioning [[George Benjamin]], [[Michael Nyman]], [[Elvis Costello]], [[Sir John Tavener]], [[Orlando Gough]], [[John Woolrich]], [[Tan Dun]], [[Alexander Goehr]], [[Fabrice Fitch]], [[Andrew Keeling]], [[Thea Musgrave]], [[Sally Beamish]], [[Peter Sculthorpe]], [[Gavin Bryars]], [[Barrington Pheloung]], [[Simon Bainbridge]], [[Duncan Druce]], [[Poul Ruders]], [[Ivan Moody]], and [[Barry Guy]]; many of these compositions may be heard on their 1997 CD ''Sit Fast''. The Yukimi Kambe Viol Consort has commissioned and recorded many works by [[David Loeb]], and the [[New York Consort of Viols]] has commissioned [[Bülent Arel]], David Loeb, [[Daniel Pinkham]], [[Tison Street]], [[Frank Russo]], [[Seymour Barab]], [[William Presser]], and [[Will Ayton]], many of these compositions appearing on their 1993 CD ''Illicita Cosa''. Other composers for viols include [[Moondog]], [[Kevin Volans]], [[Roy Whelden]], [[Toyohiko Satoh]], [[Roman Turovsky]], [[Giorgio Pacchioni]], [[Michael Starke (composer)|Michael Starke]], and [http://www.ruby-gamba.com Jan Goorissen]. ===Electric viols=== Since the late 1980s, numerous instrument makers, including Eric Jensen, Francois Danger, Jan Goorissen, and Jonathan Wilson, have experimented with the design and construction of electric viols. Their range of approaches, from Danger's minimally electrified acoustic/electric Altra line to Eric Jensen's [[Solid body|solid-body]] brace-mounted design, have met with varying degrees of ergonomic and musical success. In the early 21st century, the Ruby Gamba, a [http://www.ruby-gamba.com solid-body seven-string electric viola da gamba], was developed by [[Ruby Instruments]] of [[Arnhem]], the [[Netherlands]]. It has 21 tied nylon (adjustable) frets in keeping with the adjustable (tied gut) frets on traditional viols and has an effective playing range of more than six octaves. Electric viols have been adopted by such contemporary gambists as [[Gilles Zimmermann]], [[Loren Ludwig]], [[Jay Elfenbein]], [[Paolo Pandolfo]], [[Tina Chancey]], and [[Tony Overwater]]. ==Similar names== 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. In the fifteenth century, the Italian word ''"viola"'' was a generic term used to refer to any bowed instrument, or fiddle. It is important to note that the word ''"viola"'' existed in Italy before the vihuela, or first viol, was brought from Spain. In Italy, ''"viola"'' was first applied to ''a braccio'' precursor to the modern violin, as described by Tinctoris (''De inventione et usu musice'', c. 1481&ndash;3), and then was later used to describe the first Italian viols as well. The names ''viola'' (Italy) and ''vihuela'' (Spain) were essentially synonymous and interchangeable. According to viol historian Ian Woodfield, there is little evidence that the ''vihuela de arco'' was introduced to Italy before the 1490s. The use of the term ''"viola"'' was never used exclusively for viols in the fifteenth or sixteenth centuries. In sixteenth century Italy, both ''"violas,"''&mdash;the early viols and violins&mdash;developed somewhat simultaneously. While the violins such as those of Amati achieved their classic form before the first half of the century, the viol's form would be standardized later in the century by instrument makers in England.<br /> Viola da gamba, ''viola cum arculo'', and ''vihuela de arco'' are some (true) alternate names for viols. Both "vihuela" and "viola" were originally used in a fairly generic way, having included even early violins (''viola da braccio'') under their umbrella. 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''. That the "alto violin" eventually became known simply as the "viola" is not without historical context, yet the ambiguity of the name tends to cause some confusion. The violin, or ''violino'', was originally the soprano ''viola da braccio'', or ''violino da braccio''. Due to the popularity of the soprano violin, the entire consort eventually took on the name "violin family." Depending on the context, the unmodified ''"viola da braccio"'' most regularly denoted either an instrument from the violin family, or specifically the viola. When Monteverdi called simply for ''"viole da braccio"'' in "Orfeo," the composer was requesting violas. ''"Viola da braccio"'' was finally shortened to ''"viola"'' once viols became less common. Some other names for viols include ''viole'' or ''violle'' (French). 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]]''. "Viola da Gamba" also appears as a name appended to a [[spoof]] letter-to-the-editor in the first issue of [[National Lampoon]] magazine (April 1970). ==Notes== {{refimprove|date=November 2007}} {{reflist|1}} ==References== *Bryan, John (2005). "In Search of the Earliest Viols: Interpreting the Evidence from a Painting by Lorenzo Costa." The Viola da Gamba Society of Great Britain, Newsletter, no. 131. *Crum, Alison, with Sonia Jackson (1992). ''Play the Viol: The Complete Guide to Playing the Treble, Tenor and Bass Viol''. Oxford University Press. ISBN 0-19-816311-8. *{{cite book |last= Woodfield |first= Ian |editor= Howard Mayer Brown, Peter le Huray, John Stevens |title= The Early History of the Viol |origyear= 1984 |publisher= Cambridge University Press |location= Cambridge |isbn= 0 521 24292 4 |pages= |chapter= |quote= }}(Documents the connections between the [[vihuela]] and the viol. Documents the connections between the ''a gamba'' playing position and the Moorish ''rabab''.) == External links == {{Commonscat|Viols}} *[http://vdgsa.org/ Viola da Gamba Society of America site] *[http://www.ipem.ugent.be/staff/dirk/gamba/ Transcriptions and facsimiles of viol treatises] {{FA link|de}} [[Category:Viol family instruments| ]] [[Category:Early musical instruments]] [[Category:Baroque instruments]] {{Link FA|de}} [[ar:الفيول]] [[cs:Viola da gamba]] [[de:Viola da gamba]] [[et:Viola da gamba]] [[es:Viola da gamba]] [[eo:Gambovjolo]] [[fr:Viole de gambe]] [[gd:Beus-fhiodhall]] [[ko:비올족]] [[it:Viola da gamba]] [[he:ויולה דה גמבה]] [[hu:Viola da gamba]] [[nl:Viola da gamba]] [[ja:ヴィオラ・ダ・ガンバ]] [[no:Gambe]] [[nn:Gambe]] [[oc:Viòla de gamba]] [[pl:Viola da gamba]] [[pt:Viola da gamba]] [[ru:Виола]] [[simple:Viol]] [[fi:Viola da gamba]] [[sv:Gamba]]