The rebec fiddle was a medieval and Renaissance European instrument with a bowing bowl-lute chordophone used for playing chords horizontally under one hand with upturned bowings against either the chest or chin (though some depictions reverse this).
Jerome of Moravia appears to have overlooked or counted it among two-stringed bow instruments without making specific reference to it.
How to Build a Rebec
Bow-played stringed instruments likely originated in central Asia around the ninth century and later spread through Islamic and Byzantine territories before reaching western Europe sometime between the tenth and twelfth centuries. Early bowing instruments often played at chest or chin level; the rebec fiddle, on the other hand, is distinguished by having an unconventional shape that allowed for optimal playing performance when held at shoulder level - though tuned with up to three strings, most commonly it featured two.
Rebecs became well-known instruments among commoners during medieval Europe. They could often be found paired with other popular instruments at this time such as lutes. Church music used rebecs regularly too and depictions of saints often included them. By the 15th and 16th century chamber performance strings ensembles also utilized this instrument frequently.
Although rebec fiddles were widely played instruments, their exact time of creation remains unknown. Due to no physical examples remaining today, most information we have on these instruments comes from textual descriptions and pictures from that era; be mindful that any such knowledge could contain inaccurate or false data and always seek professional advice before beginning any project.
A rebec is a pear-shaped stringed instrument made up of three strings strung between pear-shaped joints that is usually played with a bow, considered an ancestor to the violin. Popular in medieval Europe due to their similarities with Byzantine lura and Arab rabab instruments.
A rebec is a simple instrument to construct in any workshop, comprising just three parts - neck, body, and pegbox - which are assembled using glue. Furthermore, its playability is easy as you can play it using either a straight or curved bow. A great choice for beginners or anyone wanting a fun new hobby; its portable nature and variety of musical styles make it suitable for acoustic or folkloric performances alike.
Materials
The rebec was developed during late medieval and early Renaissance Europe as a European version of Arabic rabab, and similar to vielles or medieval fiddles (such as vielles), with three strings that feature distinctive nasal qualities, played using bow-like violin with a fretless neck. Like its counterpart, it became both a solo instrument as well as an ensemble piece as evidenced by works written specifically for it during this period.
The instrument's body was usually constructed from one piece of wood, while its soundboard consisted of a thin flat board with sound holes cut into it. Both pegbox and neck typically consist of one single piece of wood - although some examples depict pegboxes composed of multiple pieces - as were its pegs and strings; although in certain instances two or more pieces may have been joined to form one pegbox. Rebecs were often depicted being held either vertically with its base resting against one's lap/thigh with either neck pointing down facing outward towards the soundboard facing outward or horizontally with the base resting near the shoulder with the soundboard facing upward - in either position, the strings were usually being plucked by right hand for bowing by right hand bowing string-bowed with right-hand strings bowed right hand bowing.
Medieval descriptions indicate that rebecs could feature anywhere from two to five strings, though three were the most frequently seen. Furthermore, this instrument might also come equipped with a drone string but no evidence has ever surfaced to support this speculation.
Although rebecs are no longer widely played, some musicians still perform them. Michael Nyman Band included one before switching to a full amplified lineup. Other rebec players can be heard performing with Quebecois folk group Les Cousins Branchaud; Italian medieval ensemble Micrologus; and Scottish music group Hesperus.
Tina Chancey, a multi-instrumentalist who specializes in bow instruments, plays with the Quebecois band Hesperus as well as being part of Dufay Collective for rebec. Giles Lewin is also an acclaimed bagpiper and singer who performs regularly as part of Dufay Collective for rebec music.
Tools
The Rebec Fiddle is a European violin-like string instrument played with a bow. Having three strings and its distinctive pear-shaped body carving, its three strings can be played either tucked under an arm or held close to the chest like a violin. Furthermore, Rebecs feature unique soundboard and peg box arrangements which set them apart from Middle Age instruments like veilles and gambas; furthermore, it utilizes its bow design.
The renaissance period saw several key modifications to the rebec: these included more rounded pear shapes, fingerboard inlays made of ebony, floating tailpiece, and simpler bridge designs. While still played into the baroque period it had fallen from favor as a court instrument and was more commonly found in street entertainment use.
It is a highly adaptable instrument, suitable for various musical styles and genres. With its distinct tinny reedy sound that produces both soft and robust tones, the mandolin is particularly adept at classical music as well as supporting solo vocal pieces. Furthermore, its warm, robust tones also serve as effective accompaniment instruments for other stringed instruments.
Rebecs can be challenging instruments to play due to their few frets, no nuts, and small body size, so an excellent bow is necessary to produce its full sound. There are various kinds of rebec bows available but black horse hair produces the greatest sound when used for its bow hair instead of white plastic due to its courser nature producing more sound from the rebec.
The rebec is an ideal project for woodwork enthusiasts or families looking for an entertaining yet educational home project. Easy to make and popular in elementary school classrooms as an educational tool for understanding basic musical components, the rebec also makes for great entertainment when played live; some professional rebec players have even become famous due to their artistry!
Instructions
The Rebec Fiddle makes an eye-catching decorative wall ornament for music rooms, games rooms, or workshops. As a relatively straightforward woodworking project with minimal tools required to build it, this project also offers families an engaging hobby they can work together on together.
This medieval instrument is a three-stringed bowed string instrument developed during the 17th century from an Arabian two-string rubeba and European lute family instruments. From above it resembles a violin while having a distinct nasal sound.
A rebec may be played using both an ordinary straight violin bow and one with the curve shown, depending on your preference. Tuned to fifths like its violin counterpart, its pear-shaped body with arched neck features an arch. The soundboard and neck are typically made of one piece of wood while an extendible fretboard extends slightly past it across the body to support three gut strings that pass across a light wooden bridge at its base.
Medieval Europe venerated the rebec as an instrument worthy of royalty, with numerous depictions depicting King David playing it at court and whole courts boasting ensembles of players. Over time its popularity spread beyond courts into rising burgher households where minstrels provided entertainment at private parties.
Rebecs were often associated with secular instrumental and dance music, often played while sitting down and resting their instrument on either their chest or chin.
Later centuries saw rebecs becoming associated with street entertainment and even military bands, before becoming less prominent until the eighteenth century when their use declined as courtly instruments and were relegated to lower classes of society.
Modern musicians and music enthusiasts have revived the rebec across several genres. Groups such as Michael Nyman Band, Les Cousins Branchaud from Quebec and Ensemble Micrologus in Italy all incorporate rebec players in their lineups; Tina Chancey of Hesperus who specializes in early bowed stringed instruments also plays and records albums featuring rebec music.