Rebec Instrument Definition
Rebec Tuning
The tuning of the Rebec has varied throughout its history, depending on regional traditions and the musical context in which it was being used. However, the most common tuning for the Rebec was in intervals of fifths, similar to the violin family of instruments. Typically, the instrument was tuned in one of the following ways:
Standard Tuning: G-D-A (from lowest to highest string)
Alternate Tuning: A-D-A (a common tuning used in early music)
These tunings were selected for the Rebec to ensure ease of playing the melodies and to match the vocal ranges of the time. In terms of string construction, the strings were made from natural materials such as gut (derived from sheep intestines) or sometimes from silk, depending on availability and the desired tonal quality.
Since the Rebec was tuned in intervals of fifths, the pitch range of the instrument was somewhat limited compared to modern instruments. The highest strings could be quite high-pitched and sharp in tone, giving the Rebec its unique sound, while the lower strings produced a more resonant, though still comparatively soft, sound.
One of the fascinating aspects of Rebec tuning is that it was not standardized. Regional variations and personal preferences influenced tuning choices, and it was not uncommon for rebecs to be re-tuned depending on the piece of music being performed. The tuning was often adjusted according to the key in which the music was composed, or to match the accompaniment from other instruments.
The Rebec’s strings were traditionally tuned by adjusting pegs in the pegbox (similar to tuning the violin). In some instances, a rebeck could also be tuned by the pitch produced by an accompanying drone instrument or a keyboard.
Famous Rebec Music
The most famous example of Rebec music is found in the collection of early European secular music, such as the Codex Faenza (circa 1400), which includes instrumental pieces that might have been performed on the Rebec. Composers of the time wrote complex, rhythmic melodies designed to show off the Rebec’s ability to play both fast, virtuosic runs and slower, more lyrical passages.
Though much of the Rebec’s original repertoire has been lost, several late medieval and Renaissance composers made use of the instrument in their compositions. Among these, notable names include:
1. Guillaume de Machaut (1300-1377): A significant figure in the history of medieval music, Machaut’s works often included instrumental parts that could have featured the Rebec, particularly in his motets and * chansons* (secular songs).
2. Johannes Ciconia (c. 1370–1412): Known for his polyphonic compositions, Ciconia’s works, particularly his ballades and madrigals, might have involved the Rebec in their instrumental sections.
3. John Dunstable (c. 1390–1453): Dunstable was an influential English composer whose sacred and secular works were widely performed in the 15th century. The Rebec, being a staple in courtly music at the time, may have been one of the instruments used in performances of his compositions.
Aside from the classical European repertoire, the Rebec also played a role in the broader development of folk music traditions. It became a part of the traditional music in various European countries, especially in areas like Spain and Italy. In Spain, for instance, the Rebec was used in romances—narrative ballads that often told tales of adventure, love, and heroism. The Rebec’s clear, bright tone made it an ideal instrument for accompanying vocal storytelling.
