For Voice & Viols
More about Wolftooth:
The way in which the individual performers are positioned profoundly affects the sound of a viol consort.
The basis of Wolftooth's disposition is one instrument, or voice, for each part, and equality between parts. The voice is treated as an equal part of the consort, but given a central position.
The best layout is consistent with contemporary sources, and this also gives musical advantages: separation in space of lines adjacent in pitch, allowing clear aural and visual identification of parts; unimpeded aural and visual communication between performers, and between performer and listener.
The Wolftooth five-part arrangement is shown below.
Wolftooth's members gratefully acknowledge the advice of Dr Richard Rastall on disposition.
Rastall, R. (1997) Spatial effects in English consort music, c.1560-1605: the instrumental repertory. Early Music (Oxford University Press), in press.
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The instruments | Disposition of a consort
Contact Wolftooth by email to Hans, John or Per-Olof.