The cittern is a plucked string instrument that originated in Europe during the Renaissance period. It belongs to the family of wire‑strung lute‑type instruments and is characterized by a shallow, flat-backed body, a short neck with frets, and a set of courses (pairs) of metal strings.
Historical development
- Renaissance origins (16th century): The cittern emerged in England and Italy as a folk counterpart to the lute, which employed gut strings. Early citterns typically had four courses of strings tuned in a reentrant arrangement, facilitating rapid chordal accompaniment.
- Baroque evolution (17th century): Design refinements included a more pronounced waist, additional courses, and standardized tunings such as G · C · E · A, which allowed the instrument to play both melodic lines and harmonic support.
- 19th‑century revival: The cittern’s design influenced the development of the modern "guittar" and "citole‑type" instruments, and it experienced renewed interest among amateur musicians in England and the United States.
Construction
- Body: Typically made of thin wood (e.g., spruce, maple) with a flat or slightly arched soundboard; the back may be flat or lightly curved.
- Neck and fingerboard: Short neck, often with a single or double set of metal frets. The fingerboard is usually bound with a decorative strip.
- Strings: Wire strings (historically brass or silver) are arranged in courses; the number of courses varies from four to six, depending on the period and regional tradition.
- Bridge and tailpiece: The bridge is a simple wooden piece that transfers string vibration to the soundboard; a tailpiece holds the strings at the instrument’s lower end.
Tuning and playing technique
Standard Renaissance cittern tuning is often expressed in intervals of a fourth with a major third in the middle (e.g., G · C · E · A). Players use a plectrum (often made of quill, feather, or modern plastic) to strike the strings, allowing rapid chordal strumming and melodic picking.
Repertoire and usage
The cittern features prominently in Renaissance consort music, dance suites, and popular song settings. It served both professional musicians and amateur domestic players. Surviving repertoire includes works by John Dowland, Thomas Morley, and later composers such as William Byrd, who wrote for cittern ensembles.
Notable performers and makers
- Performers: Historical records mention cittern players such as John Danyel and Thomas Mace. In contemporary early‑music circles, musicians like Paul O'Dette and Christopher Wilke have performed on reconstructed citterns.
- Luthiers: Early cittern makers included English craftsmen such as John Rose and Italian makers like Nicolo Pagliarulo. Modern reconstructions are produced by specialized early‑instrument workshops, including those in the United Kingdom, Germany, and the United States.
Related instruments
The cittern is related to the lute family but differs in its metal strings and flatter body. It shares lineage with the Portuguese guitar, the German waldzither, the French guittar, and the modern Irish bouzouki, all of which evolved from or were influenced by the cittern’s design.
Modern relevance
Today the cittern is performed primarily within early‑music ensembles, folk‑revival groups, and academic settings that explore Renaissance music. Interest in historically informed performance has led to increased scholarly research, reconstruction projects, and recordings that highlight the instrument’s distinctive timbre.
