from The American Heritage® Dictionary of the English Language, 4th Edition
- n. A 16-foot organ stop yielding stringlike tones similar to those of a cello.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. An early stringed instrument similar to a double bass; a double bass viol
from the GNU version of the Collaborative International Dictionary of English
- n. The largest instrument of the bass-viol kind, having strings tuned an octave below those of the violoncello; the contrabasso; -- called also double bass.
from The Century Dictionary and Cyclopedia
- n. The largest of the medieval viols; a double-bass viol.
- n. In organ-building, a pedal stop of sixteenfeet tone, resembling the violoncello.
And No. 6 is a marvel, its dark hues never eclipsing the dancelike rhythms of the music and the fascinating interplay among viola, cello, viola da gamba and violone.
The violin, however, weak of voice as it is, always carries the day, and the other instruments steal discontentedly back to their secondary places, the snuffy old violone keeping up a constant growl at its ill luck, and the trombone now and then leaping out like a tiger on its prey.
A violone grunts out a low accompaniment to a vinegar-sharp violin which saws out the air, while a trumpet blares in at intervals to endeavor to unite the two, and a flute does what it can, but not what it would.
Of these the earliest known is a “Romanesca per violone Solo e Basso se piaci,” and some dances, by Biagio Marini, published in 1620.
Sileno sang the upper part and accompanied himself on the violone, while the lower parts were given to other instruments.
Kyprianides-Potter, violoncello Phil Spray, violone Juan Mesa, harpsichord Recorded on
Featuring Elizabeth Blumenstock and Katherine Kyme, baroque violins; Lisa Grodin, baroque viola, Joanna Blendulf, baroque cello; William Skeen, violone; Hanneke van Proosdij, chamber organ; David Tayler, theorbo.
The score leaves a great many editorial decisions to the conductor, and Curnyn executes all of them stylishly at the head of a 10-member ensemble of violins, violas, viola da gamba, theorbos, violone and a second harpsichord.
Of the Lacedemonians, accordyng as Tucidido affirmeth, in their armies were used Flutes: for that thei judged, that this armonie, was moste mete to make their armie to procede with gravetie, and with furie: the Carthaginens beyng moved by this verie same reason, in the first assaulte, used the violone.
Aliatte kyng of the Lidians, used in the warre the violone, and the