structural:reformatting, quality:corruption
Tuning conventions

Lutes were made in a large variety of sizes, with varying numbers of strings/courses, and with no permanent standard for tuning. However, the following seems to have been generally true of the Renaissance lute.

A 6-course Renaissance tenor lute would be tuned to the same intervals as a tenor viol, with intervals of a perfect fourth between all the courses except the third and fourth, which differed only by a major third. The tenor lute was usually tuned nominally "in G" (there was no pitch standard before the 20th century), named after the pitch of the highest course, yielding the pattern (G'G) (Cc) (FF) (AA) (dd) (g) from the lowest course to the highest. (Much renaissance lute music can be played on a guitar by tuning the guitar's third string down by a half tone.)

For lutes with more than six courses, the extra courses would be added on the low end. Because of the large number of strings, lutes have very wide necks, and it is difficult to stop strings beyond the sixth course, so additional courses were usually tuned to pitches useful as bass notes rather than continuing the regular pattern of fourths, and these lower courses are most often played without stopping. Thus an 8-course tenor Renaissance lute would be tuned to (D'D) (F'F) (G'G) (Cc) (FF) (AA) (dd) (g), and a 10-course to (C'C) (D'D) (E ♭ 'E ♭) (F'F) (G'G) (Cc) (FF) (AA) (dd) (g).

However, none of these patterns were de rigueur, and a modern lutenist occasionally retunes one or more courses between pieces. Manuscripts bear instructions for the player, e.g., 7 chœur en fa = "seventh course in fa " (= F in the standard C scale).

The early 17th century was a period of considerable development for the lute, particularly with new tuning schemes developed in France. At this time French lutenists began to explore the expressive capabilities of the lute through experimentation in tuning schemes on the instrument. Today these tunings are often labeled as transitional tunings or Accords nouveaux (French: “new tunings”). Transitional tunings document the transition from the established Renaissance lute tuning, to the later established Baroque d-minor tuning scheme.

This development in tuning is credited to French lutenists of the early 17th century, who began increasing the number of major or minor thirds on the adjacent open strings of the 10-course lute. As a result the French lutenist found a more sonorous sound and increased sympathetic vibration on the instrument. This led to new compositional styles and playing techniques on the instrument, most notably the Style brisé (French: "broken style"). Manuscript sources from the first half of the 17th century provide evidence that French transitional tunings gained popularity and were adopted across much of continental Europe.

The most used transitional tunings during this time were known as the "sharp" and "flat" tunings. Read from the tenth to the first course on a 10-course lute, the sharp tuning reads: C, D, E, F, G, C, F, A, C, E. The flat tuning reads, C, Db, Eb, F, G, C, F, Ab, C, Eb.

However, by around 1670 the scheme known today as the "Baroque" or "D minor" tuning became the norm, at least in France and in northern and central Europe. In this case, the first six courses outline a d-minor triad, and an additional five to seven courses are tuned generally scalewise below them. Thus the 13-course lute played by composer Sylvius Leopold Weiss would have been tuned (A″A') (B″B') (C'C) (D'D) (E'E) (F'F) (G'G) (A'A') (DD) (FF) (AA) (d) (f), or with sharps or flats on the lower 7 courses appropriate to the key of the piece.

Modern lutenists tune to a variety of pitch standards, ranging from A = 392 to 470 Hz, depending on the type of instrument they are playing, the repertory, the pitch of other instruments in an ensemble and other performing expediencies. No attempt at a universal pitch standard existed during the period of the lute's historical popularity. The standards varied over time and from place to place.