The theorbo is related to the liuto attiorbato, the French théorbe des pièces, the archlute, the German baroque lute, and the angélique (or angelica).

For his 1607 opera L'Orfeo, Claudio Monteverdi lists duoi (two) chitaroni among the instruments required for performing the work.

Musicians originally used large bass lutes (c. 80 cm (31 in)+ string length) and a higher re-entrant tuning, but soon created neck extensions with secondary pegboxes to accommodate extra open (i.e. unfretted) longer bass strings, called diapasons or bourdons, for improvements in tonal clarity and an increased range of available notes.

[2] It is possible the appearance of this new large instrument (particularly in a crowded ensemble) resulted in jokes and a humour induced reference with popular local knowledge becoming lost over time and place.

Robert Spencer has noted the confusion the two names were already leading to in 1600: Chitarone, ò Tiorba che si dica (chitarrone, or theorbo as it is called).

By the mid-17th century, it would appear that tiorba had taken preference – reflected in modern practice, helping to distinguish the theorbo now from very different instruments like the chitarrone moderno or guitarrón.

Similar adaptations to smaller lutes (c. 55 cm (22 in) string length) also produced the arciliuto (archlute), liuto attiorbato, and tiorbino, which were differently tuned instruments to accommodate a new repertoire of small ensemble or solo works.

In France, theorbos were appreciated and used in orchestral or chamber music until the second half of the 18th century (Nicolas Hotman, Robert de Visée).

Court orchestras in Vienna, Bayreuth and Berlin still employed theorbo players after 1750 (Ernst Gottlieb Baron, Francesco Conti).

The "re-entrant tuning" created new possibilities for voice leading and inspired a new right-hand technique with just thumb, index and middle fingers to arpeggiate chords, which Piccinini likened to the sound of a harp.

[3] Italians viewed the theorbo as an easier alternative to the lute since the general attractiveness of its sound quality can cover over indifferent playing and lazy voice leading.

Fingernails can be more effective on a theorbo than on a lute due to its single-strung courses, and the use of nails is most often suggested in the context of ensemble playing where tone quality becomes subservient to volume.

[citation needed] Italy: Kapsberger, Piccinini, Castaldi France: de Visee, Bartolotti, Hurel, le Moyne A few modern composers have begun to write new music for the theorbo; significant works have been composed by Roman Turovsky, David Loeb, Bruno Helstroffer, Thomas Bocklenberg, and Stephen Goss, who has written the only concerto for theorbo.

However, due to its layout as a plucked instrument and its reentrant tuning, following strict voice leading parameters could sometimes be difficult or even impossible.

Breaking voice leading rules becomes necessary in order to preserve the bass line and bring out the unique tones of the theorbo.