Bernhard Schmid younger was the son from the Strasbourg-based keyboardist and composer right now known as Bernhard Schmid the Elder; like his dad, he spent his lifetime in the “free of charge town” of Strasbourg. Educated by his dad, younger Schmid also changed him in the Thomaskirche when he made a decision to retire in 1589. Right before the Elder Schmid passed away in 1592, younger Bernhard Schmid similarly assumed his father’s post at Strasbourg Cathedral; after departing the Thomaskirche, Schmid also required on a posture in the Predigerkirche in Strasbourg. In 1607, Schmid was asked to prepare a fresh release of his father’s well-known 1577 printing Zwey Bücher einer Neuen Kunstlichen Tabulatur auff Orgel und Device, but instead made a decision to publish one of is own personal, which he just entitled Tablatur Buch. In his preface, Schmid mentioned that he wanted to consist of even more up-to-date compositions than those submit by his dad, whose non-original intabulations place a heavy focus on functions of Orlandus Lassus and several composers considered no more fashionable. Indeed, younger Schmid’s publication his large with intabulations of Italian books — functions by the Gabrielis, Rore, Vecchi, Banchieri, and Marenzio. Schmid also contains several intabulations of German motets, but of the much later classic than those proffered by his dad. Like his father’s printing, Tablatur Buch ends with a couple of dances: two passamezzi-salterelli pairs (his father’s reserve included five) and 16 Gaillards (his dad included just two.) Tablatur Buch can be an essential collection; ornamentation is certainly consistently recognized, of superb quality, as well as the intabulations of instrumental music demonstrate a definite self-reliance of treatment regarding keyboard settings that this vocal intabulations usually do not. Younger Schmid’s death is usually documented rather indirectly; information at Strasbourg Cathedral display his alternative as organist was involved in November 1625.