Bass (voice)

“ In classing voices according to pitch we recognize three kinds of voice in men, viz., bass, barytone, and tenor, and three in women, contralto, mezzo-soprano, and soprano. Bass voices rarely fall below 173 vibrations, and soprano seldom exceed 2,069 vibrations per second. ”

“ Open strings are clearer and more powerful but less expressive than stopped strings.
Comparing the range of each stringed instrument with that of the human voice, we may assign: to the violin, the soprano and-10- contralto voice plus a much higher range; to the viola, the contralto and tenor voice plus a much higher register; to the 'cello, the tenor and bass voices plus a higher register; to the double bass, the bass voice plus a lower range.
The use of harmonics, the mute, and some special devices in bowing produce great difference in the resonance and tone quality of all these instruments. ”

“ The important task of discovering whether a voice is bass, baritone, tenor, contralto, mezzo-soprano, or soprano, and the exact character of the general ranges of these voices is a matter of great delicacy, and cannot be decided at one hearing. It is largely individual, and sometimes a matter of health and circumstances. The ranges of different classes of the human voice may be generally stated as follows. In the bass voice two octaves of E, the contralto two octaves of E with a tone and a half more in the upper notes leading{40} to G ”

“ In the “singing-pew” sat a clarionet, a double bass, a bassoon, and a flute: also a tenor voice which “set the tune”. The carpenter, to whom the tenor voice belonged, had a tuning-fork which he p. 18struck on his desk and applied to his ear. He then hummed the tuning-fork note, and the octave below, the double bass screwed up and responded, the leader with the tuning-fork boldly struck out, everybody following, including the orchestra, and those of the congregation who had bass or tenor voices sang the air. Each of the instruments demanded a fair share of solos. ”

“ The intensity or power of the bass voice is due to the same causes as that of the tenor, the contralto, the soprano, or indeed of any other wind-instrument—the capacity and free action of the apparatus by which it collects and ejects air—in the human body, the lungs. ”

“ These new singers are called by the novel appellation of basso cantante (which by-the-bye is a kind of apology, and an acknowledgment that they ought not to sing) , and take the lead in operas with as much propriety as if the double-bass were to do so in the orchestra, and play the part of the first fiddle. A bass voice is too unbending and deficient in sweetness for single songs, and fit only for those of inferior character, or of the buffo style. ”

“ A man's voice breaks into falsetto on the “Boo-ee!” Well, anyhow, such a young man as I am telling you of would be ashamed to sing with a hog noise. He wants to sing bass. Now the regular hymn-tunes change the bass as often as they change the soprano, and if you go fumbling about for the note, by the time you get it right it is wrong, because the tune has gone on and left you. The Sabbath-school songs had the young man Absalom distinctly in view. ”

“ His voice was a powerful bass, and his style of singing chaste and refined; he excelled in anthems, glees and other part singing. He was for many years principal second bass at the Concert of Ancient Music. He long enjoyed a high reputation as a teacher of singing and the pianoforte. ”

“ Well, sir, well, I think we may say, without boasting, that the service was as well per formed this evening as you often see; I think, quite as well as I ever knew it to be done in old Trinity—that is, if we except the organ. But there is the school-master leads the psalm with a very good air. I used to lead myself, but latterly I have sung nothing but bass. There is a good deal of science to be shown in the bass, and it affords a fine opportunity to show off a full, deep voice. Benjamin, too, sings a good bass, though he is often out in the words. ”

“ By a Ground Bass is meant a theme, continually repeated, in the lowest voice, each time with varied upper parts. An excellent example (see Supplement No. 39) is the Aria "When I am laid in earth" from Purcell's Opera Dido and Aeneas. It is evident that the persistent iteration of a striking phrase in the bass gives an effect of dramatic intensity, as may be seen in the sublime "Crucifixion" of Bach's Mass in B minor. [83] The87 Chaconne and Passacaglia are old dance forms (examples of the former being found in Gluck's Ballet Music) and are closely related to the Ground Bass ”

“ A simple, tuneful air, always based on the common chords of the key, with its bass so clearly indicated that it is easily felt and accompanied, for to train his voice and ear he should always sing with the harpsichord. ”

“ We are speaking here of vocal music; but the parts in an instrumental fugue are mostly treated pretty much as if they were voice parts. For the purposes of fugal answer, we group the voices in pairs, the higher pair being the treble and tenor, and the lower the alto and bass. If the student remembers the directions for transposing a given subject which are given in Counterpoint, he will be aware that a subject given in the treble must be transposed a fourth or fifth lower for the alto, an octave lower for the tenor, and an eleventh or twelfth lower for the bass. ”

“ But in a gale, the silent machinery of a sailing-ship would catch not only the power, but the wild and exulting voice of the world’s soul. Whether she ran with her tall spars swinging, or breasted it with her tall spars lying over, there was always that wild song, deep like a chant, for a bass to the shrill pipe of the wind played on the sea-tops, with a punctuating crash, now and then, of a breaking wave. At times the weird effects of that invisible orchestra would get upon a man’s nerves till he wished himself deaf. ”

“ Before the end of the fourteenth century viols were made in great profusion of every style and shape, but the rise of the true violin tribe begins with the rise of modern music. When the true octave and the perfect cadena had been discovered, and the human voice was found to fall naturally into soprano, contralto, tenor, and bass, viol instruments, adapted to these four divisions, were gradually separated from the confusion of instruments and brought to a perfection of adaptability. ”

“ The high, squeaking tones of the violins and flutes, and the growling ground bass of the bassoon are all that I can hear; they follow each other up and down in octaves, which tear the ear, until, at last, like one who is seized with a burning pain, I cry out involuntarily,
“What mad music! Those detestable octaves!”—Near me some one mutters.
“Cursed Fate! Here is another octave-hunter!” I look up and perceive now for the first time that imperceptibly to me a man has taken a place at the same table, who is looking intently at me, and from whom I cannot take my eyes away again. ”

“ One is, the wise God will have it so; some must pipe, and some must weep. Now Mr. Fearing was one that played upon this bass. He and his fellows sound the sackbut, whose notes are more doleful than the notes of other music are; though, indeed, some say the bass is the ground of music. And, for my part, I care not at all for that profession which begins, not in heaviness of mind. The first string that the musician usually touches is the bass, when he intends to put all in tune. God also plays upon this string first, when He sets the soul in tune for Himself. ”

“ If a very low bass found a note rather high, he may have howled it as he best could, or it would perhaps itself have cracked up into falsetto, or he will have gone down instinctively to the octave below, or remained where he was until the melody came again within his reach—ears being not yet critically cultivated. Even now, towards the end of the 19th century, it is not at all unusual to hear amongst a congregation basses singing the air of a hymn below the actual bass part, or soprani singing in the tenor-compass for convenience sake. ”

“ I have heard, and you doubtless, in a fine concert of viols, extemporary descant upon a thorough bass in the Italian manner, when each performer in turn plays such variety of descant, in concordance to the bass, as his skill and present invention may suggest to him. In this manner of play the consonances invariably fall true upon a given note, and every succeeding note of the ground is met, now in the unison or octave, now in the concords, preserving the melody throughout by the laws of motion and sound. I have thought that this is life. ”

“ The basso continuo of certain organists, who have fallen asleep over their pedals, soon becomes an intolerable nuisance for the audience. We should go wild at a performance of a symphony in which the double-basses played uninterruptedly from the first note to the last. Plain-song itself, thus interpreted, loses its eloquence; although the apparent monotony of its design, closely confined within the limits of an octave, would, above all, seem to be better adapted than any other form of music to a continuous bass. ”

“ The boom of the breakers finds a marvellously close echo in the splendid volume of the men’s voices, which are bass for the most part, and very much more powerful and sonorous than anything one hears in the country of the “superior” race. The women’s voices are somewhat shrill, but they sound well enough as one usually hears them, wandering wildly in and out of the massive harmonies of the basses. ”

“ Sweet is the voice of the springtime when the soldiers assemble as one
To eulogize those who have fallen in the wake of service well done;
Many are quietly sleeping 'neath the blush of the warm southern sky,
But the lilies are blooming above them and the old flag floats on high. 36
They have bivouacked oft in the south-land, the enemy fully in view,
With cities and armies to conquer, herculean duties to do;
With the earth itself for a pillow, their shelter the heaven's blue dome,
But now all too swiftly and surely, the comrades are gathering home. ”

“ The notes of the lowest register, when played piano, sound weird and sometimes grotesque, and are sometimes used instead of the kettledrum; when played forte the tone is grand and full. The lowest octave is mainly used as a fundamental octave bass to ’cello, bassoon or trombone. ”

“ Its four strings are tuned as follows the entire range of the instrument being from EE to a. In music written for double-bass the notes are always printed an octave higher than the tones are to sound: that is, when the bass-player sees the note he plays this being done to avoid leger lines. The tone of the bass is much heavier and [Pg 119] the instrument itself is much more clumsy to handle than the other members of the group, hence it is almost never used as a solo instrument but it is invaluable for reinforcing the bass part in orchestral music. ”

“ As with all well-endowed vocalists, the jaw of the bass is generally wide, the tongue large, the teeth small, and the mouth capable of easy expansion. The bass singer is generally above, as the tenor is generally below, the middle height. ”

“ A bass-drum would thunder down, breaking the back at a stroke of a long roll proceeding from a tenor one near by, whilst another of the latter species would rub-a-dub right into a pair of cymbals, and scatter their silver clashings into an entire route. New tunes would be constantly arriving as the distant companies came marching up to give fresh life to the wrangling discord, whilst to add to the uproar, the whole pack of pedlers, amounting to nearly a dozen, had given tongue at the first hurly-burly of the music, bursting out, as it were, in full cry. ”

“ As I heard the deep bass of the old Drummer, rolling in a low, solemn undertone, a sudden shifting of the scene came to me. I was in a great auditorium filled with light, and packed with humanity rising tier on tier and stretching far back till lost in the maze of distances. A grand orchestra, banked before me, with swaying arms and earnest faces, played a wonderful harmony which rolled about me like the sea and whelmed me with its volume till I was almost swept away by the tide, then suddenly down under its sweep I found the low deep roll of the bass drum. ”

“ Never leave a bass string the slightest amount too sharp. As flatness is so obnoxious in the treble, just so is sharpness in the bass, so if there must be any variation in any bass tone let it be flat ”

“ That light, cheerful movement, which caresses the soul, is cleverly supported by chords in the bass, and by a vague fanfare on the trumpets, restricted to their lowest notes, so as to give a vivid idea of the last cool shadows that linger in the valleys while the first warm rays touch the heights. Then all the wind is gradually added to strengthen the general harmony. ”

“ The wood wind, for example, consists of flutes and oboes, which are purely soprano instruments, clarinets, which extended from upper bass to moderately high soprano, English horn, which has a tenor range, bass clarinet, which runs from deep bass up into treble, and bassoons, which comprise bass, baritone, and tenor registers. That organization of instruments is capable of independent performance, possessing, as it does, all the components of full and extended harmony and a wide variety of color. ”

“ This was done very often to give a sense of unity that nowadays would be obtained by a repetition of the first thought at certain intervals through the piece. The figured (or better, ciphered) bass was an entirely different thing. This device, which is still employed, consisted of the use of figures to indicate the different chords in music. These figures or ciphers were written over or under the bass note on which the chord represented by the figures was to be played or sung. ”

“ To this instrument are assigned normally the deepest bass parts of the score. Basses are mounted with three, four, or five strings. The four-string variety is most widely used, having almost completely supplanted the three-string instruments. In modern symphony orchestras the five-string bass is making rapid headway, its special advantage being the downward extension of its compass to low (16 foot) C—one octave below the C string of the cello. ”