Double bass

“ Double Basses by the great makers are rare and not effective in the orchestra: professional players usually choose old English ones, or modern ones by such makers as Fendt and Lott, who made the Double Bass a speciality.
Fiddle-making is so little practised as a trade in this country, that a short explanation of the process may be useful. ”

“ Composer.”
The time had not yet come for the famous recitative passage of the basses in the Ninth Symphony. The same methods of bowing, etc., as are applied to the violin are applied to the double-bass, but without any attempt at great agility. Sordines, or mutes, are not used, because an effective mute for a double-bass would weigh about two pounds and would be very inconvenient to carry in the pocket. Harmonics can be produced from the double-bass, but they are strident and loud and have no musical utility. ”

“ 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. ”

“ Owing to its register—basso profondo + a still lower compass,—and its muffled resonance, the double bass is little capable of broad cantabile phrases and only in unison or in octaves with the 'cellos. In my own compositions there is no phrase of any importance given to the double bass without the support of 'cellos or bassoons.
Examples:
* No. 10. Legend of Kitesh 306. Double bass solo, doubled first by the double bassoon, later by the bassoon. This example affords an instance of the rare use of the alto clef (in the last few notes) . ”

“ In the love scene of Berlioz's "Romeo and Juliet" symphony it is the violoncello which personifies the lover, and holds converse with the modest oboe.
The double-bass.
The patriarchal double-bass is known to all, and also its mission of providing the foundation for the harmonic structure of orchestral music. It sounds an octave lower than the music written for it, being what is called a transposing instrument of sixteen-foot tone. ”

“ The time he spent in making these instruments was double that which any other English maker expended over similar work. There is not a single portion of any of his Double-Basses that has been carelessly made; the interior is as beautifully finished as the exterior. The machines on many of his Basses were made by himself—a very unusual circumstance. The scrolls are finely cut. He was certainly the king of the English Double-Bass makers. ”

“ The [198] sound is clear, deep, and sonorous, nothing at all like the dull and thick tone of the ordinary double–bass. The fingering is done by means of mechanism connected with keys at the lower end of the finger–board, which the performer, standing on a stool, easily reaches with the left hand, while with the right he draws a big bow across the strings. The use of this instrument must be reserved for the grander effects of harmony. It is like the sub–bass of the organ. ”

“ The double bass is the foundation of the whole orchestra and therefore of great importance; it plays the lowest part, often, as its name indicates, only doubling the ’cello part an octave lower. It is only since the beginning of the 19th century that an independent voice has occasionally been allotted to it, as in the Scherzo of Beethoven’s Fifth Symphony in C minor:—
These opening bars are played soli by ’cellos and double basses, a daring innovation of Beethoven’s which caused quite a consternation at first in musical circles. ”

“ It is rarely used, but should not be dispensed with. Messrs. Mahillon, of Brussels, produce a reed contra-bass of metal, intended to replace the contra-bassoon of wood, but probably more with the view of completing the military band than for orchestral use. It is a conical brass tube of large proportions, with seventeen lateral holes of wide diameter and in geometrical relation, so that for each sound one key only is required. The compass of this contra-bass lies between D in the double bass octave and the lower F of the treble clef. ”

“ He will not compose airs with a simple bass accompaniment, because this is no longer the custom; and, besides, he would take as much time to compose one of these as a dozen with the orchestra. The modern composer will oblige the manager to furnish him with a large orchestra of violins, oboes, horns, &c., saving him rather the expense of double basses, of which there is no occasion to make any use, except in tuning at the outset. The overture will be a movement in the French style, or a prestissimo in semiquavers in a major key, to which will succeed a piano in the minor ”

“ 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 four kinds of wind instruments: flutes, oboes, clarinets and bassoons may be generally considered to be of equal power. The same cannot be said of instruments which fulfil a special purpose: piccolo, bass flute, Eng. horn, small clarinet, bass clarinet and double bassoon. Each of these instruments has four registers: low, middle, high and extremely high, each of which is characterised by certain differences of quality and power. It is difficult to define the exact limits of each register; adjacent registers almost blend together and the passage from one to another is scarcely noticeable. ”

“ The good-looking man who plays upon the double-bass is equally prudent with regard to his trophies, which he has hung up around the post on which is pinned the score to which he looks for directions when it becomes necessary to bind together with string-music the pensive interchanges of the sax-horn and bassoon. ”

“ Furthermore, considering that musical performances very frequently take place in artificial light, the eyesight of the musician is apt to be disadvantageously affected. In this respect also the playing on some instruments is more injurious than on others. The Double Bass player, for instance, is compelled, from the size of his instrument, to have the musical notation placed at a greater distance before him than is naturally convenient for his sight, which renders it necessary for him to exert his eyes in an extraordinary degree. ”

“ 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. ”

“ 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. ”

“ With the growing favour for simple chords, which were developed into the Continuo or Thorough Bass accompaniment, the bass strings—diapasons, as they were called—were added beneath the finger-board accordance to be tuned for basses as the player required. At last they were attached by the contrivance of a double neck to a higher peg-box, by which the Lute became a Theorbo. ”

“ The triple flageolet (Fig. 69) is less common but equally useless for musical performances of the present day. The “Harmonicon,” London, 1830, records:—​"Within these few years Mr. Bainbridge has added a bass joint to his double flageolet and the tone resembles the lower notes on a German flute. The effect produced by the combination of three notes is very good and mellifluous. The bass joint is fixed at the back of the double flageolet, and the breath is conveyed by means of a tube; and by the introduction of what are termed stop-keys, a solo, duet, or trio may be instantaneously performed. ”

“ It is scored for one piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, double bassoon, four horns, four trumpets, three trombones, contra bass tuba, two trumpets off the stage, kettle drums, snare drums, bass drum and tambourine, Glockenspiel, Cuckoo, Xylophone, cymbals, triangle, tam-tam, two harps, celesta, organ, sixteen first violins, sixteen second violins, twelve violas, ten violoncellos, eight double basses, and a tenor voice. ”

“ That which produced the bass tones was sometimes of enormous length and was blown through a bent tube like the bassoon, the invention of which it suggested. The smallest instrument, called chalumeau (from calamus, a reed) is still occasionally to be found among the peasantry in the Tyrol and some other parts of the Continent. The Germans call it Schalmei and the Italians piffero pastorale. In England it was formerly called shawm, or shalm.”
The type of these instruments was a conical tube of wood with a bell at one end and a bent metal tube at the other containing a double reed mouthpiece. ”

“ The contrafagotto or double bassoon, in pitch an octave below the ordinary bassoon, is not by any means a new instrument; but the older instruments were of feeble rattling tone, rendered unwieldy by unsuccessful attempts to obtain the B♭ of the 32-foot octave. ”

“ Two double basses, placed in the above-named conditions--conditions of vicinity and tonal identity--far from adding up their individual result, are thus reduced each to a quarter of its own sonority, which in the sum total, instead of producing a double sound, produces a sound reduced to half of that given individually by each instrument taken alone. This is how a power plus an analogous power equals together with it but half a power; and thus we are forced to admit that one and one do not necessarily make two. ”

“ On a roll of kettledrums, double basses begin pizzicato, a figure which is finally taken up by violoncellos, and serves as an accompaniment for a mournful theme sung by the bassoons in octaves. The movement becomes more animated and more dramatic. After a climax fortississimo, molto largamente, the second and expressive theme is sung by some of the first violins, violas, violoncellos (F sharp major, andante sostenuto) , accompanied at first by strings and then by running passages in flutes and bassoons. This theme, now in wood-wind instruments, is accompanied by running passages for violins. ”

“ Alfred Morton, in England, has constructed double bassoons on Dr Stone’s design (fig. 2) . (3) The third model is of brass and consists of a conical tube of wide calibre some 15 or 16 ft. long, curved round four times upon itself and having a brass tuba or euphonium bell which points upwards. ”

“ This I worked sometimes from a small bark canoe and sometimes from a wooden one, which I keep at the farm, and use to paddle up and down the stream between the willows and the bridge, or upon the lake itself.
Many men prefer a boat and oars, but I find a light canoe infinitely preferable. The double paddle makes less splash than the oars, and if one can use the Canadian single blade, it does not make any noise at all. Added to this it is easier managed, one sees where one is going, and it can be lifted with one hand from stream to lake, and lake to stream. ”

“ The mechanism and fingering are very intricate. Theoretically the whole construction of the bassoon is imperfect and arbitrary, important acoustic principles being disregarded, but these mechanical defects only enhance its value as an artistic musical instrument. The player is obliged to rely very much on his ear in order to obtain a correct intonation, and next to the strings no instrument gives greater scope to the artist.
The bassoon has an eight foot tone, the compass extending from B♭ bass [1] to A♭ treble , or in modern instruments by means of additional mechanism to C or even F . ”

“ 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. ”

“ By these it was enabled to supply itself with food, like that bird, in muddy places, or on the banks of the lakes, in which its webbed feet enabled it to swim; while on shore its long and sharp claws were employed in burrowing; nature thus providing for it in its double or amphibious character. ”

“ An explanation of the fact is to be found in the peculiar acoustic properties of the cylindrical tube played by means of a reed mouthpiece characterizing the clarinet family, which acts as a closed pipe speaking an octave lower than an open pipe of the same length, and overblowing a twelfth instead of an octave. This is more fully explained in the articles Clarinet and Aulos.
The construction of the bass clarinet demands the greatest care. The bore should theoretically be strictly cylindrical throughout its length from mouthpiece to bell joint ”