DOUBLE-BASS.
METHOD for the DOUBLE-BASS, according to the English system of tuning and fingering, compiled from the treatises of MINÉ, FROHLICH, &c., and illustrated by numerous extracts from the Orchestral Compositions of HAYDN and MOZART; together with an explanation of the mode of simplifying ordinary Bass-parts, so as to adapt them to this instrument, by J. HAMILTON. (Cocks and Co.)
THE reader perhaps will start at seeing a treatise on such an instrument announced, but the double-base has risen to great importance in the orchestra, and requires a much more regular course of study than in days gone by, when all sorts of people undertook to perform on it.
The title-page of this publication so fully sets forth its contents, that it is unnecessary to add a word on that subject. The precepts are few and clearly expressed, but the examples are many and very judiciously selected.
We learn from the present work, that in Germany this instrument is mounted with four strings, which are tuned by fourths descending, beginning with C, the second space in the base; or more frequently with G, the first base line. In Italy, England, and France, only three strings are used, which in the two former countries are tuned to G, D, and G; in the latter, to G, D, and A. The double-base plays from the violoncello part, but generally an octave below that instrument.
It appears that the fault we complained of in our last, page 149, in mentioning a Fantasia by M. Chaulieu, is imputable to the London engraver, who mistook a new mark endeavoured to be brought into use by the composer, for the contratenor clef. See Acknowledgments to Correspondents.