So the double-bass is practically the old violone with a very few slight changes. It still retains some of the characteristics of the old Viol Family; for instance, its flat back (instead of the new arched back of the new Violin Family) and its slanting shoulders; but it has yielded to the new style in its f-holes and its four corner blocks. We may call the double-bass a combination of the models of the violin and the viola da gamba and not be far wrong. Compare the double-bass facing this page and the viola da gamba facing page [60], and you will see the same slanting shoulders and general form. The double-bass also follows the habit of the Viol Family in being tuned in fourths instead of fifths.
If we look at the row of double-basses in the Orchestra, we will notice that some of the men are playing on instruments with three strings and others on instruments with four strings; but the work they have to do is practically the same. It is fascinating to watch the players whose hands move so rapidly up and down the long neck of the instrument and whose fingers fall so intelligently and firmly upon the right places, while the short, thick, black-haired bow looks sometimes as if it would saw the double-bass in two.
We seldom hear a solo from the double-bass; for composers do not encourage him. His voice in spite of his huge size lacks substance.
FIRST DOUBLE-BASS, SYMPHONY SOCIETY OF NEW YORK
Morris Tivin
We cannot imagine the double-bass whispering a tender love-song, or indulging in any sweet sentiment. It is essentially an orchestral instrument. Its heavy notes are for the good of the community. They help make a fine, firm background for the melodies and harmonies of the more delicate instruments.
The best effects of the double-bass are obtained on his open strings; and it can (and often does) produce harmonics.
No composer ever thought of taking any special notice of it until Gluck saw its possibilities and made it imitate the hoarse barking of Cerberus in his opera of Orfeo. On the words “At the dire howling of Cerberus,” the double-basses are doubled with the violas and violoncellos and make a wonderful effect in depicting the three-headed dog of the lower regions.
Mozart used the double-bass with great skill in Don Giovanni; but still there was no call for a solo from the double-bass. Nobody thought of attracting attention to this clumsy old growler, sedate and solemn, often severe, occasionally savage, and, at his best moments, gloomy and vague, until Beethoven gave him greater and greater importance.