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).
* [No. 11.] The Golden Cockerel 120.—D. basses + D. bassoons.
Grouping in unison.
a) Vns I + Vns II.—It goes without saying that this combination entails no alteration in colour; it gains in power and richness of tone by reason of the increased number of players, and is usually attended by doubling of the melody in some departments of the wood-wind. The large number of violins prevents the wood-wind predominating, and the tone quality remains that of the string quartet, enriched and amplified.
Examples:
[No. 12.] Shéhérazade, beginning of the third movement. Cantabile for Vns I and II on the D string, then on the A.
The May Night, overture D. Quick piano melody, beginning cantabile and divided later in octaves
| ( | Vns I | ] | 8 | ) |
| Vns II |