The practical compass of the double bass extends from
(real sounds) with all chromatic intervals. In order to avoid using numerous ledger lines the music is written an octave higher. The quality of tone is very powerful but somewhat rough, and varies greatly in its gradations. 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. The tone of the pizzicato is full and rich owing to the slowness of the vibrations, and it changes character according to the harmonies which lie above it: with a chord of the diminished seventh above it, for instance, the pizzicato sounds like a menace, but with the common chord calm and majestic. Both natural and artificial harmonics are possible on the double bass, the former being the best; but they are seldom used in orchestral works. As an instance of their use may be cited the scene by the Nile at the beginning of the third act of Verdi’s Aida, where harmonics are indicated for both ’cellos and double basses.
The technical capabilities of the double bass are necessarily somewhat more limited than those of the violoncello. Quick passages, though possible, are seldom written for it; they cannot sound clear owing to the time required for the strings to vibrate. An excellent effect is produced by what is known as the intermittent tremolo: owing to the elasticity of the bow, it rebounds several times on the strings when a single blow is sharply struck, forming a series of short tremolos. 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.
The remote origin of the double bass is the same as that of the violin.[3] It was evolved from the bass viol; whether the transformation took place simultaneously with that of the violin from the treble viol or preceded it, has not been definitely proved, but both Gasparo da Salo and Maggini constructed double basses, which were in great request in the churches. De Salo made one with three strings for St Mark’s, Venice, which is still preserved there.[4] It was Dragonetti’s favourite concert instrument, presented to him by the monks of St Mark, and, according to the desire expressed in his will, the instrument was restored after his death to St Mark’s, where it is at present preserved. Dragonetti used a straight bow similar to the violoncello bow, held overhand with the hair slanting towards the neck of the instrument; it was introduced into England from Paris, and is a favourite with orchestral players. Praetorius gives an illustration of a sub-bass viol da gamba or gross contra-bass geige[5] “recently constructed,” which displaced the other large contra-bass viols; of which he also gives an illustration.[6]
Giovanni Bottesini (1822-1889) was the greatest virtuoso on the double bass that the world has ever known. It was not only the perfection of his technique and tone which won him artistic fame, but also the delicacy of his style and his exquisite taste in phrasing.
(K. S.)