The compass usually employed in the orchestra is three and one-half octaves from the low C to the G just above the treble staff. This compass may be increased further by the employment of harmonics. Students of scores will find that three different clefs are used for ’cello music, as explained in the account of clefs.
All that has been said about playing the violin applies also to the ’cello, though, of course, in orchestral music the ’cello is not expected to display so much agility as the violin. It is heard to the best advantage in broad and fluent melody. As Berlioz justly says: “Nothing is more voluptuously melancholy or more suited to the utterance of tender, languishing themes than a mass of violoncellos playing in unison on their first strings.” He might have added that nothing is more expressive of dignity without passion than the lower tones of the ’cello when uttered by several instruments at once. Owing to its great compass the ’cello can be used as the bass of the string quartet, as a solo instrument, or as the singer of the melody with an accompaniment by the other strings.
THE DOUBLE-BASS
The irreverent frequently call the double-bass the “bull fiddle.” It is the foundation of the string choir and the fundamental bass of the whole orchestra. It is tuned thus:
It must be borne in mind, however, that the notes sound an octave lower than written. The instrument is called the double-bass because it was used in early times to double the bass part played by the ’cello. It is only since the beginning of the nineteenth century that it has generally been given an independent bass part. Beethoven extended its powers immensely and revealed capacities which earlier composers did not suspect the instrument of possessing. Indeed, some of Beethoven’s contemporaries looked askance at his innovations. Weber wrote an article on the great man’s Fourth Symphony. In it he depicted himself as hearing in a dream the comments of the instruments of the orchestra. The contra-bass (double-bass) says:
“I have just come from the rehearsal of a symphony by one of our newest composers; and though, as you know, I have a tolerably strong constitution, I could only just hold out, and five minutes more would have shattered my frame and burst the sinews of my life. I have been made to caper about like a wild goat, and to turn myself into a mere fiddle to execute the no-ideas of Mr. 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.