Double bass

The double bass, also known as the upright bass, is the largest and lowest-pitched instrument in the modern symphony orchestra. It has four or five strings and is played with a bow or by plucking the strings. The double bass is a key part of the orchestra's string section, along with violins, violas, and cellos.

It is used in many types of music, including Western classical music, jazz, blues, rock and roll, rockabilly, country music, tango, folk music, and even in film and video game soundtracks. The double bass can be played in different ways, such as using a bow, plucking the strings, or slapping them for certain styles of rock and roll.

Scholars are still unsure about the exact history of the double bass, but it is known for its deep, rich sound that adds depth and warmth to music. It is tuned in fourths, which is different from most other bowed string instruments that are tuned in fifths.

Terminology

A person who plays the double bass can be called a bassist, double bassist, double bass player, contrabassist, contrabass player, or bass player. The names "contrabass" and "double bass" describe the instrument’s low range and its role one octave below the cello.

In different types of music, the double bass has many names. In jazz, blues, rockabilly, and other non-classical music, it is often called the upright bass, standup bass, or acoustic bass to tell it apart from the electric bass guitar. In folk and bluegrass music, people might call it a bass fiddle or bass violin. Though it looks similar to other string instruments, the double bass is built differently from the acoustic bass guitar and is related to an older instrument called the viola de gamba.

The double bass is sometimes also called a violone, bass violin, or bass viol.

Description

A double bass is a large string instrument, about as tall as a person. It usually measures around 180 cm (6 feet) from top to bottom. There are different sizes to fit players of various heights, with the most common size being a bit smaller than the largest possible.

Double basses are made from wood, like maple for the back, spruce for the top, and ebony for the fingerboard. It is part of the violin family but has some features from older string instruments. The double bass can play deep notes and has a rich, warm sound. It can be played with a bow or by plucking the strings, and its fingerboard has no frets, allowing for smooth, flowing notes.

Playing style

The double bass can be played with a bow (arco) or by plucking the strings (pizzicato). In classical music and tango, players use both methods. In jazz, blues, and rockabilly, plucking is most common, except for some special parts in modern jazz that ask for bowing.

When bowed very low and loudly, the double bass sounds deep and powerful. When played softly, it can sound smooth and gentle. Classical players learn many ways to bow, like smooth, detached, and short strokes. They also use vibrato, a wavering sound made by moving the left hand finger, to add feeling to their playing. In jazz and rockabilly, players often pluck the strings quickly to create moving rhythms and solos. The double bass player usually stands or sits high and leans the instrument close to their body for easier playing.

History

The double bass comes from the violone, a big viol that started in Europe in the 1400s. Long ago, many double basses only had three strings, but instruments like viols often had five or six, and violins had four. The double bass looks different from violins and cellos. It is deeper, and its shoulders are carved at a sharper angle, similar to viols. Some very old double basses were changed to fit modern playing styles.

The double bass is special because it is tuned in fourths, like a viol, instead of fifths used by other string instruments. Exactly where it came from is still discussed. Some believe it is a true bass of the violin family, while others think it started as a violone, the largest viol. Some early basses were actually violoni that were updated with modern features.

Design

Double basses come in two main shapes: the violin form and the viola da gamba form. A less common shape is called the busetto, and there are even rarer shapes like guitar or pear. The back of the bass can be round like a violin or flat and angled like a viol.

The double bass shares many parts with other string instruments, such as a wooden bridge to hold the strings, two f-holes, a tailpiece for the strings, an ornamental scroll, a nut for the strings, and a sound post that helps vibrations travel. Unlike other string instruments, the double bass has sloped shoulders and an angled back for easier playing. It also uses metal tuning machines instead of wooden pegs, which helps keep the strings in tune.

Construction

The double bass is similar to violins but has some features from the violone, the largest viol instrument. Unlike the violone, the double bass has an unfretted fingerboard and fewer strings. The fingerboard is usually made of ebony on better instruments. The pegbox and tuning mechanism use metal machine heads and gears instead of wooden pegs.

Materials for double basses include maple, spruce, and ebony for professional instruments. Less expensive basses may use laminated wood or other materials. The soundpost and bass bar are important internal parts. All parts are glued except the soundpost, bridge, and tailpiece, which are held by string tension.

Strings

Double bass strings were once made of catgut but are now usually made of steel because they hold pitch better and sound louder. Gut strings are still used by some musicians for special styles of playing.

Bows

Double bass bows come in two types: the "French" bow, similar to bows for other string instruments, and the "German" bow, which is broader and shorter. Both bows have their own advantages, and good players can use either.

Bow construction and materials

Double bass bows are shorter and heavier than cello bows. They are often made from pernambuco wood, but other materials like fiberglass and carbon fiber are also used. The frog of the bow is usually made of ebony and can be decorated with mother of pearl. The bow’s hair is typically horsehair, and it needs regular maintenance.

Mechanism of sound production

The double bass makes sound in a special way. The strings on the bass don’t move much air by themselves, so they need help to make music. When the strings are plucked, they shake a part called the bridge. The bridge then moves the top surface of the bass, which shakes the air and makes sound. The bridge changes the small, strong shakes from the strings into bigger shakes that the air can feel better. The front and back of the bass both shake and help send the sound out. This lets the vibrations from the strings reach the air easily.

acoustic impedance

Specific sound and tone production mechanism

The double bass makes sound in a special way. When you pluck or bow a string, it vibrates against the fingerboard near where you finger the note. This creates a buzzing sound that gives the note its unique character.

Pitch

The double bass can play very low notes. The lowest note it can make is an E₁, which is about one octave above the lowest note most people can hear. With five strings, it can even go lower to a B₀. Players can reach higher notes by touching the strings lightly without pressing them down, creating a special sound used in modern music.

In classical music, double bass parts usually stay within a two-octave range. However, some modern pieces ask for much higher notes. Five-string basses have an extra string tuned to a low B, and some special models can go even lower. The music for double bass is often written an octave higher than it sounds, making it easier to read on the music staff.

Tuning

Regular tuning

The double bass is usually tuned in steps of four notes, unlike other string instruments in an orchestra which are tuned in steps of five notes. For example, a violin’s strings are tuned G–D–A–E from lowest to highest. The double bass’s standard tuning, from lowest to highest, is E–A–D–G, starting from E below the second low C. This tuning is the same as a bass guitar but one octave lower than the lowest four strings of a regular guitar. Before the 1800s, some double basses had only three strings to reduce tension, which made the sound better for solo playing. Some bands in Catalonia still use three-string double basses tuned A–D–G.

In classical music, there are sometimes notes that are lower than what a standard double bass can play. These notes appear often in older Baroque music. During the Classical period, the double bass usually played the cello part but an octave lower, sometimes going down to C below the E note of a four-string bass. In later music, composers like Wagner, Mahler, Busoni, and Prokofiev also asked for notes below the low E.

There are several ways to play these very low notes. Players with standard basses can play the notes an octave higher, or they can tune the low E string down to D or C. Some four-string basses can be fitted with a “low-C extension.” Or, the player can use a five-string bass, with the extra string tuned to C, or more commonly today, to B, which is three octaves and a little below middle C. Many major European orchestras use basses with a fifth string.

C extension

Most professional players use four-string double basses with a C extension. This is an extra part added to the fingerboard at the top of the bass. It gives the lowest string four more notes downward. The lowest string is usually tuned down to C₁, one octave below the lowest note on a cello. Sometimes it is tuned even lower to B₀, though this is rare. There are different types of extensions.

The simplest extensions have no mechanical parts except a nut or “gate” for the E note. The player reaches under the scroll to press the string to the fingerboard. This lets the player adjust the notes and avoids noisy mechanical parts. But it can be hard to quickly switch between low notes on the extension and regular notes.

Some extensions use wooden “fingers” or “gates” that press the string down for notes like C♯, D, E♭, or E. This helps with repeating notes like a low D. The most complex extensions use a lever system, called a “machine,” with levers that activate metal fingers on the extension. Some of these can lock notes down. However, they can make clicking noises.

Once a mechanical finger is locked or pressed, it’s hard to make small pitch changes or smooth sliding effects, which are possible with a hand-fingered extension.

Five-string basses, where the lowest string is normally B₀, might use a two-note extension for a low A, or very rarely a low G extension.

Other tuning variations

A few bass players tune their strings in fifths, like a cello but an octave lower (C₁–G₁–D₂–A₂). This was used by jazz player Red Mitchell and some classical players like Joel Quarrington. Tuning in fifths gives the bass a wider range than the standard E–A–D–G tuning, from C₁ to A₂. Some players with five-string basses add a high E₃ string (from lowest to highest: C–G–D–A–E). Some players with four-string basses who play solo works use G–D–A–E tuning, skipping the low C string for a high E. Some five-string players use a smaller instrument to make fingering easier. An old book on instruments from 1844 suggests that a good orchestra should have some four-string basses tuned in fifths and some in fourths to improve the orchestra’s sound.

In solo playing, the double bass is often tuned a whole note higher (F♯₁–B₁–E₂–A₂). This is called “solo tuning,” while the regular tuning is “orchestral tuning.” Modern solo strings are thinner. The tension is very different between solo and orchestral tuning, so different sets of strings are often used. Solo strings are labeled for either solo or orchestral tuning. Some solo music is written for either tuning, including special tunings used by Bottesini that go up a minor third instead of a whole step. Some famous solos and concertos, like the Koussevitsky Concerto, are available for both solo and orchestral tuning. Solo tuning strings can be tuned down a tone to play in orchestra pitch, but they might not sound as strong and their pitch can be unstable, while older gut strings work well for both with proper care.

A less common solo tuning used in some Eastern European countries is (A₁–D₂–G₂–C₃), which skips the low E string from orchestral tuning and adds a high C string. The tololoche in Mexico, a smaller kind of double bass, also uses the A-D-G-C tuning. Some five-string bass players use a high C₃ string instead of a low B₀ string. Adding the high C string helps with solo music that has high notes. Another choice is to use both a low C (or low B) extension and a high C string.

Five strings

When choosing a bass with a fifth string, the player can pick a higher-pitched string (a high C string) or a lower-pitched string (usually a low B). To fit the extra string, the fingerboard is usually a bit wider, and the top of the bass is a bit thicker, to handle the extra tension. Most five-string basses are bigger than standard four-string basses. Some five-string instruments are made from four-string basses. Because these don’t have wider fingerboards, some players find them harder to finger and bow. Converted four-string basses often need a new, thicker top, or lighter strings, to balance the extra tension.

Six strings

The six-string double bass has both a high C and a low B, which makes it very useful. It is becoming more practical now after some updates. It works well for solo and orchestral playing because it has a more playable range. This can be done on a six-string violone in D by changing its strings to B₀–E₁–A₁–D₂–G₂–C₃.

Playing and performance considerations

Double bassists can either stand or sit while playing. The height of the instrument is adjusted with an endpin so the player can reach the strings easily with the bow or plucking hand. Traditionally, players stood for solos and sat for orchestra performances, but now many soloists sit and some orchestral players stand.

Playing in the higher range of the double bass requires a special technique called thumb position, where the hand flattens out and uses the side of the thumb to press the string. This helps produce clear notes.

Even though the double bass is large, it isn’t as loud as other instruments because of its low pitch. In big orchestras, several bassists often play the same low notes together to make them loud enough. In some cases, special microphones can help make the bass louder without changing the natural sound too much.

In music styles like jazz and blues, players often use special amplifiers to make the bass louder. This can sometimes cause unwanted noise, so players use devices to reduce this. In rockabilly music, players sometimes hit the strings to create a percussive sound.

Carrying a double bass can be tricky because it’s big and fragile. Most players use special soft cases called gig bags to protect the instrument. Some professional players use hard cases with wheels or straps to make it easier to carry.

Double bass players use several accessories to help them play. Mutes can make the sound quieter and darker when needed. A quiver holds the bow when not in use. A wolf tone eliminator helps prevent unwanted vibrations that can make certain notes sound bad. Players often use electronic tuners to make sure their bass is in tune, especially when the tuning note is far from the bass’s lowest notes. Stands are also used to keep the bass off the ground.

Classical repertoire

Solo works for double bass

1700s

The double bass was a popular solo instrument in the 1700s, with many famous composers writing pieces for it. Back then, it was often called the Violone and had different tunings in different places. One popular tuning was A₁–D₂–F♯₂–A₂, and sometimes a fifth or even sixth string was added (F₁–A₁–D₂–F♯₂–A₂).

The earliest known concerto for double bass was written by Joseph Haydn around 1763, though it is believed to be lost. The earliest existing concertos are by Carl Ditters von Dittersdorf, who wrote two concertos for the double bass and a Sinfonia Concertante for viola and double bass. Other composers from this time who wrote concertos include Johann Baptist Wanhal, Franz Anton Hoffmeister, Leopold Kozeluch, Anton Zimmermann, Antonio Capuzzi, Wenzel Pichl, and Johannes Matthias Sperger.

Wolfgang Amadeus Mozart’s concert aria, Per questa bella mano, K.612, features impressive writing for solo double bass and remains popular today. The double bass evolved to meet the needs of orchestras for lower notes and a louder sound. Prominent double bassists like Josef Kämpfer and Domenico Dragonetti influenced its role in solo works. Dragonetti, a friend of Haydn and Ludwig van Beethoven, was known for his playing across Europe and inspired Beethoven to write challenging parts for the double bass in his symphonies.

Dragonetti wrote ten concertos for the double bass and many solo works. During Rossini’s time in London, he composed a popular Duetto for cello and double bass. Dragonetti often played a three-string double bass tuned G–D–A, which was popular among soloists and orchestra bassists because it created a more resonant sound.

1800s

In the 1800s, Giovanni Bottesini was considered a virtuoso of the double bass, known for his concertos written in the popular Italian opera style. These pieces required skilled techniques and were considered unplayable by many bassists at the time, but are frequently performed today. During this period, a school of bass players in the Czech region emerged, including Franz Simandl and Adolf Mišek, whose teaching materials are still used today.

1900s–present

Serge Koussevitzky, conductor of the Boston Symphony Orchestra, helped popularize the double bass as a solo instrument in modern times. With improvements like steel strings, the double bass could be played at more advanced levels, leading to many new works. Mid-century and later decades saw concerti by composers like Nikos Skalkottas, Eduard Tubin, and Lars-Erik Larsson.

The Solo For Contrabass is part of John Cage’s Concert For Piano And Orchestra and can be played as a solo. Gary Karr was a leading proponent of the double bass as a solo instrument, commissioning hundreds of new works. Other important performers include Bertram Turetzky, who premiered over 300 double bass works.

New concerti from the 1970s to 1990s include works by Nino Rota, Alan Ridout, and Jean Françaix. In the 2000s, new concerti include pieces by Frank Proto, Kalevi Aho, and John Harbison.

Chamber music with double bass

The double bass is not part of a standard chamber ensemble like a string quartet, but there are many chamber works that include it. One famous example is Franz Schubert’s Piano Quintet in A major, known as The Trout Quintet. Other works for piano quintet include pieces by Johann Nepomuk Hummel and George Onslow.

In string quintets, Antonín Dvořák’s String Quintet in G major and Wolfgang Amadeus Mozart’s Serenade in G major are popular. Larger works like Beethoven’s Septet and Schubert’s Octet also feature the double bass.

Orchestral passages and solos

In a modern orchestra, the double bass section usually has six to eight players. Smaller orchestras might have four, and some have up to ten. The principal bass player often performs solo parts and leads the section.

Notable orchestral solos include parts written by Johannes Brahms and Richard Strauss. “The Elephant” from Camille Saint-Saëns’ The Carnival of the Animals is a famous piece for double bass, and Gustav Mahler’s first symphony features a solo that quotes the children’s song Frere Jacques.

Double bass ensembles

Ensembles made up only of double basses exist, with composers writing pieces for them. Examples include works by Gunther Schuller, Jacob Druckman, and Claus Kühnl. Larger ensemble works include pieces by Galina Ustvolskaya and José Serebrier.

Double bass ensembles include L'Orchestre de Contrebasses, Bass Instinct, and the Chicago Bass Ensemble. The International Society of Bassists features these ensembles at its conferences.

Use in jazz

Main article: Jazz bass

Around 1890, early jazz music in New Orleans started with marching bands that used instruments like tubas. By the 1920s, the double bass began replacing these instruments in jazz clubs. Players would create moving bass lines that matched the chords of the song.

Because the double bass doesn't sound very loud without microphones, some players in the 1920s and 1930s used a special technique called the "slap style." This involved hitting the strings to make a loud "slap" sound, which helped the bass be heard better in recordings.

Jazz bass players need to be good at making up their own lines and solos for different songs. They also need to know the right rhythms for various styles. In big bands, they sometimes read written music.

Many famous bass players helped shape jazz. For example, Jimmy Blanton played with Duke Ellington, and Paul Chambers worked with Miles Davis on the album Kind of Blue. Since the 1950s, jazz bass players have often used microphones to make their instrument louder.

While electric bass guitars became popular in some types of jazz in the 1970s, the double bass is still widely used in most jazz styles because of its unique sound.

Use in bluegrass and country

The double bass is the main bass instrument in bluegrass music and is usually played by plucking the strings. It helps keep the beat and supports the chords in the music. Many bluegrass players prefer using basses made by Engelhardt-Link or Kay.

In early traditional music, cellos were often used, but they later became more common in orchestras. In recent years, some bluegrass bands have started using electric basses because they are easier to carry, though many still prefer the natural sound of the double bass. Bluegrass bass playing often follows simple rhythms, and sometimes players use a technique called slap-style, where they hit the strings to create a percussive sound. This technique is used carefully, mostly in live performances.

An early famous bluegrass bassist was Howard Watts, who played with Bill Monroe's Blue Grass Boys. Other notable players include Edgar Meyer and Todd Phillips. In country music, the double bass was standard in the past, but electric basses are now more common, especially in modern styles.

Use in popular music

See also: List of double bassists in popular music

In the early 1950s, the upright bass was commonly used in rock and roll music. It was also part of rhythm and blues bands during the 1940s.

Over time, the upright bass faced challenges in louder music settings because it was hard to hear and difficult to carry. The invention of the electric bass guitar in 1951 made it easier for bands to play loudly and in big venues.

In the 1980s and 1990s, the upright bass returned to popularity, especially in folk, country, and acoustic music. Bands like Barenaked Ladies chose to use it for its unique sound.

Modern playing styles

In popular music, the double bass is often played with amplification using fingers in a pizzicato style. Players may use the sides of their fingers for a stronger sound in slow songs or the tips of their fingers for quick, light tunes. Amplification helps players control the sound better by adjusting certain frequencies.

Without amplification, the natural sound of the double bass can be quiet at very low pitches. But with an amplifier, players can make the low notes louder and keep the sound longer, which is helpful for playing background music or long, flowing melodies.

In some types of jazz, swing, polka, rockabilly, and psychobilly music, the bass is sometimes played in a slap style. This involves hitting the strings against the fingerboard between notes to create a snare drum-like effect, adding extra rhythm to the music.

Double bassists

Historical

Some famous double bass players from the past include Domenico Dragonetti, Giovanni Bottesini, Franz Simandl, Édouard Nanny, and Serge Koussevitzky. These musicians were known for their skill in playing the double bass, as well as for composing and leading music groups.

Modern

Today, talented double bass players like François Rabbath, Gary Karr, and Edgar Meyer continue to inspire others with their playing and teaching.

Contemporary (1900s)

Classical

Some of today’s most important classical double bass players are known for both their performances and their teaching. For example, Oscar G. Zimmerman taught at the Eastman School of Music and the Interlochen National Music Camp in Michigan. François Rabbath created a new way to play the bass by dividing the fingerboard into six positions. Other skilled players include Gary Karr, Teppo Hauta-aho, Fernando Grillo, and Edgar Meyer.

Jazz

Many famous jazz double bass players have shaped the music over the years. Jimmy Blanton played with Duke Ellington and introduced new ways to play solos. Ray Brown worked with famous musicians like Dizzy Gillespie and Charlie Parker. Ron Carter has appeared on thousands of albums, and Paul Chambers was part of Miles Davis Quintet, known for the famous album Kind of Blue.

Later jazz players like Charles Mingus mixed different styles of music. Charlie Haden worked with Ornette Coleman. Stanley Clarke is known for playing both the double bass and the electric bass. In recent years, Christian McBride and Esperanza Spalding have become well-known jazz bassists.

Other popular genres

Double bass players also perform in many other music styles. Edgar Meyer plays in bluegrass and newgrass music. Todd Phillips is a well-known bluegrass bassist. In rockabilly, Bill Black, Marshall Lytle, and Lee Rocker are famous. Other notable players include Scott Owen, Jimbo Wallace, Kim Nekroman, Patricia Day, Geoff Kresge, and Willie Dixon, who was important in rhythm and blues and worked with Chuck Berry.

Pedagogy and training

Learning to play the double bass depends a lot on the type of music. In classical music, students have been learning for centuries using special books and exercises. Different countries have their own ways of teaching, like in France or Germany. Most lessons focus on how to bow the strings correctly.

In music like jazz and blues, players often spend time learning how to pluck the strings in many different ways. Jazz players, for example, need to learn lots of styles, from slow, deep sounds to fast lines and even percussive effects.

Both classical and jazz have well-organized ways to learn. In classical music, children can start with private lessons and play in youth orchestras. Teens can go to colleges, conservatories, or universities. These schools offer certificates, diplomas, and even degrees in bass performance. Conservatories, common in France and Quebec (Canada), give lessons and let students play in amateur orchestras. Universities have programs like bachelor's, Master of Music, and Doctor of Musical Arts degrees. These include lessons, playing in groups, and courses in music history and theory.

Bachelor’s degrees usually last four years and include private lessons, orchestra experience, and courses in music history and other subjects. Master’s degrees need private lessons, playing in groups, and taking advanced music courses. Doctor of Musical Arts degrees are for the most advanced students and need many extra credits, exams, and a big final project.

In jazz, players often learned by themselves or from classical training in the past. Now, many colleges and universities have jazz programs. Students take private lessons, play in jazz groups, and learn about jazz history and how to improvise. There are also summer camps and festivals where students can learn new skills.

In other types of music like blues, rockabilly, and psychobilly, there are not many formal schools. Players learn from books, DVDs, private lessons, or by listening to records. Some might start with classical or jazz training. In tango, which mixes bowing and plucking, players usually come from classical or jazz backgrounds.

Careers

People who play the double bass can have many different jobs, depending on the type of music they enjoy. Most bass players make money by both performing and teaching. To get a job playing, they usually need to have an audition, where they show they can play well.

In different kinds of music, like jazz, rock, or pop, the audition might include playing certain songs or pieces. Sometimes, they might also need to sing along with the music or play other instruments like electric bass or guitar. In classical music, bass players audition for jobs in orchestras or music schools. They often play pieces from famous composers like Beethoven, Mozart, and Brahms during these auditions.