Double Bass

History

The double bass is generally regarded as a descendant of the modern family of string instruments from Europe in the 15th century, and because it has been described as a bass violin. " Before the 20th century many double bass only three strings, in contrast to the 5-6 string instruments in a typical family of four strings or string instruments in the violin family. Several instruments exist, such as that by Gasparo da Salo, has been converted from sixteenth-century six-string contrabass violoni.

The double bass is the only modern bowed string instruments are sought in quarters (like a violin), rather than fifths (see Tuning, below). The issue is the precise genealogy of the instrument is still the subject of some debate, and the assumption that the double bass is a direct descendant of the violin family is one that has not been fully resolved. Teaching work for double bassist includes giving private lessons

The double bass is the proportion of different people from the violin and cello, for instance, he is more in (the distance from the top to the back of the proportionally larger than the violin). In addition, while the violin has bulging shoulders, most double bass have shoulders carved with a slope of more acute, such as members of the violin family. Many very old double bass already has their shoulders cut or bevelled to help playing with modern techniques. Before this modification, the design of their shoulders closer to the instruments of the violin family.

In the New History of the Double Bass, Paul Brun affirmed, with plenty of reference, that the double bass had origins as an actual bass violin families. He stated that, while the outer double bass may resemble da Gamba violin, double bass the internal construction is almost identical to the instrument in the violin family, and very different from the internal structure of viols.In the New History of the Double Bass, Paul Brun affirmed, with plenty of reference, that the double bass had origins as an actual bass violin families. He stated that, while the outer double bass may resemble da Gamba violin, double bass the internal construction is almost identical to the instrument in the violin family, and very different from the internal structure of viols.

Playing Range

Design

The double bass features many sections that are similar to members of the violin family including a bridge, f-holes, a tailpiece, scroll and postal votes. Unlike a family of violin, double bass still reflects influence and can be considered partly derived from the violin family instruments, especially violone, members of the family bass violin.

In general there are two main approaches to the shape of the outline design of the double bass, which is the form of violin, viola da Gamba and shape. Third less common design called busetto forms can also be found, as can be even more rare guitar or pear shape. The rear of the instrument can vary from a round, carved back similar to a violin, or flat and sloping back similar to the violin family.
The double bass also differs from the violin family members on the shoulders of the (sometimes), oblique, often tilted back (either to provide easier access to the instruments, especially in the range above), and the tuner machines are always installed. Lack of standardization in design means that one double bass can sound and look very different from the others.

Terminology
People who play this instrument called a bassist, double bassist, double bass player, contrabassist, contrabass player, or bass player. The double bass contrabass name and see the range of instruments and is used in contra octave below the cello, also called the 16 'octave relative to the organ of the church. The term for this instrument among the actors is the classical contrabass (which comes from the Italian name of that instrument, contrabbasso), string bass (bass instrument to distinguish it from the brass band concert), or just bass. In jazz and other genres outside of classical music usually call them upright bass or acoustic bass to distinguish it from the electric bass guitar. In folk and bluegrass music, this tool is also referred to as a bass fiddle or bass violin (or more rarely as an abomination or a bull fiddle bass). Other colorful nicknames found in other languages, in Hungarian, for example, the double bass is sometimes called the Bogo Nagy, which roughly translates as "big crier", referring to the great sound.

Bows

Double bass bow comes in two different forms (shown below). The "French" or "overhand" bow is similar in shape and implementation to the bow used on other members of the family of orchestral string instruments, while "Germany" or "Butler" bow is usually broader and shorter, and held in a "hand shake "position.
France and Germany arc compared.
Both arc provides different ways to move his arms and distributes force on the string. Proponents argue that the French bow is more maneuverable, as the angle in which the player holds the bow. Proponents claim the German bow which allows the player to apply more arm weight on the string. Differences between the two, however, minutes for advanced players, and both arc used by modern players in major orchestras.


Strings

Before the mid-20th century, double bass strings are usually made from the intestines, but since then, steel rope has been largely replaced gut strings, because steel strings continue to pitch better and yield more volume when playing with a bow. Gut strings are also more vulnerable to changes in humidity and temperature, and they break far more easily than steel strings. Gut strings are currently widely used by bassists who perform in baroque ensembles, rockabilly bands, traditional blues bands and bluegrass bands. Gut strings create the dark, "thumpy" heard voices in the 1940s and 1950s recordings. The late Jeff Sarli, an upright bassist blues, stating that "since the 1950s, they began to reset the neck on a string bass for steel", and double bass player switched from gut strings to steel strings. Rockabilly and bluegrass bassists also prefer gut because it's easier to slap "" upright bass style (in which the string is percussively slapped and clicked on the fingerboard) with gut strings than with steel strings. (For more information about slapping, see bottom of Modern playing styles, Double bass in bluegrass music, Double bass in jazz, and Double bass in the popular music).

Changes from the intestine into the steel is also influenced techniques that play instruments during the last hundred years, because playing with steel strings allows the string to be formed closer to fingerboard, and, in addition, the steel rope can be played in higher positions on the lower strings and still produce clear tone. Century classical method 19 Franz Simandl not use the low E string in higher positions because of the older gut strings set up high above the fingerboard, the tone was not clear in the higher positions. However, with modern steel strings, bassists can play a clear tone in higher positions on the low E and A strings, particularly when the strings of modern light-gauge steel, lower-tension used.


Germany bow

Compared with the French bow, frog bows German higher, and was organized with the palm upward sloping, as is done for members of the upright from the violin family. When held in the right way, located on the thumb side of the stick. Arc retained forefinger at the point where the frog meets the stick. The index finger is also used to apply torque to the number of frogs when the tilted direction. Little finger (or "pinky") supports the frog from underneath, while the ring finger and middle finger are used to apply force to move the bow across the strings.

Prow of Germany (sometimes called Dragonetti bow) is the older of the two designs. The design of the bow and how to hold it is the descendant of an old violin family of instruments. With the old viols, before the screw threads are used to tighten the bow, the player holds the bow with two fingers between the stick and hair to maintain the tension of the quotation [hair needed]. Supporting the use of German bow claim that the German bow is easier to use for the arc light as a staccato stroke, spiccato, and detaché.


French bow

France was not popular until the bow is set by the 19th-century virtuoso Giovanni Bottesini. This style is more akin to traditional arc smaller string family instruments. This is held as if the hand was resting on the side with palms facing actors bass. thumb rests on the shaft of the bow, next to the frog while the other fingers drape on the other side of the bow. Various styles dictate the curve of the fingers and thumb, as do styles of fruit; curve more clearly and keep a light on the bow which is used for virtuosic or more delicate pieces, while the curve is flat and firm grip on the arc to give more power to the hard parts of the orchestra.


Rosin

String players apply rosin to the bow hair so that it will "grip" the string and make it vibrate. Double bass rosin is generally softer and stickier than violin rosin to allow hair to get thicker strings better, but players use a variety of rosins that vary from quite hard (like violin rosin) to quite soft, depending on the weather, humidity, and the preferences of players . This amount is commonly used, depending on the type of music performed as well as personal preferences of players. Bassists may apply more rosin in works for large orchestra (for example, Brahms symphonies) than for fine work space. Some brands of rosin, such as double bass Pop's resin, which is softer and more vulnerable to melting in hot weather. Other brands, such as Carlsson or Nyman Harts Rosin double bass, is more difficult and less likely to melt.


Bow construction and materials

Double bass bows vary in length, ranging from 60 cm (24 ") up to 75 cm (30"). Pernambuco, also known as Brazilwood, regarded as the material sticks very good quality, but because of the scarcity and expense, other materials more frequently used. Students might be less expensive bows made of solid fiberglass, or varieties that are less than brazilwood. Snakewood and carbon fibers are also used in the bow of a variety of different quality. Frogs from the double bass bow is usually made of black wood, although Snakewood and buffalo horn is used by some luthiers. Wire wrapping is gold or silver in a lot of quality bows, and hair is usually horsehair. Some of the students as low-quality bows made of plastic and synthetic fiberglass "hair".
Double bass bow is strung with horsehair either white or black, or a combination of two (known as "salt and pepper"), as opposed to the customary white horsehair used on the bows of other string instruments. Some bassists think that black hair a bit rough "take" a more severe, the lower string is better. In addition, some bassists and luthiers believe that it's easier to produce fine voice with a variety of white. Red hair (chestnut) were also used by some bassists.


Tuning

The double bass is generally tuned in fourths, in contrast to a family member string orchestra, tuned in fifths. Modern double bass is usually tuned, low to high, EADG, which is one octave lower than the four lowest-pitch string on the guitar.

Throughout the classical repertoire, there are records that fall below the standard range of double bass. Notes below low E appear regularly on the double bass in the Baroque and Classical era, when the double bass was typically doubling the cello part an octave below. In the Romantic era and 20th century, composers such as Mahler, Beethoven, Busoni, and Prokofiev also requested notes below the low E. There are two common methods for making these records available to the player. Major European orchestras generally use the bass with five strings, tuned to B three octaves and semitone below C. Midfielder with a standard double bass (EADG) usually play a note below "E" is an octave higher.

In the simplest version, there is no mechanical tool attached to the extension fingerboard except lock nut for E "'notes. For extensions not play, the players returned to peg to press the string to the tone. The advantage of the extension "feeling" is that the player can adjust the intonation of all notes stop at the extension, and no mechanical sound of metal keys and levers. Loss of extension "touching" is that it will be difficult to perform rapid turnover among the low notes on the extension and notes on ordinary tone, like a bassline that quickly alternates between "G and the low of 'D'.

In the United States, Canada and the United Kingdom, most professional orchestral players use four-string double bass with the extension C "," which extends the lowest string down as far as low C, one octave below the lowest note on the cello (more rarely, this string may be appropriate for low B). This extension is an additional section of fingerboard mounted on the head of the bass. There are several types of extensions.

Most intricate mechanical aid for use with a mechanical lever system extension called "engine". This lever system, which resembles the mechanism of shallow reed instruments such as Bassoon, include a lever mounted on the ordinary side tone (near the nut, in E "" side of the string), which is far activate the metal "finger" on the fingerboard extension. The most expensive metal lever system also gives players the ability to "lock" to the notes on the fingerboard extension, such as a finger "wood" system. One criticism of these devices is that they can cause voices undesirable metallic click.

Type the simplest mechanical assistance is the use of wooden "fingers" that can be closed to press the strings down and fret C #, D, Eb, or the note E. This system is very handy for basslines that have repeated pedal point as a low D, because once the record is locked in place with your fingers "mechanical", then the lowest string sounds different notes when it is played "open" (ie, low D).

A small number string bass players of their songs in fifths, like a cello but an octave lower (low to high CGDA). tuning was used by jazz player Red Mitchell and increasingly used by classical players, especially the Canadian bassist Joel Quarrington. In classical solo playing the double bass is usually tuned a whole tone higher (F ?-BEA). This higher tuning is called "solo tuning," whereas the regular tuning is known as "orchestral tuning." String tension differs so much between solo and orchestral tuning that a different set of strings that are often used which has a size lighter. Strings are always labeled for either solo or orchestral tuning, and published solo music prepared for either solo or orchestral tuning. Some popular and a solo concerti, such as Concerto Koussevitsky available in both a solo and orchestral tuning arrangements.

Less commonly used forms and many variants of solo tuning used in some Eastern European countries are (ADGC), which use three strings of the orchestra tuning (ADG) and then add a "high C" string. Some bassists with five bass strings using a "high C" string as the fifth string, instead of "low B" string. Adding a "high C" string facilitates the performance of solo repertoire with a high tessitura (range). Another option is to utilize either low C (or B) the expansion and high C string.

When choosing a bass with five strings, the player must decide between adding strings higher or lower-tuned. Six-stringed instrument usually regarded as impractical. To accommodate the extra strings, usually slightly wider fingerboard, and top a little bit thicker to handle the tension increases. Some instruments strings of five converted four-stringed instrument. Lacking a wider fingerboards, some players find them more difficult to finger and bow. Converted four-string bass which usually requires that both the new, the thicker, or lighter strings to compensate for increased tension.