Double bass used In jazz

Starting about 1890, early New Orleans jazz ensemble (which played a mixture of marches, ragtime, and Dixieland) was initially a marching band with a tuba or sousaphone (or occasionally bass saxophone) supplying the bass. When the music moved into bars and brothels, the double bass instrument is gradually being replaced by wind. Many early bassists doubled on both bass brass "" and "string bass," as the instrument is then often called. Bassists played "walking" bass lines based on the harmony scale outlined.

Classical Repertoire

Solo works for double bass
1700

The double bass as a solo instrument enjoyed popularity during the 18th century, and many of the most popular composers of the era wrote pieces for double bass. The double bass, then often referred to as the barrel Violone use different from region to region. Tuning "" Vienna (A1-DF ?-A) is popular, and in some cases even the fifth or sixth string string added (A1-F1-DF ?-A). The popularity of the instruments that are documented in the second edition of Leopold Mozart Violinschulë, where he wrote "One can bear the hard part is easier with violone five-string, and I hear the beautiful looks incredible concerto, trio, solos, etc." The earliest known concerto for double bass, written by Joseph Haydn ca.1763, and was considered lost in the fire in the library Eisenstadt. There is a known early concerto by Karl Ditters Von Dittersdorf, who composed two concertos for double bass and the Sinfonia Concertante for violin and bass. Other composers who have written concertos from this period include Johann Baptist Vanhal, Franz Anton Hoffmeister (3 concertos), Leopold Kozeluch, Anton Zimmermann, Antonio Capuzzi, Wenzel Pichl (two concertos), and Johannes Matthias Sperger (18 concertos). While many of these names are public figures to the music of their time, they are generally not known by contemporary audiences. Wolfgang Amadeus Mozart's concert aria's, "Per Questa Bella Mano", K.612 for bass, double bass obbligato, and orchestra contains impressive writing for solo double bass period. It remains popular among today's singer and double bassists.
The double bass eventually evolved to fit the needs of orchestras that required lower notes and loud. The leading double bassists from the mid-to late-18th century, such as Josef Kämpfer, Friedrich Pischelberger, and Johannes Mathias Sperger working with the "Viennese" tuning. Bassist Johann Hindle (1792-1862), who composed a concerto for double bass, pioneered tuning the bass in four, which marked a turning point for the double bass and its role in solo works. Bassist Domenico Dragonetti was a leading musical figure and an acquaintance of Haydn and Ludwig van Beethoven. His playing was known all the way from his native Italy to Tsardom Russia and he found a prominent place performing in concerts with the London Philharmonic Society.

Playing and performance considerations

Physical considerations

Like all non-fret string instruments, performers must learn to place their fingers precisely to produce the correct tone. More frequent hand movements required by the size of the instruments that increase the likelihood of intonation errors. For bassists with smaller hands, a large space between the pitches may be a significant challenge, particularly in the lowest range, where the largest space between the notes.
Performing on the bass can be physically demanding because of the large and thick strings. Also, the space between the notes on a fingerboard is huge because the scale length and string spacing, so players have to shift positions often. Increased use of play techniques such as thumb position and modifications to the bass, such as the use of lighter-gauge strings at lower voltages, has lightened the difficulties to play the instrument. Bass part has relatively few parts fast, double stop, or a big leap in range.

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