Double Bass

## Origin

The Double Bass, also known as the Contrabass, String bass, or Bass, is the last widespread member of the viol family. This is evident by the sloping shoulders and the flat back.

## Description

There are several size of basses. Generally, orchestral players use the 3/4 size bass, which is around 188 cm (74 in) long. The bridge is 17 cm (6.7 in) tall and the effecting (vibrating) length of the strings is about 109 cm (43 in). The string lengths can be up to 116 cm (46 in) and small as 100 cm (39.5 in) (the "solo bass").

## Characteristics

### Tuning

There are 4 strings on the Double Bass. The lowest string is E1 and each string is tuned a perfect fourth above the last. The strings, in order, are: E1, A1, D2, G2. The string order is the opposite of the violin's and the strings are only a perfect fourth apart since the space between each note is much greater than that of any other string instrument. Sometimes a 5th string is added at C1, though normally this would be achieved with a string extension of the E string.

### Range

The lowest note on a double bass is the "open" E (E1). In theory, the double bass can get extremely high notes; however, in practice, notes get much more difficult as the range goes up so the practical limit to notes is probably A3. Adding in harmonics [see Techniques: Harmonics], it is relatively reasonable to reach the note D4. Any harmonic higher than this is difficult to sound. As in most instruments, a solo bass part can be expected to reach higher notes than an orchestral bass part.

The bass is a transposing instrument that transposes an octave down, so the notes are written an octave higher than they sound. The double bass normally uses the bass clef, but if notes get higher the tenor clef is used. If the notes exceed A3 (written as A4), the treble clef should be used to avoid too many ledger lines.

### Tone

The tone of the double bass is rough, especially on the lower strings. The upper strings are; however, capable of a much more lyrical tone. The very low and sometimes dark tones of the double bass can be used for "mysterious, threatening, or comic effects" (Burton 70).

## Techniques

### Left-hand (Bass hand)

#### Vibrato

Vibrato is a technique in many instruments to increase the resonance of the tone. On the double bass, it is achieved by rocking the fingertip back and forth to oscillate the pitch of the note. This is mainly achieved on the bass by arm vibrato (movement originating in the arm/biceps). Double bass vibrato sounds less than other string instruments since the space between notes is much greater.

#### Glissando

Glissando (or slide) is a technique used to connect two notes by a slide. It can be approximated between two fingers (for example starting the slide on the ring finger (3rd finger) and ending on the index finger (1st finger) if needed) or between two strings by sliding on one string and simply crossing the string for the last note. Vibrato can be added to a glissando to more effectively sound each note. Glissando is very effective on a double bass.

#### Trills

A trill is the rapid change of notes between two adjacent notes. On a bass, this is achieved by simply stopping on note (unless an open string is used as the lower note) and rapidly putting down and picking up the finger above the stopped note. Trills in the lower range sound thick and unclear.

#### Fingered Tremolo

Fingered Tremolo is simply a trill but of an interval greater than a second (adjacent notes). This is very impractical below second position and above second position the maximum is only about a minor third.

#### Harmonics

There are two types of harmonics: natural and artificial. Natural harmonics are produced by lightly touching the string with the left hand at a length that evenly and simply divides the string (such as 1/2, 1/3, 1/4, 3/4, etc.). These can also be played two at a time without too much difficulty. Since the bass is very large, there are a very large number of natural harmonics that can be consistently used, though the harmonics on the E string do not sound as well as the other strings.

Artificial harmonics are much more difficult and should not be used for orchestral bass writing. The solo bass has an extensive artificial harmonics technique.

#### Sul Ponticello

*Sul ponticello* (at the bridge) is when the bow is played very near to the bridge. This creates a harsh sometimes cracking tone. This is notated by writing *sul ponticello* above the first note of the section sul ponticello and ending the section with *normale* or *in modo ordinario* to indicate that a normal bow stroke should be used.

#### Sul tasto

*Sul tasto* (at the fingerboard) is when the bow is played over the fingerboard. This creates a light and feathery tone. This is notated by writing *sul tasto* above the first note of the section sul tasto and ending the section with *normale* or *in modo ordinario* to indicate that a normal bow stroke should be used. Some players will automatically used the sul tasto technique to create a soft dynamic.

#### Portato

Portato is the technique of a bass to play notes legato (smooth) and in one bowstroke, but give a separate push on each note. This is best utilized in slow expressive passages.

#### Staccato

Staccato, in general, means making a particular note very short, but with the double bass, there is a technique called staccato. It means that notes are taken in one bowstroke, but each note is given its own sharp impulse. It is similar to portato, but the notes are not played legato and are given a stronger impulse. Staccato is notated like portato, but with dots instead of lines.

#### Spiccato

Spiccato simply means playing with a bouncing (off-the-string) bow. When the notes are faster or are indicated with staccato markings (dots), the term *sautillé* is used as the stroke is much shorter and more rapid. There is no notation for spiccato as players or conductors will typically use their own experience to decide where it is appropriate. Sometimes for the sautillé stroke, the word *sautillé* is written above the first note of the passage.

#### Tremolo

As opposed to fingered tremolo [See Techniques: Fingered Tremolo], bowed tremolo is the rapid changing of the bow. This, especially with the dark sound of the bass, can create a stormy feel when loud and an ethereal feel when soft (or sul ponticello/tasto). It is also very tiring for bass players, so the tremolo should be rather limited There are two types of tremolo:

1. "Measured" Tremolo. This is when the rapid changing of the bow is in accordance with repeated fast notes. In other words, the players are changing their bow with some consistent rhythm (16th notes, for example).
2. "Unmeasured" Tremolo. This is when the rapid changing of the bow is as fast as possible.

Tremolo can be combined with different dynamics as well as techniques such as double stops (2-note chords). The notation for both measured and unmeasured tremolo is the same, unmeasured only being used when the pulse it too fast to keep a true measured tremolo.

#### Pizzicato

Pizzicato is when the strings are plucked instead of bowed. This is very simple with the right hand, but can not be combined with bowed notes like left-hand pizzicato can. It is not necessary to write pizzicato notes with a short note value as the sound will fade very quickly regardless of the note length written. Pizzicato can be used with vibrato to a small extent. The indication *pizz.* is used to indicate the start of the pizzicato passage and the word *arco* is used to indicate the return to bowing the notes. It is best to leave time for the player to change to pizzicato or arco in the music. Bassists are very adept at pizzicato and some scores have them using more pizzicato than arco. Pizzicato on the lowest string is dull and does not sound very well.

#### Col legno

*Col legno* is when the strings are played with the stick (wood) of the bow instead of the hair. This is best used sparingly as this technique can damage the bows of the cellists. In addition, *col legno* is most effective when the notes are short as the wood does not catch the strings to create a good sustained pitch.

1. ↑ 1.0 1.1 1.2 1.3 "Orchestration" - Stephen Douglas Burton