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id="toc-Description-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Playing_style" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Playing_style"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Playing style</span> </div> </a> <ul id="toc-Playing_style-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-History" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#History"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>History</span> </div> </a> <ul id="toc-History-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Design" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Design"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Design</span> </div> </a> <button aria-controls="toc-Design-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Design subsection</span> </button> <ul id="toc-Design-sublist" class="vector-toc-list"> <li id="toc-Construction" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Construction"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1</span> <span>Construction</span> </div> </a> <ul id="toc-Construction-sublist" class="vector-toc-list"> <li id="toc-Travel_instruments" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Travel_instruments"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1.1</span> <span>Travel instruments</span> </div> </a> <ul id="toc-Travel_instruments-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Strings" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Strings"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2</span> <span>Strings</span> </div> </a> <ul id="toc-Strings-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bows" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Bows"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3</span> <span>Bows</span> </div> </a> <ul id="toc-Bows-sublist" class="vector-toc-list"> <li id="toc-German_bow" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#German_bow"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3.1</span> <span>German bow</span> </div> </a> <ul id="toc-German_bow-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-French_bow" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#French_bow"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3.2</span> <span>French bow</span> </div> </a> <ul id="toc-French_bow-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bow_construction_and_materials" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Bow_construction_and_materials"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3.3</span> <span>Bow construction and materials</span> </div> </a> <ul id="toc-Bow_construction_and_materials-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Rosin" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Rosin"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3.4</span> <span>Rosin</span> </div> </a> <ul id="toc-Rosin-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Mechanism_of_sound_production" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Mechanism_of_sound_production"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Mechanism of sound production</span> </div> </a> <ul id="toc-Mechanism_of_sound_production-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Specific_sound_and_tone_production_mechanism" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Specific_sound_and_tone_production_mechanism"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Specific sound and tone production mechanism</span> </div> </a> <ul id="toc-Specific_sound_and_tone_production_mechanism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Pitch" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Pitch"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Pitch</span> </div> </a> <ul id="toc-Pitch-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Tuning" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Tuning"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>Tuning</span> </div> </a> <button aria-controls="toc-Tuning-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Tuning subsection</span> </button> <ul id="toc-Tuning-sublist" class="vector-toc-list"> <li id="toc-Regular_tuning" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Regular_tuning"> <div class="vector-toc-text"> <span class="vector-toc-numb">9.1</span> <span>Regular tuning</span> </div> </a> <ul id="toc-Regular_tuning-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-C_extension" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#C_extension"> <div class="vector-toc-text"> <span class="vector-toc-numb">9.2</span> <span>C extension</span> </div> </a> <ul id="toc-C_extension-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Other_tuning_variations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Other_tuning_variations"> <div class="vector-toc-text"> <span class="vector-toc-numb">9.3</span> <span>Other tuning variations</span> </div> </a> <ul id="toc-Other_tuning_variations-sublist" class="vector-toc-list"> <li id="toc-Five_strings" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Five_strings"> <div class="vector-toc-text"> <span class="vector-toc-numb">9.3.1</span> <span>Five strings</span> </div> </a> <ul id="toc-Five_strings-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Six_strings" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Six_strings"> <div class="vector-toc-text"> <span class="vector-toc-numb">9.3.2</span> <span>Six strings</span> </div> </a> <ul id="toc-Six_strings-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Playing_and_performance_considerations" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Playing_and_performance_considerations"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>Playing and performance considerations</span> </div> </a> <button aria-controls="toc-Playing_and_performance_considerations-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Playing and performance considerations subsection</span> </button> <ul id="toc-Playing_and_performance_considerations-sublist" class="vector-toc-list"> <li id="toc-Body_and_hand_position" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Body_and_hand_position"> <div class="vector-toc-text"> <span class="vector-toc-numb">10.1</span> <span>Body and hand position</span> </div> </a> <ul id="toc-Body_and_hand_position-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Physical_considerations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Physical_considerations"> <div class="vector-toc-text"> <span class="vector-toc-numb">10.2</span> <span>Physical considerations</span> </div> </a> <ul id="toc-Physical_considerations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Volume" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Volume"> <div class="vector-toc-text"> <span class="vector-toc-numb">10.3</span> <span>Volume</span> </div> </a> <ul id="toc-Volume-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Transportation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Transportation"> <div class="vector-toc-text"> <span class="vector-toc-numb">10.4</span> <span>Transportation</span> </div> </a> <ul id="toc-Transportation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Accessories" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Accessories"> <div class="vector-toc-text"> <span class="vector-toc-numb">10.5</span> <span>Accessories</span> </div> </a> <ul id="toc-Accessories-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Classical_repertoire" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Classical_repertoire"> <div class="vector-toc-text"> <span class="vector-toc-numb">11</span> <span>Classical repertoire</span> </div> </a> <button aria-controls="toc-Classical_repertoire-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Classical repertoire subsection</span> </button> <ul id="toc-Classical_repertoire-sublist" class="vector-toc-list"> <li id="toc-Solo_works_for_double_bass" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Solo_works_for_double_bass"> <div class="vector-toc-text"> <span class="vector-toc-numb">11.1</span> <span>Solo works for double bass</span> </div> </a> <ul id="toc-Solo_works_for_double_bass-sublist" class="vector-toc-list"> <li id="toc-1700s" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#1700s"> <div class="vector-toc-text"> <span class="vector-toc-numb">11.1.1</span> <span>1700s</span> </div> </a> <ul id="toc-1700s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1800s" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#1800s"> <div class="vector-toc-text"> <span class="vector-toc-numb">11.1.2</span> <span>1800s</span> </div> </a> <ul id="toc-1800s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1900s–present" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#1900s–present"> <div class="vector-toc-text"> <span class="vector-toc-numb">11.1.3</span> <span>1900s–present</span> </div> </a> <ul id="toc-1900s–present-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Chamber_music_with_double_bass" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Chamber_music_with_double_bass"> <div class="vector-toc-text"> <span class="vector-toc-numb">11.2</span> <span>Chamber music with double bass</span> </div> </a> <ul id="toc-Chamber_music_with_double_bass-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Orchestral_passages_and_solos" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Orchestral_passages_and_solos"> <div class="vector-toc-text"> <span class="vector-toc-numb">11.3</span> <span>Orchestral passages and solos</span> </div> </a> <ul id="toc-Orchestral_passages_and_solos-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Double_bass_ensembles" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Double_bass_ensembles"> <div class="vector-toc-text"> <span class="vector-toc-numb">11.4</span> <span>Double bass ensembles</span> </div> </a> <ul id="toc-Double_bass_ensembles-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Use_in_jazz" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Use_in_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">12</span> <span>Use in jazz</span> </div> </a> <ul id="toc-Use_in_jazz-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Use_in_bluegrass_and_country" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Use_in_bluegrass_and_country"> <div class="vector-toc-text"> <span class="vector-toc-numb">13</span> <span>Use in bluegrass and country</span> </div> </a> <button aria-controls="toc-Use_in_bluegrass_and_country-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Use in bluegrass and country subsection</span> </button> <ul id="toc-Use_in_bluegrass_and_country-sublist" class="vector-toc-list"> <li id="toc-Slap-style_bass" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Slap-style_bass"> <div class="vector-toc-text"> <span class="vector-toc-numb">13.1</span> <span>Slap-style bass</span> </div> </a> <ul id="toc-Slap-style_bass-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Use_in_popular_music" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Use_in_popular_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">14</span> <span>Use in popular music</span> </div> </a> <ul id="toc-Use_in_popular_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Modern_playing_styles" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Modern_playing_styles"> <div class="vector-toc-text"> <span class="vector-toc-numb">15</span> <span>Modern playing styles</span> </div> </a> <ul id="toc-Modern_playing_styles-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Double_bassists" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Double_bassists"> <div class="vector-toc-text"> <span class="vector-toc-numb">16</span> <span>Double bassists</span> </div> </a> <button aria-controls="toc-Double_bassists-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Double bassists subsection</span> </button> <ul id="toc-Double_bassists-sublist" class="vector-toc-list"> <li id="toc-Historical" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Historical"> <div class="vector-toc-text"> <span class="vector-toc-numb">16.1</span> <span>Historical</span> </div> </a> <ul id="toc-Historical-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Modern" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Modern"> <div class="vector-toc-text"> <span class="vector-toc-numb">16.2</span> <span>Modern</span> </div> </a> <ul id="toc-Modern-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Contemporary_(1900s)" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Contemporary_(1900s)"> <div class="vector-toc-text"> <span class="vector-toc-numb">16.3</span> <span>Contemporary (1900s)</span> </div> </a> <ul id="toc-Contemporary_(1900s)-sublist" class="vector-toc-list"> <li id="toc-Classical" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Classical"> <div class="vector-toc-text"> <span class="vector-toc-numb">16.3.1</span> <span>Classical</span> </div> </a> <ul id="toc-Classical-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Jazz" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">16.3.2</span> <span>Jazz</span> </div> </a> <ul id="toc-Jazz-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Other_popular_genres" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Other_popular_genres"> <div class="vector-toc-text"> <span class="vector-toc-numb">16.3.3</span> <span>Other popular genres</span> </div> </a> <ul id="toc-Other_popular_genres-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Pedagogy_and_training" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Pedagogy_and_training"> <div class="vector-toc-text"> <span class="vector-toc-numb">17</span> <span>Pedagogy and training</span> </div> </a> <button aria-controls="toc-Pedagogy_and_training-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Pedagogy and training subsection</span> </button> <ul id="toc-Pedagogy_and_training-sublist" class="vector-toc-list"> <li id="toc-Formal_training" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Formal_training"> <div class="vector-toc-text"> <span class="vector-toc-numb">17.1</span> <span>Formal training</span> </div> </a> <ul id="toc-Formal_training-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Informal_training" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Informal_training"> <div class="vector-toc-text"> <span class="vector-toc-numb">17.2</span> <span>Informal training</span> </div> </a> <ul id="toc-Informal_training-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Careers" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Careers"> <div class="vector-toc-text"> <span class="vector-toc-numb">18</span> <span>Careers</span> </div> </a> <button aria-controls="toc-Careers-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Careers subsection</span> </button> <ul id="toc-Careers-sublist" class="vector-toc-list"> <li id="toc-Classical_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Classical_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">18.1</span> <span>Classical music</span> </div> </a> <ul id="toc-Classical_music-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">19</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">20</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">21</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">22</span> <span>Further reading</span> </div> </a> <button aria-controls="toc-Further_reading-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Further reading subsection</span> </button> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> <li id="toc-General" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#General"> <div class="vector-toc-text"> <span class="vector-toc-numb">22.1</span> <span>General</span> </div> </a> <ul id="toc-General-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-History_2" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#History_2"> <div class="vector-toc-text"> <span class="vector-toc-numb">22.2</span> <span>History</span> </div> </a> <ul id="toc-History_2-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Instruction_methods_and_performance" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Instruction_methods_and_performance"> <div class="vector-toc-text"> <span class="vector-toc-numb">22.3</span> <span>Instruction methods and performance</span> </div> </a> <ul id="toc-Instruction_methods_and_performance-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" title="Table of Contents" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Double bass</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 77 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-77" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">77 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Afrikaans" lang="af" hreflang="af" data-title="Kontrabas" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target"><span>Afrikaans</span></a></li><li class="interlanguage-link interwiki-als mw-list-item"><a href="https://als.wikipedia.org/wiki/Kontrabass" title="Kontrabass – Alemannic" lang="gsw" hreflang="gsw" data-title="Kontrabass" data-language-autonym="Alemannisch" data-language-local-name="Alemannic" class="interlanguage-link-target"><span>Alemannisch</span></a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%83%D9%85%D8%A7%D9%86_%D8%A3%D8%AC%D9%87%D8%B1" title="كمان أجهر – Arabic" lang="ar" hreflang="ar" data-title="كمان أجهر" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Contrabaxu" title="Contrabaxu – Asturian" lang="ast" hreflang="ast" data-title="Contrabaxu" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Kontrabas_(musiqi_al%C9%99ti)" title="Kontrabas (musiqi aləti) – Azerbaijani" lang="az" hreflang="az" data-title="Kontrabas (musiqi aləti)" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%9A%D0%B0%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Кантрабас – Belarusian" lang="be" hreflang="be" data-title="Кантрабас" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target"><span>Беларуская</span></a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%9A%D0%B0%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Кантрабас – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Кантрабас" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target"><span>Беларуская (тарашкевіца)</span></a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Bulgarian" lang="bg" hreflang="bg" data-title="Контрабас" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target"><span>Български</span></a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Bosnian" lang="bs" hreflang="bs" data-title="Kontrabas" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target"><span>Bosanski</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Contrabaix" title="Contrabaix – Catalan" lang="ca" hreflang="ca" data-title="Contrabaix" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cv mw-list-item"><a href="https://cv.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Chuvash" lang="cv" hreflang="cv" data-title="Контрабас" data-language-autonym="Чӑвашла" data-language-local-name="Chuvash" class="interlanguage-link-target"><span>Чӑвашла</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Czech" lang="cs" hreflang="cs" data-title="Kontrabas" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Bas_dwbl" title="Bas dwbl – Welsh" lang="cy" hreflang="cy" data-title="Bas dwbl" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target"><span>Cymraeg</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Danish" lang="da" hreflang="da" data-title="Kontrabas" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Kontrabass" title="Kontrabass – German" lang="de" hreflang="de" data-title="Kontrabass" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Kontrabass" title="Kontrabass – Estonian" lang="et" hreflang="et" data-title="Kontrabass" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%9A%CE%BF%CE%BD%CF%84%CF%81%CE%B1%CE%BC%CF%80%CE%AC%CF%83%CE%BF" title="Κοντραμπάσο – Greek" lang="el" hreflang="el" data-title="Κοντραμπάσο" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Contrabajo" title="Contrabajo – Spanish" lang="es" hreflang="es" data-title="Contrabajo" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Kontrabaso" title="Kontrabaso – Esperanto" lang="eo" hreflang="eo" data-title="Kontrabaso" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Kontrabaxu" title="Kontrabaxu – Basque" lang="eu" hreflang="eu" data-title="Kontrabaxu" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%DA%A9%D9%86%D8%AA%D8%B1%D8%A8%D8%A7%D8%B3" title="کنترباس – Persian" lang="fa" hreflang="fa" data-title="کنترباس" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Contrebasse" title="Contrebasse – French" lang="fr" hreflang="fr" data-title="Contrebasse" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Olldord" title="Olldord – Irish" lang="ga" hreflang="ga" data-title="Olldord" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Contrabaixo" title="Contrabaixo – Galician" lang="gl" hreflang="gl" data-title="Contrabaixo" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%BD%98%ED%8A%B8%EB%9D%BC%EB%B2%A0%EC%9D%B4%EC%8A%A4" title="콘트라베이스 – Korean" lang="ko" hreflang="ko" data-title="콘트라베이스" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%BF%D5%B8%D5%B6%D5%BF%D6%80%D5%A1%D5%A2%D5%A1%D5%BD_(%D5%AC%D5%A1%D6%80%D5%A1%D5%B5%D5%AB%D5%B6_%D5%B6%D5%BE%D5%A1%D5%A3%D5%A1%D6%80%D5%A1%D5%B6)" title="Կոնտրաբաս (լարային նվագարան) – Armenian" lang="hy" hreflang="hy" data-title="Կոնտրաբաս (լարային նվագարան)" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Croatian" lang="hr" hreflang="hr" data-title="Kontrabas" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Kontrabaso" title="Kontrabaso – Ido" lang="io" hreflang="io" data-title="Kontrabaso" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target"><span>Ido</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Indonesian" lang="id" hreflang="id" data-title="Kontrabas" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-ia mw-list-item"><a href="https://ia.wikipedia.org/wiki/Contrabasso" title="Contrabasso – Interlingua" lang="ia" hreflang="ia" data-title="Contrabasso" data-language-autonym="Interlingua" data-language-local-name="Interlingua" class="interlanguage-link-target"><span>Interlingua</span></a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Kontrabassi" title="Kontrabassi – Icelandic" lang="is" hreflang="is" data-title="Kontrabassi" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target"><span>Íslenska</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Contrabbasso" title="Contrabbasso – Italian" lang="it" hreflang="it" data-title="Contrabbasso" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A7%D7%95%D7%A0%D7%98%D7%A8%D7%91%D7%A1" title="קונטרבס – Hebrew" lang="he" hreflang="he" data-title="קונטרבס" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-kbp mw-list-item"><a href="https://kbp.wikipedia.org/wiki/K%C9%94ntr%C9%A9bas%C9%A9" title="Kɔntrɩbasɩ – Kabiye" lang="kbp" hreflang="kbp" data-title="Kɔntrɩbasɩ" data-language-autonym="Kabɩyɛ" data-language-local-name="Kabiye" class="interlanguage-link-target"><span>Kabɩyɛ</span></a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%99%E1%83%9D%E1%83%9C%E1%83%A2%E1%83%A0%E1%83%90%E1%83%91%E1%83%90%E1%83%A1%E1%83%98" title="კონტრაბასი – Georgian" lang="ka" hreflang="ka" data-title="კონტრაბასი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target"><span>ქართული</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Kazakh" lang="kk" hreflang="kk" data-title="Контрабас" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Kyrgyz" lang="ky" hreflang="ky" data-title="Контрабас" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target"><span>Кыргызча</span></a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Kontrabass" title="Kontrabass – Latvian" lang="lv" hreflang="lv" data-title="Kontrabass" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target"><span>Latviešu</span></a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Kontrabosas" title="Kontrabosas – Lithuanian" lang="lt" hreflang="lt" data-title="Kontrabosas" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target"><span>Lietuvių</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Nagyb%C5%91g%C5%91" title="Nagybőgő – Hungarian" lang="hu" hreflang="hu" data-title="Nagybőgő" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Macedonian" lang="mk" hreflang="mk" data-title="Контрабас" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-ml mw-list-item"><a href="https://ml.wikipedia.org/wiki/%E0%B4%A1%E0%B4%AC%E0%B4%BF%E0%B5%BE_%E0%B4%AC%E0%B5%87%E0%B4%B8%E0%B5%8D" title="ഡബിൾ ബേസ് – Malayalam" lang="ml" hreflang="ml" data-title="ഡബിൾ ബേസ്" data-language-autonym="മലയാളം" data-language-local-name="Malayalam" class="interlanguage-link-target"><span>മലയാളം</span></a></li><li class="interlanguage-link interwiki-xmf mw-list-item"><a href="https://xmf.wikipedia.org/wiki/%E1%83%99%E1%83%9D%E1%83%9C%E1%83%A2%E1%83%A0%E1%83%90%E1%83%91%E1%83%90%E1%83%A1%E1%83%98" title="კონტრაბასი – Mingrelian" lang="xmf" hreflang="xmf" data-title="კონტრაბასი" data-language-autonym="მარგალური" data-language-local-name="Mingrelian" class="interlanguage-link-target"><span>მარგალური</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D9%83%D9%88%D9%86%D8%AA%D8%B1%D8%A7%D8%A8%D8%A7%D8%B3" title="كونتراباس – Egyptian Arabic" lang="arz" hreflang="arz" data-title="كونتراباس" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Dabal_bes" title="Dabal bes – Malay" lang="ms" hreflang="ms" data-title="Dabal bes" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target"><span>Bahasa Melayu</span></a></li><li class="interlanguage-link interwiki-mn mw-list-item"><a href="https://mn.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81%D1%81" title="Контрабасс – Mongolian" lang="mn" hreflang="mn" data-title="Контрабасс" data-language-autonym="Монгол" data-language-local-name="Mongolian" class="interlanguage-link-target"><span>Монгол</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Contrabas" title="Contrabas – Dutch" lang="nl" hreflang="nl" data-title="Contrabas" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%B3%E3%83%B3%E3%83%88%E3%83%A9%E3%83%90%E3%82%B9" title="コントラバス – Japanese" lang="ja" hreflang="ja" data-title="コントラバス" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Kontrabass" title="Kontrabass – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Kontrabass" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Kontrabass" title="Kontrabass – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Kontrabass" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Contrabassa" title="Contrabassa – Occitan" lang="oc" hreflang="oc" data-title="Contrabassa" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target"><span>Occitan</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Polish" lang="pl" hreflang="pl" data-title="Kontrabas" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Contrabaixo" title="Contrabaixo – Portuguese" lang="pt" hreflang="pt" data-title="Contrabaixo" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Contrabas" title="Contrabas – Romanian" lang="ro" hreflang="ro" data-title="Contrabas" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-qu mw-list-item"><a href="https://qu.wikipedia.org/wiki/Hatunkaray_llikilliki" title="Hatunkaray llikilliki – Quechua" lang="qu" hreflang="qu" data-title="Hatunkaray llikilliki" data-language-autonym="Runa Simi" data-language-local-name="Quechua" class="interlanguage-link-target"><span>Runa Simi</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Russian" lang="ru" hreflang="ru" data-title="Контрабас" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-stq mw-list-item"><a href="https://stq.wikipedia.org/wiki/Kontrabass" title="Kontrabass – Saterland Frisian" lang="stq" hreflang="stq" data-title="Kontrabass" data-language-autonym="Seeltersk" data-language-local-name="Saterland Frisian" class="interlanguage-link-target"><span>Seeltersk</span></a></li><li class="interlanguage-link interwiki-sq mw-list-item"><a href="https://sq.wikipedia.org/wiki/Kontrabasi" title="Kontrabasi – Albanian" lang="sq" hreflang="sq" data-title="Kontrabasi" data-language-autonym="Shqip" data-language-local-name="Albanian" class="interlanguage-link-target"><span>Shqip</span></a></li><li class="interlanguage-link interwiki-scn mw-list-item"><a href="https://scn.wikipedia.org/wiki/Contrabbassu" title="Contrabbassu – Sicilian" lang="scn" hreflang="scn" data-title="Contrabbassu" data-language-autonym="Sicilianu" data-language-local-name="Sicilian" class="interlanguage-link-target"><span>Sicilianu</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Double_bass" title="Double bass – Simple English" lang="en-simple" hreflang="en-simple" data-title="Double bass" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Slovak" lang="sk" hreflang="sk" data-title="Kontrabas" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Slovenian" lang="sl" hreflang="sl" data-title="Kontrabas" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target"><span>Slovenščina</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Serbian" lang="sr" hreflang="sr" data-title="Контрабас" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Kontrabas" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Kontrabasso" title="Kontrabasso – Finnish" lang="fi" hreflang="fi" data-title="Kontrabasso" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Kontrabas" title="Kontrabas – Swedish" lang="sv" hreflang="sv" data-title="Kontrabas" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tl mw-list-item"><a href="https://tl.wikipedia.org/wiki/Doble_baho" title="Doble baho – Tagalog" lang="tl" hreflang="tl" data-title="Doble baho" data-language-autonym="Tagalog" data-language-local-name="Tagalog" class="interlanguage-link-target"><span>Tagalog</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%94%E0%B8%B1%E0%B8%9A%E0%B9%80%E0%B8%9A%E0%B8%B4%E0%B8%A5%E0%B9%80%E0%B8%9A%E0%B8%AA" title="ดับเบิลเบส – Thai" lang="th" hreflang="th" data-title="ดับเบิลเบส" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li><li class="interlanguage-link interwiki-tg mw-list-item"><a href="https://tg.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Tajik" lang="tg" hreflang="tg" data-title="Контрабас" data-language-autonym="Тоҷикӣ" data-language-local-name="Tajik" class="interlanguage-link-target"><span>Тоҷикӣ</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Kontrbas" title="Kontrbas – Turkish" lang="tr" hreflang="tr" data-title="Kontrbas" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D1%82%D1%80%D0%B0%D0%B1%D0%B0%D1%81" title="Контрабас – Ukrainian" lang="uk" hreflang="uk" data-title="Контрабас" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-vec mw-list-item"><a href="https://vec.wikipedia.org/wiki/Contrabaso" title="Contrabaso – Venetian" lang="vec" hreflang="vec" data-title="Contrabaso" data-language-autonym="Vèneto" data-language-local-name="Venetian" class="interlanguage-link-target"><span>Vèneto</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Contrebasse" title="Contrebasse – Vietnamese" lang="vi" hreflang="vi" data-title="Contrebasse" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E4%BD%8E%E9%9F%B3%E6%8F%90%E7%90%B4" title="低音提琴 – Wu" lang="wuu" hreflang="wuu" data-title="低音提琴" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target"><span>吴语</span></a></li><li class="interlanguage-link interwiki-yi mw-list-item"><a href="https://yi.wikipedia.org/wiki/%D7%A7%D7%90%D7%A0%D7%98%D7%A8%D7%90%D7%91%D7%90%D7%A1" title="קאנטראבאס – Yiddish" lang="yi" hreflang="yi" data-title="קאנטראבאס" data-language-autonym="ייִדיש" data-language-local-name="Yiddish" class="interlanguage-link-target"><span>ייִדיש</span></a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E4%BD%8E%E9%9F%B3%E6%8F%90%E7%90%B4" title="低音提琴 – Cantonese" lang="yue" hreflang="yue" data-title="低音提琴" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target"><span>粵語</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E4%BD%8E%E9%9F%B3%E6%8F%90%E7%90%B4" title="低音提琴 – 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class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Bowed string instrument</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For the contrabass voice, see <a href="/wiki/Basso_profundo" class="mw-redirect" title="Basso profundo">Basso profundo</a>; for the frequency range in general, see <a href="/wiki/Sub-bass" title="Sub-bass">Sub-bass</a>. For other instruments, see <a href="/wiki/Bass_instrument" title="Bass instrument">Bass instrument</a>, <a href="/wiki/Bass_drum#Double_bass_drum" title="Bass drum">Double bass drum</a>, <a href="/wiki/Bass_guitar" title="Bass guitar">Bass guitar</a>, <a href="/wiki/Acoustic_bass_guitar" title="Acoustic bass guitar">Acoustic bass guitar</a> or <a href="/wiki/Contrabass_violin" class="mw-redirect" title="Contrabass violin">Contrabass violin</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-More_citations_needed plainlinks metadata ambox ambox-content ambox-Refimprove" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><a href="/wiki/File:Question_book-new.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" decoding="async" width="50" height="39" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/75px-Question_book-new.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/100px-Question_book-new.svg.png 2x" data-file-width="512" data-file-height="399" /></a></span></div></td><td class="mbox-text"><div class="mbox-text-span">This article <b>needs additional citations for <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">verification</a></b>.<span class="hide-when-compact"> Please help <a href="/wiki/Special:EditPage/Double_bass" title="Special:EditPage/Double bass">improve this article</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a>. Unsourced material may be challenged and removed.<br /><small><span class="plainlinks"><i>Find sources:</i> <a rel="nofollow" class="external text" href="https://www.google.com/search?as_eq=wikipedia&q=%22Double+bass%22">"Double bass"</a> – <a rel="nofollow" class="external text" href="https://www.google.com/search?tbm=nws&q=%22Double+bass%22+-wikipedia&tbs=ar:1">news</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?&q=%22Double+bass%22&tbs=bkt:s&tbm=bks">newspapers</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?tbs=bks:1&q=%22Double+bass%22+-wikipedia">books</a> <b>·</b> <a rel="nofollow" class="external text" href="https://scholar.google.com/scholar?q=%22Double+bass%22">scholar</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.jstor.org/action/doBasicSearch?Query=%22Double+bass%22&acc=on&wc=on">JSTOR</a></span></small></span> <span class="date-container"><i>(<span class="date">August 2020</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox"><caption class="infobox-title">Double bass</caption><tbody><tr><td colspan="2" class="infobox-image"><span typeof="mw:File"><a href="/wiki/File:AGK_bass1_full.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/AGK_bass1_full.jpg/177px-AGK_bass1_full.jpg" decoding="async" width="177" height="250" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/AGK_bass1_full.jpg/266px-AGK_bass1_full.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d3/AGK_bass1_full.jpg/355px-AGK_bass1_full.jpg 2x" data-file-width="1100" data-file-height="1550" /></a></span><div class="infobox-caption">Side and front views of a modern double bass with a French-style bow</div></td></tr><tr><th colspan="2" class="infobox-header" style="background: #b0c4de"><a href="/wiki/String_instrument" title="String instrument">String instrument</a></th></tr><tr><th scope="row" class="infobox-label">Other names</th><td class="infobox-data" style="text-align: left">Bass, upright bass, string bass, acoustic bass, acoustic string bass, contrabass, contrabass viol, bass viol, bass violin, standup bass, bull fiddle, doghouse bass, and bass fiddle</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Musical_instrument_classification" title="Musical instrument classification">Classification</a></th><td class="infobox-data" style="text-align: left"><span></span> <a href="/wiki/String_instrument" title="String instrument">String instrument</a> (<a href="/wiki/Bow_(music)" title="Bow (music)">bowed</a> or <a href="/wiki/Pizzicato" title="Pizzicato">plucked</a>)</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Hornbostel%E2%80%93Sachs" title="Hornbostel–Sachs">Hornbostel–Sachs classification</a></th><td class="infobox-data" style="text-align: left">321.322-71<br />(Composite <a href="/wiki/Chordophone" class="mw-redirect" title="Chordophone">chordophone</a> sounded by a <a href="/wiki/Bow_(music)" title="Bow (music)">bow</a>)</td></tr><tr><th scope="row" class="infobox-label">Developed</th><td class="infobox-data" style="text-align: left">15th–19th century</td></tr><tr><th colspan="2" class="infobox-header" style="background: #b0c4de"><a href="/wiki/Range_(music)" title="Range (music)">Playing range</a></th></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span></span> <figure class="mw-halign-center" typeof="mw:File"><a href="/wiki/File:Contrabass_range.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Contrabass_range.svg/150px-Contrabass_range.svg.png" decoding="async" width="150" height="78" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Contrabass_range.svg/225px-Contrabass_range.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/00/Contrabass_range.svg/300px-Contrabass_range.svg.png 2x" data-file-width="650" data-file-height="340" /></a><figcaption></figcaption></figure></td></tr><tr><th colspan="2" class="infobox-header" style="background: #b0c4de"><a href="/wiki/Musical_instrument" title="Musical instrument">Related instruments</a></th></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span></span> <ul><li><a href="/wiki/Viol" title="Viol">Viol</a></li> <li><a href="/wiki/Viola" title="Viola">Viola</a></li> <li><a href="/wiki/Cello" title="Cello">Cello</a></li> <li><a href="/wiki/Bass_guitar" title="Bass guitar">Bass guitar</a></li> <li><a href="/wiki/Acoustic_bass_guitar" title="Acoustic bass guitar">Acoustic bass guitar</a></li> <li><a href="/wiki/Electric_upright_bass" title="Electric upright bass">Electric upright bass</a></li> <li><a href="/wiki/Diyingehu" title="Diyingehu">Diyingehu</a></li> <li><a href="/wiki/Bazantar" title="Bazantar">Bazantar</a></li></ul> </td></tr><tr><th colspan="2" class="infobox-header" style="background: #b0c4de">Musicians</th></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span></span> <ul><li><a href="/wiki/Category:Double-bassists" title="Category:Double-bassists">List of double bassists</a></li></ul> </td></tr><tr><th colspan="2" class="infobox-header" style="background: #b0c4de">Sound sample</th></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span></span> <figure class="mw-default-size mw-halign-center" typeof="mw:File/Thumb"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="18" data-mwtitle="Jazz_walking_bass_on_double_bass.oga" data-mwprovider="wikimediacommons" resource="/wiki/File:Jazz_walking_bass_on_double_bass.oga"><source src="//upload.wikimedia.org/wikipedia/commons/7/73/Jazz_walking_bass_on_double_bass.oga" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/7/73/Jazz_walking_bass_on_double_bass.oga/Jazz_walking_bass_on_double_bass.oga.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span><figcaption>Sample of a double bass playing pizzicato.</figcaption></figure></td></tr></tbody></table> <p>The <b>double bass</b> (<span class="rt-commentedText nowrap"><span class="IPA nopopups noexcerpt" lang="en-fonipa"><a href="/wiki/Help:IPA/English" title="Help:IPA/English">/<span style="border-bottom:1px dotted"><span title="/ˈ/: primary stress follows">ˈ</span><span title="'d' in 'dye'">d</span><span title="/ʌ/: 'u' in 'cut'">ʌ</span><span title="'b' in 'buy'">b</span><span title="/əl/: 'le' in 'bottle'">əl</span></span><span class="wrap"> </span><span style="border-bottom:1px dotted"><span title="'b' in 'buy'">b</span><span title="/eɪ/: 'a' in 'face'">eɪ</span><span title="'s' in 'sigh'">s</span></span>/</a></span></span>), also known as the <b>upright bass</b>, the <b>acoustic bass</b>, the <b>bull fiddle</b>, or simply the <b>bass</b>, is the largest and lowest-pitched <a href="/wiki/String_instrument" title="String instrument">chordophone</a><sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> in the modern <a href="/wiki/Orchestra" title="Orchestra">symphony orchestra</a> (excluding rare additions such as the <a href="/wiki/Octobass" title="Octobass">octobass</a>).<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> It has four or five strings, and its construction is in between that of the gamba and the violin family. </p><p>The bass is a standard member of the orchestra's <a href="/wiki/String_section" title="String section">string section</a>, along with <a href="/wiki/Violins" class="mw-redirect" title="Violins">violins</a>, <a href="/wiki/Violas" class="mw-redirect" title="Violas">violas</a>, and <a href="/wiki/Cellos" class="mw-redirect" title="Cellos">cellos</a>,<sup id="cite_ref-guide_3-0" class="reference"><a href="#cite_note-guide-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> as well as the <a href="/wiki/Concert_band" title="Concert band">concert band</a>, and is featured in <a href="/wiki/Double_bass_concerto" title="Double bass concerto">concertos</a>, solo, and <a href="/wiki/Chamber_music" title="Chamber music">chamber music</a> in <a href="/wiki/European_classical_music" class="mw-redirect" title="European classical music">Western classical music</a>.<sup id="cite_ref-Planyavsky_4-0" class="reference"><a href="#cite_note-Planyavsky-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The bass is used in a range of other genres, such as <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/Blues" title="Blues">blues</a>, <a href="/wiki/Rock_and_roll" title="Rock and roll">rock and roll</a>, <a href="/wiki/Rockabilly" title="Rockabilly">rockabilly</a>, <a href="/wiki/Country_music" title="Country music">country music</a>, <a href="/wiki/Bluegrass_music" title="Bluegrass music">bluegrass</a>, <a href="/wiki/Tango_music" title="Tango music">tango</a>, <a href="/wiki/Folk_music" title="Folk music">folk music</a> and certain types of <a href="/wiki/Soundtrack" title="Soundtrack">film</a> and <a href="/wiki/Video_game_music" title="Video game music">video game soundtracks</a>. </p><p>The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the <a href="/wiki/Viol" title="Viol">viol</a> or the <a href="/wiki/Violin_family" title="Violin family">violin family</a>. </p><p>Being a <a href="/wiki/Transposing_instrument" title="Transposing instrument">transposing instrument</a>, the bass is typically notated one <a href="/wiki/Octave" title="Octave">octave</a> higher than tuned to avoid excessive ledger lines below the staff. The double bass is the only modern bowed string instrument that is tuned in <a href="/wiki/Perfect_fourth" title="Perfect fourth">fourths</a><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> (like a bass guitar, <a href="/wiki/Viol" title="Viol">viol</a>, or the lowest-sounding four strings of a standard <a href="/wiki/Guitar" title="Guitar">guitar</a>), rather than <a href="/wiki/Fifths_tuning" title="Fifths tuning">fifths</a>, with strings <a href="/wiki/Standard_tuning" title="Standard tuning">usually tuned</a> to <a href="/wiki/Scientific_pitch_notation" title="Scientific pitch notation">E<sub>1</sub>, A<sub>1</sub>, D<sub>2</sub> and G<sub>2</sub></a>. </p><p>The double bass is played with a bow (arco), or by plucking the strings (<a href="/wiki/Pizzicato" title="Pizzicato">pizzicato</a>), or via a variety of <a href="/wiki/Extended_techniques" class="mw-redirect" title="Extended techniques">extended techniques</a>. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm. Classical music and jazz use the natural sound produced acoustically by the instrument, as does <a href="/wiki/Traditional_bluegrass" title="Traditional bluegrass">traditional bluegrass</a>. In funk, blues, reggae, and related genres, the double bass is often <a href="/wiki/Bass_amplifier" title="Bass amplifier">amplified</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Terminology">Terminology</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=1" title="Edit section: Terminology"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Ron_plays.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Ron_plays.JPG/170px-Ron_plays.JPG" decoding="async" width="170" height="355" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Ron_plays.JPG/255px-Ron_plays.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Ron_plays.JPG/340px-Ron_plays.JPG 2x" data-file-width="448" data-file-height="936" /></a><figcaption>Jazz bassist <a href="/wiki/Ron_Carter" title="Ron Carter">Ron Carter</a> at Altes Pfandhaus in <a href="/wiki/Cologne" title="Cologne">Cologne</a></figcaption></figure> <p>A person who plays this instrument is called a "bassist", "double bassist", "double bass player", "contrabassist", "contrabass player" or "bass player". The names <b>contrabass</b> and double bass refer (respectively) to the instrument's range, and to its use one octave lower than the cello (i.e. the cello part was the main bass line, and the "double bass" originally played a copy of the cello part; only later was it given an independent part).<sup id="cite_ref-briefhistoryofthedoublebass_6-0" class="reference"><a href="#cite_note-briefhistoryofthedoublebass-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The terms for the instrument among classical performers are contrabass (which comes from the instrument's Italian name, <span title="Italian-language text"><i lang="it">contrabbasso</i></span>), <b>string bass</b> (to distinguish it from brass bass instruments in a <a href="/wiki/Concert_band" title="Concert band">concert band</a>, such as <a href="/wiki/Tuba" title="Tuba">tubas</a>), or simply bass. </p><p>In jazz, blues, rockabilly and other genres outside of classical music, this instrument is commonly called the upright bass, <b>standup bass</b> or acoustic bass to distinguish it from the (usually electric) <a href="/wiki/Bass_guitar" title="Bass guitar">bass guitar</a>. In <a href="/wiki/Folk_music" title="Folk music">folk</a> and bluegrass music, the instrument is also referred to as a "bass fiddle" or "bass violin" (or more rarely as "doghouse bass" or "bull fiddle"<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup>). While not a member of the violin-family of instruments, the construction of the upright bass is quite different from that of the <a href="/wiki/Acoustic_bass_guitar" title="Acoustic bass guitar">acoustic bass guitar</a>, as the latter is a derivative of the electric bass guitar, and usually built like a larger and sturdier variant of a <a href="/wiki/Viola_de_gamba" class="mw-redirect" title="Viola de gamba">viola de gamba</a>, its ancestor. </p><p>The double bass is sometimes confusingly called the <a href="/wiki/Violone" title="Violone">violone</a>, <a href="/wiki/Bass_violin" title="Bass violin">bass violin</a> or <a href="/wiki/Bass_viol" class="mw-redirect" title="Bass viol">bass viol</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Description">Description</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=2" title="Edit section: Description"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Ellen_Andrea_Wang_Sentralen_Oslo_Jazzfestival_(181320).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Ellen_Andrea_Wang_Sentralen_Oslo_Jazzfestival_%28181320%29.jpg/200px-Ellen_Andrea_Wang_Sentralen_Oslo_Jazzfestival_%28181320%29.jpg" decoding="async" width="200" height="186" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Ellen_Andrea_Wang_Sentralen_Oslo_Jazzfestival_%28181320%29.jpg/300px-Ellen_Andrea_Wang_Sentralen_Oslo_Jazzfestival_%28181320%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Ellen_Andrea_Wang_Sentralen_Oslo_Jazzfestival_%28181320%29.jpg/400px-Ellen_Andrea_Wang_Sentralen_Oslo_Jazzfestival_%28181320%29.jpg 2x" data-file-width="900" data-file-height="838" /></a><figcaption><a href="/wiki/Ellen_Andrea_Wang" title="Ellen Andrea Wang">Ellen Andrea Wang</a> performing at the Oslo Jazz Festival</figcaption></figure> <p>A typical double bass stands around 180 cm (6 feet) from scroll to endpin. Whereas the traditional "full-size" (<style data-mw-deduplicate="TemplateStyles:r1154941027">.mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}</style><span class="frac"><span class="num">4</span>⁄<span class="den">4</span></span> size) bass stands on average 74.8 inches (190 cm), the more common <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">3</span>⁄<span class="den">4</span></span> size bass (which has become the most widely used size in the modern era, even among orchestral players) stands on average 71.6 inches (182 cm) from scroll to endpin.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-size_10-0" class="reference"><a href="#cite_note-size-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Other sizes are also available, such as a <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">1</span>⁄<span class="den">2</span></span> size or <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">1</span>⁄<span class="den">4</span></span> size, which serve to accommodate a player's height and hand size. These names of the sizes do not reflect the true size relative to a "full size" bass; a <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">1</span>⁄<span class="den">2</span></span> bass is not half the length of a <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">4</span>⁄<span class="den">4</span></span> bass, but is only about 15% smaller.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>Double basses are typically constructed from several types of wood, including maple for the back, spruce for the top, and ebony for the fingerboard. It is uncertain whether the instrument is a descendant of the <a href="/wiki/Viola_da_gamba" class="mw-redirect" title="Viola da gamba">viola da gamba</a> or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, it also embodies features found in the older viol family. </p><p>The standard notes of the open strings are E<sub>1</sub>, A<sub>1</sub>, D<sub>2</sub>, and G<sub>2</sub>, the same as an <a href="/wiki/Acoustic_bass_guitar" title="Acoustic bass guitar">acoustic</a> or <a href="/wiki/Electric_Bass_guitar" class="mw-redirect" title="Electric Bass guitar">electric bass guitar</a>. However, the resonance of the wood, combined with the violin-like construction and long scale length gives the double bass a much richer tone than the bass guitar, in addition to the ability to use a bow, while the fretless fingerboard accommodates smooth <a href="/wiki/Glissando" title="Glissando">glissandos</a> and <a href="/wiki/Legato" title="Legato">legatos</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Playing_style">Playing style</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=3" title="Edit section: Playing style"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Like other violin and viol-family string instruments, the double bass is played either with a <a href="/wiki/String_instrument#Bowing" title="String instrument">bow (arco)</a> or by plucking the strings (<a href="/wiki/Pizzicato" title="Pizzicato">pizzicato</a>). When employing a bow, the player can either use it traditionally or strike the wood of the bow against the string. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and occasional written parts in <a href="/wiki/Jazz#1980s–2000s" title="Jazz">modern jazz</a> that call for bowing. </p><p>Bowed notes in the lowest register of the instrument produce a dark, heavy, mighty, or even menacing effect, when played with a fortissimo dynamic; however, the same low pitches played with a delicate pianissimo can create a sonorous, mellow accompaniment line. Classical bass students learn all of the different bow articulations used by other <a href="/wiki/String_section" title="String section">string section</a> players (e.g., <a href="/wiki/Violin" title="Violin">violin</a> and <a href="/wiki/Cello" title="Cello">cello</a>), such as <a href="/wiki/D%C3%A9tach%C3%A9" class="mw-redirect" title="Détaché">détaché</a>, <a href="/wiki/Legato" title="Legato">legato</a>, <a href="/wiki/Staccato" title="Staccato">staccato</a>, <a href="/wiki/Sforzando_(musical_direction)" class="mw-redirect" title="Sforzando (musical direction)">sforzato</a>, <a href="/wiki/Martel%C3%A9_(bowstroke)" title="Martelé (bowstroke)">martelé</a> ("hammered"-style), <a href="/wiki/Sul_ponticello" class="mw-redirect" title="Sul ponticello">sul ponticello</a>, <a href="/wiki/Sul_tasto" class="mw-redirect" title="Sul tasto">sul tasto</a>, <a href="/wiki/Tremolo" title="Tremolo">tremolo</a>, <a href="/wiki/Spiccato" title="Spiccato">spiccato</a> and <a href="/wiki/Sautill%C3%A9" class="mw-redirect" title="Sautillé">sautillé</a>. Some of these articulations can be combined; for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes (quarter notes, half notes, whole notes), rather than rapid passages. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ila_Auto.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Ila_Auto.jpg/330px-Ila_Auto.jpg" decoding="async" width="330" height="135" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Ila_Auto.jpg/495px-Ila_Auto.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/Ila_Auto.jpg/660px-Ila_Auto.jpg 2x" data-file-width="2100" data-file-height="862" /></a><figcaption>Double bass is a standard instrument in bluegrass groups.</figcaption></figure> <p>Classical players perform both bowed and pizz notes using <a href="/wiki/Vibrato" title="Vibrato">vibrato</a>, an effect created by rocking or quivering the left hand finger that is contacting the string, which then transfers an undulation in pitch to the tone. Vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, as the main goal with low pitches is to provide a clear <a href="/wiki/Fundamental_bass" class="mw-redirect" title="Fundamental bass">fundamental bass</a> for the <a href="/wiki/String_section" title="String section">string section</a>. Mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect. </p><p>In jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and <a href="/wiki/Jump_blues" title="Jump blues">jump blues</a>, bassists are required to play rapid pizzicato <a href="/wiki/Walking_bass" class="mw-redirect" title="Walking bass">walking basslines</a> for extended periods. Jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. Pizzicato basslines performed by leading jazz professionals are much more difficult than the pizzicato basslines that classical bassists encounter in the standard orchestral literature, which are typically whole notes, half notes, quarter notes, and occasional eighth note passages. In jazz and related styles, bassists often add semi-percussive "<a href="/wiki/Ghost_note" title="Ghost note">ghost notes</a>" into basslines, to add to the rhythmic feel and to add <a href="/wiki/Fill_(music)" title="Fill (music)">fills</a> to a bassline. </p><p>The double bass player stands, or sits on a high stool, and leans the instrument against their body, turned slightly inward to put the strings comfortably in reach. This stance is a key reason for the bass's sloped shoulders, which mark it apart from the other members of the violin family—the narrower shoulders facilitate playing the strings in their higher registers.<sup id="cite_ref-size_10-1" class="reference"><a href="#cite_note-size-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=4" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Violone_PeterLely1649DutEng.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/f/f8/Violone_PeterLely1649DutEng.png/240px-Violone_PeterLely1649DutEng.png" decoding="async" width="240" height="222" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/f/f8/Violone_PeterLely1649DutEng.png/360px-Violone_PeterLely1649DutEng.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/f/f8/Violone_PeterLely1649DutEng.png/480px-Violone_PeterLely1649DutEng.png 2x" data-file-width="486" data-file-height="450" /></a><figcaption>Some early basses were conversions of existing violones. This 1640 painting by <a href="/wiki/Peter_Lely" title="Peter Lely">Peter Lely</a>, a painter of Dutch origin, shows a violone being played.</figcaption></figure> <p>The double bass is generally regarded as a modern descendant of the <a href="/wiki/Violone" title="Violone">violone</a> (It. “large viol”), a member of the <a href="/wiki/Chordophone" class="mw-redirect" title="Chordophone">chordophone family</a> that originated in Europe in the 15th century.<sup id="cite_ref-mania_12-0" class="reference"><a href="#cite_note-mania-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Before the 20th century many double basses had only three strings, in contrast to the five to six strings typical of instruments in the viol family or the four strings of instruments in the violin family. The double bass's proportions are dissimilar to those of the violin and cello; for example, it is deeper (the distance from front to back is proportionally much greater than the violin). In addition, while the violin has bulging shoulders, most double basses have shoulders carved with a more acute slope, like members of the viol family. Many very old double basses have had their shoulders cut or sloped to aid playing with modern techniques.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Before these modifications, the design of their shoulders was closer to instruments of the violin family. </p><p>The double bass is the only modern bowed string instrument that is tuned in fourths (like a viol), rather than <a href="/wiki/Perfect_fifth" title="Perfect fifth">fifths</a> (see <a href="#Tuning">Tuning</a> below). The instrument's exact lineage is still a matter of some debate, and the supposition that the double bass is a direct descendant of the viol family is one that has not been entirely resolved. </p><p>In his <i>A New History of the Double Bass</i>, Paul Brun asserts that the double bass has origins as the true bass of the <a href="/wiki/Violin_family" title="Violin family">violin family</a>. He states that, while the exterior of the double bass may resemble the viola da gamba, the internal construction of the double bass is nearly identical to instruments in the <a href="/wiki/Violin_family" title="Violin family">violin family</a>, and very different from the internal structure of viols.<sup id="cite_ref-new_history_14-0" class="reference"><a href="#cite_note-new_history-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>Double bass professor <a href="/w/index.php?title=Larry_Hurst&action=edit&redlink=1" class="new" title="Larry Hurst (page does not exist)">Larry Hurst</a> argues that the "modern double bass is not a true member of either the violin or viol families". He says that "most likely its first general shape was that of a violone, the largest member of the viol family. Some of the earliest basses extant are violones, (including C-shaped sound holes) that have been fitted with modern trappings."<sup id="cite_ref-oocities.org_15-0" class="reference"><a href="#cite_note-oocities.org-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Some existing instruments, such as those by <a href="/wiki/Gasparo_da_Sal%C3%B2" title="Gasparo da Salò">Gasparo da Salò</a>, were converted from 16th-century six-string contrabass violoni.<sup id="cite_ref-Planyavsky_4-1" class="reference"><a href="#cite_note-Planyavsky-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Design">Design</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=5" title="Edit section: Design"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Busettosolano.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/29/Busettosolano.jpg/170px-Busettosolano.jpg" decoding="async" width="170" height="343" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/29/Busettosolano.jpg/255px-Busettosolano.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/2/29/Busettosolano.jpg 2x" data-file-width="302" data-file-height="610" /></a><figcaption>Example of a Busetto-shaped double bass: remake of a Matthias Klotz (1700) by Rumano Solano</figcaption></figure> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Bassdiagram.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Bassdiagram.jpg/300px-Bassdiagram.jpg" decoding="async" width="300" height="414" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/9/95/Bassdiagram.jpg 1.5x" data-file-width="396" data-file-height="547" /></a><figcaption>Principal parts of the double bass</figcaption></figure> <p>There are two major approaches to the design outline shape of the double bass: the <i>violin form</i> (shown in the labelled picture in the construction section); and the <i>viola da gamba</i> form (shown in the header picture of this article). A third less common design, called the <i>busetto</i> shape, can also be found, as can the even more rare <i>guitar</i> or <i>pear</i> shape. The back of the instrument can vary from being a round, carved back similar to that of the violin, to a flat and angled back similar to the viol family. </p><p>The double bass features many parts that are similar to members of the violin family, including a wooden, carved <a href="/wiki/Bridge_(instrument)" title="Bridge (instrument)">bridge</a> to support the strings, two <a href="/wiki/F-hole" class="mw-redirect" title="F-hole">f-holes</a>, a <a href="/wiki/Tailpiece" title="Tailpiece">tailpiece</a> into which the ball ends of the strings are inserted (with the tailpiece anchored around the endpin mount), an ornamental <a href="/wiki/Scroll_(music)" title="Scroll (music)">scroll</a> near the pegbox, a nut with grooves for each string at the junction of the fingerboard and the pegbox and a sturdy, thick <a href="/wiki/Sound_post" title="Sound post">sound post</a>, which transmits the vibrations from the top of the instrument to the hollow body and supports the pressure of the string tension. Unlike the rest of the violin family, the double bass still reflects influences, and can be considered partly derived, from the viol family of instruments, in particular the violone, the lowest-pitched and largest bass member of the viol family. For example, the bass is tuned in fourths, like a viol, rather than in fifths, which is the standard in the violin group. Also, notice that the 'shoulders' meet the neck in a curve, rather than the sharp angle seen among violins. As with the other violin and viol family instruments that are played with a bow (and unlike mainly plucked or picked instruments like guitar), the double bass's bridge has an arc-like, curved shape. This is done because with bowed instruments, the player must be able to play individual strings. If the double bass were to have a flat bridge, it would be impossible to bow the A and D strings individually. </p><p>The double bass also differs from members of the violin family in that the shoulders are typically sloped and the back is often angled (both to allow easier access to the instrument, particularly in the upper range). <a href="/wiki/Machine_head" title="Machine head">Machine tuners</a> are always fitted, in contrast to the rest of the violin family, where traditional wooden friction pegs are still the primary means of tuning. Lack of standardization in design means that one double bass can sound and look very different from another. </p> <div class="mw-heading mw-heading3"><h3 id="Construction">Construction</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=6" title="Edit section: Construction"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The double bass is closest in construction to violins, but has some notable similarities to the <a href="/wiki/Violone" title="Violone">violone</a>, the largest and lowest-pitched member of the viol family. Unlike the violone, however, the fingerboard of the double bass is <a href="/wiki/Fret" title="Fret">unfretted</a>, and the double bass has fewer strings (the violone, like most viols, generally had six strings, although some specimens had five or four). The fingerboard is made of <a href="/wiki/Ebony" title="Ebony">ebony</a> on high-quality instruments; on less expensive student instruments, other woods may be used and then painted or stained black (a process called "ebonizing"). The fingerboard is radiused using a curve, for the same reason that the bridge is curved: if the fingerboard and bridge were to be flat, then a bassist would not be able to bow the inner two strings individually. By using a curved bridge and a curved fingerboard, the bassist can align the bow with any of the four strings and play them individually. Unlike the violin and viola, but like the cello, the bass fingerboard is somewhat flattened out underneath the E string (the C string on cello), this is commonly known as a <a href="/wiki/Bernhard_Romberg#:~:text=Romberg_was_born_in_Dinklage.&text=He_also_invented_what_is,children_to_play_the_instrument." title="Bernhard Romberg">Romberg</a> bevel. The vast majority of fingerboards cannot be adjusted by the performer; any adjustments must be made by a luthier. A very small number of expensive basses for professionals have adjustable fingerboards, in which a screw mechanism can be used to raise or lower the fingerboard height. </p><p>An important distinction between the double bass and other members of the violin family is the construction of the <a href="/wiki/Pegbox" class="mw-redirect" title="Pegbox">pegbox</a> and the tuning mechanism. While the violin, <a href="/wiki/Viola" title="Viola">viola</a>, and cello all use friction <a href="/wiki/Tuning_peg" class="mw-redirect" title="Tuning peg">pegs</a> for tuning adjustments (tightening and loosening the string tension to raise or lower the string's pitch), the double bass has metal <a href="/wiki/Machine_head" title="Machine head">machine heads</a> and gears. One of the challenges with tuning pegs is that the friction between the wood peg and the peg hole may become insufficient to hold the peg in place, particularly if the peg hole become worn and enlarged. The key on the tuning machine of a double bass turns a metal <i>worm</i>, which drives a <a href="/wiki/Worm_gear" class="mw-redirect" title="Worm gear">worm gear</a> that winds the string. Turning the key in one direction tightens the string (thus raising its pitch); turning the key the opposite direction reduces the tension on the string (thus lowering its pitch). While this development makes fine tuners on the tailpiece (important for violin, viola and cello players, as their instruments use friction pegs for major pitch adjustments) unnecessary, a very small number of bassists use them nevertheless. One rationale for using fine tuners on bass is that for instruments with <a href="#C_extension">the low C extension</a>, the pulley system for the long string may not effectively transfer turns of the key into changes of string tension/pitch. At the base of the double bass is a metal rod with a spiked or rubberized end called the endpin, which rests on the floor. This <a href="/wiki/Endpin" title="Endpin">endpin</a> is generally thicker and more robust than that of a cello, because of the greater mass of the instrument. </p><p>The materials most often used in double bass construction for fully carved basses (the type used by professional orchestra bassists and soloists) are <a href="/wiki/Maple" title="Maple">maple</a> (back, neck, ribs), <a href="/wiki/Spruce" title="Spruce">spruce</a> (top), and ebony (fingerboard, tailpiece). The tailpiece may be made from other types of wood or non-wood materials. Less expensive basses are typically constructed with <a href="/wiki/Laminate" class="mw-redirect" title="Laminate">laminated</a> (<a href="/wiki/Plywood" title="Plywood">plywood</a>) tops, backs, and ribs, or are hybrid models produced with laminated backs and sides and carved solid wood tops. Some 2010-era lower- to mid-priced basses are made of <a href="/wiki/Willow" title="Willow">willow</a>, student models constructed of <a href="/wiki/Fiberglass" title="Fiberglass">Fiberglass</a> were produced in the mid-20th century, and some (typically fairly expensive) basses have been constructed of <a href="/wiki/Carbon_fiber" class="mw-redirect" title="Carbon fiber">carbon fiber</a>. </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Efe_cb.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Efe_cb.jpg/200px-Efe_cb.jpg" decoding="async" width="200" height="267" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/b/b3/Efe_cb.jpg 1.5x" data-file-width="300" data-file-height="400" /></a><figcaption>This photo shows the thick soundpost on a double bass (circled in green).</figcaption></figure> <p>Laminated (plywood) basses, which are widely used in music schools, <a href="/wiki/Youth_orchestra" title="Youth orchestra">youth orchestras</a>, and in popular and folk music settings (including rockabilly, psychobilly, blues, etc.), are very resistant to humidity and heat, as well to the physical abuse they are apt to encounter in a school environment (or, for blues and folk musicians, to the hazards of touring and performing in bars). Another option is the hybrid body bass, which has a laminated back and a carved or solid wood top. It is less costly and somewhat less fragile (at least regarding its back) than a fully carved bass. </p><p>The <a href="/wiki/Soundpost" class="mw-redirect" title="Soundpost">soundpost</a> and <a href="/wiki/Bass_bar" title="Bass bar">bass bar</a> are components of the internal construction. All the parts of a double bass are glued together, except the soundpost, bridge, and tailpiece, which are held in place by string tension (although the soundpost usually remains in place when the instrument's strings are loosened or removed, as long as the bass is kept on its back. Some luthiers recommend changing only one string at a time to reduce the risk of the soundpost falling). If the soundpost falls, a luthier is needed to put the soundpost back into position, as this must be done with tools inserted into the f-holes; moreover, the exact placement of the soundpost under the bridge is essential for the instrument to sound its best. Basic bridges are carved from a single piece of wood, which is customized to match the shape of the top of each instrument. The least expensive bridges on student instruments may be customized just by sanding the feet to match the shape of the instrument's top. A bridge on a professional bassist's instrument may be ornately carved by a luthier. </p><p>Professional bassists are more likely to have adjustable bridges, which have a metal screw mechanism. This enables the bassist to raise or lower the height of the strings to accommodate changing humidity or temperature conditions.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> The metal tuning machines are attached to the sides of the pegbox with metal screws. While tuning mechanisms generally differ from the higher-pitched orchestral stringed instruments, some basses have non-functional, ornamental <a href="/wiki/Tuning_peg" class="mw-redirect" title="Tuning peg">tuning pegs</a> projecting from the side of the pegbox, in imitation of the tuning pegs on a cello or violin.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Travel_instruments">Travel instruments</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=7" title="Edit section: Travel instruments"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Several manufacturers make travel instruments, which are double basses that have features which reduce the size of the instrument so that the instrument will meet airline travel requirements. Travel basses are designed for touring musicians. One type of travel bass has a much smaller body than normal, while still retaining all of the features needed for playing. While these smaller-body instruments appear similar to <a href="/wiki/Electric_upright_bass" title="Electric upright bass">electric upright basses</a>, the difference is that small-body travel basses still have a fairly large hollow acoustic sound chamber, while many EUBs are solid body, or only have a small hollow chamber. A second type of travel bass has a hinged or removable neck and a regular sized body. The hinged or removable neck makes the instrument smaller when it is packed for transportation. </p> <div class="mw-heading mw-heading3"><h3 id="Strings">Strings</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=8" title="Edit section: Strings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Bridgedetail.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Bridgedetail.JPG/170px-Bridgedetail.JPG" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Bridgedetail.JPG/255px-Bridgedetail.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Bridgedetail.JPG/340px-Bridgedetail.JPG 2x" data-file-width="1224" data-file-height="1632" /></a><figcaption>Detail of the bridge and strings</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Double_bass_gut_strings.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Double_bass_gut_strings.jpg/170px-Double_bass_gut_strings.jpg" decoding="async" width="170" height="161" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Double_bass_gut_strings.jpg/255px-Double_bass_gut_strings.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Double_bass_gut_strings.jpg/340px-Double_bass_gut_strings.jpg 2x" data-file-width="1268" data-file-height="1200" /></a><figcaption>Gut strings</figcaption></figure> <p>The history of the double bass is tightly coupled to the development of string technology, as it was the advent<sup id="cite_ref-briefhistoryofthedoublebass_6-1" class="reference"><a href="#cite_note-briefhistoryofthedoublebass-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> of <a href="/wiki/Strings_(music)#Winding" class="mw-redirect" title="Strings (music)">overwound</a> gut strings, which first rendered the instrument more generally practicable, as wound or overwound strings attain low notes within a smaller overall string diameter than non-wound strings.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> Professor <a href="/w/index.php?title=Larry_Hurst&action=edit&redlink=1" class="new" title="Larry Hurst (page does not exist)">Larry Hurst</a> argues that had "it not been for the appearance of the overwound gut string in the 1650s, the double bass would surely have become extinct",<sup id="cite_ref-oocities.org_15-1" class="reference"><a href="#cite_note-oocities.org-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> because thicknesses needed for regular gut strings made the lower-pitched strings almost unplayable and hindered the development of fluid, rapid playing in the lower register. </p><p>Prior to the 20th century, double bass strings were usually made of <a href="/wiki/Catgut" title="Catgut">catgut</a>; however, steel has largely replaced it, because steel strings hold their pitch better and yield more volume when played with the bow.<sup id="cite_ref-bow_wood_19-0" class="reference"><a href="#cite_note-bow_wood-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Gut strings are also more vulnerable to changes of humidity and temperature, and break more easily than steel strings. </p><p>Gut strings are nowadays mostly used by bassists who perform in <a href="/wiki/Baroque_music" title="Baroque music">baroque</a> ensembles, rockabilly bands, traditional <a href="/wiki/Blues" title="Blues">blues</a> bands, and bluegrass bands. In some cases, the low E and A are wound in silver, to give them added mass. Gut strings provide the dark, "thumpy" sound heard on 1940s and 1950s recordings. The late Jeff Sarli, a blues upright bassist, said that "Starting in the 1950s, they began to reset the necks on basses for steel strings."<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Rockabilly and bluegrass bassists also prefer gut because it is much easier to perform the "<a href="/wiki/Slapping_(music)" title="Slapping (music)">slapping</a>" upright bass style (in which the strings are percussively slapped and clicked against the fingerboard) with gut strings than with steel strings, because gut does not hurt the plucking fingers as much. A less expensive alternative to gut strings is nylon strings; the higher strings are pure nylon, and the lower strings are nylon wrapped in wire, to add more mass to the string, slowing the vibration, and thus facilitating lower pitches. </p><p>The change from gut to steel has also affected the instrument's playing technique over the last hundred years. Steel strings can be set up closer to the fingerboard and, additionally, strings can be played in higher positions on the lower strings and still produce clear tone. The classic 19th century <a href="/wiki/Franz_Simandl" title="Franz Simandl">Franz Simandl</a> method does not use the low E string in higher positions because older gut strings, set up high over the fingerboard, could not produce clear tone in these higher positions. However, with modern steel strings, bassists can play with clear tone in higher positions on the low E and A strings, particularly when they use modern lighter-gauge, lower-tension steel strings. </p> <div class="mw-heading mw-heading3"><h3 id="Bows">Bows</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=9" title="Edit section: Bows"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The double bass <a href="/wiki/Bow_(music)" title="Bow (music)">bow</a> comes in two distinct forms (shown below). The "French" or "overhand" bow is similar in shape and implementation to the bow used on the other members of the orchestral string instrument family, while the "German" or "Butler" bow is typically broader and shorter, and is held in a "hand shake" (or "hacksaw") position. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:French_and_german_bows.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/5/55/French_and_german_bows.jpg" decoding="async" width="200" height="135" class="mw-file-element" data-file-width="200" data-file-height="135" /></a><figcaption>French (upper) and German bows compared</figcaption></figure> <p>These two bows provide different ways of moving the arm and distributing force and weight on the strings. Proponents of the French bow argue that it is more maneuverable, due to the angle at which the player holds the bow. Advocates of the German bow claim that it allows the player to apply more arm weight on the strings. The differences between the two, however, are minute for a proficient player, and modern players in major orchestras use both bows. </p> <div class="mw-heading mw-heading4"><h4 id="German_bow">German bow</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=10" title="Edit section: German bow"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:German_bow2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/90/German_bow2.jpg/220px-German_bow2.jpg" decoding="async" width="220" height="205" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/90/German_bow2.jpg/330px-German_bow2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/90/German_bow2.jpg/440px-German_bow2.jpg 2x" data-file-width="500" data-file-height="466" /></a><figcaption>German-style bow</figcaption></figure> <p>The German bow (sometimes called the Butler bow) is the older of the two designs. The design of the bow and the manner of holding it descend from the older viol instrument family. With older viols, before <a href="/wiki/Bow_(music)" title="Bow (music)">frogs</a> had screw threads to tighten the bow, players held the bow with two fingers between the stick and the hair to maintain tension of the hair.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> Proponents of the use of German bow claim that the German bow is easier to use for heavy strokes that require a lot of power. </p><p>Compared to the French bow, the German bow has a taller frog, and the player holds it with the palm angled upwards, as with the upright members of the viol family. When held in the traditionally correct manner, the thumb applies the necessary power to generate the desired sound. The index finger meets the bow at the point where the frog meets the stick. The index finger also applies an upward torque to the frog when tilting the bow. The little finger (or "pinky") supports the frog from underneath, while the ring finger and middle finger rest in the space between the hair and the shaft. </p> <div class="mw-heading mw-heading4"><h4 id="French_bow">French bow</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=11" title="Edit section: French bow"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:French_bow2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3e/French_bow2.jpg/220px-French_bow2.jpg" decoding="async" width="220" height="205" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/3/3e/French_bow2.jpg 1.5x" data-file-width="300" data-file-height="280" /></a><figcaption>French-style bow</figcaption></figure> <p>The French bow was not widely popular until its adoption by 19th-century virtuoso <a href="/wiki/Giovanni_Bottesini" title="Giovanni Bottesini">Giovanni Bottesini</a>. This style is more similar to the traditional bows of the smaller string family instruments. It is held as if the hand is resting by the side of the performer with the palm facing toward the bass. The 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 the style of piece; a more pronounced curve and lighter hold on the bow is used for virtuoso or more delicate pieces, while a flatter curve and sturdier grip on the bow sacrifices some power for easier control in strokes such as detaché, spiccato, and staccato. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:AGK_bass_bow_grip.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/34/AGK_bass_bow_grip.jpg/220px-AGK_bass_bow_grip.jpg" decoding="async" width="220" height="175" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/34/AGK_bass_bow_grip.jpg/330px-AGK_bass_bow_grip.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/3/34/AGK_bass_bow_grip.jpg 2x" data-file-width="345" data-file-height="275" /></a><figcaption>A bassist holding a French bow; note how the thumb rests on the shaft of the bow next to the frog.</figcaption></figure> <div class="mw-heading mw-heading4"><h4 id="Bow_construction_and_materials">Bow construction and materials</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=12" title="Edit section: Bow construction and materials"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Double bass bows vary in length, ranging from 60 to 75 cm (24–30 in). In general, a bass bow is shorter and heavier than a cello bow. <a href="/wiki/Brazilwood" class="mw-redirect" title="Brazilwood">Pernambuco</a>, also known as Brazilwood, is regarded as an excellent quality stick material, but due to its scarcity and expense, other materials are increasingly being used. Inexpensive student bows may be constructed of solid <a href="/wiki/Glass-reinforced_plastic" class="mw-redirect" title="Glass-reinforced plastic">fiberglass</a>, which makes the bow much lighter than a wooden bow (even too light to produce a good tone, in some cases). Student bows may also be made of the less valuable varieties of brazilwood. <a href="/wiki/Snakewood" title="Snakewood">Snakewood</a> and <a href="/wiki/Graphite-reinforced_plastic" class="mw-redirect" title="Graphite-reinforced plastic">carbon fiber</a> are also used in bows of a variety of different qualities. The frog of the double bass bow is usually made out of ebony, although snakewood and <a href="/wiki/Bovinae" title="Bovinae">buffalo</a> horn are used by some <a href="https://en.wiktionary.org/wiki/luthier" class="extiw" title="wiktionary:luthier">luthiers</a>. The <a href="/wiki/Frog_(music)" class="mw-redirect" title="Frog (music)">frog</a> is movable, as it can be tightened or loosened with a knob (like all violin family bows). The bow is loosened at the end of a practice session or performance. The bow is tightened before playing, until it reaches a tautness that is preferred by the player. The frog on a quality bow is decorated with <a href="/wiki/Mother_of_pearl" class="mw-redirect" title="Mother of pearl">mother of pearl</a> inlay. </p><p>Bows have a leather wrapping on the wooden part of the bow near the frog. Along with the leather wrapping, there is also a wire wrapping, made of <a href="/wiki/Silver" title="Silver">silver</a> in quality bows. The hair is usually <a href="/wiki/Horsehair" title="Horsehair">horsehair</a>. Part of the regular maintenance of a bow is having the bow "rehaired" by a <a href="/wiki/Luthier" title="Luthier">luthier</a> with fresh horsehair and having the leather and wire wrapping replaced. The double bass bow is strung with either white or black horsehair, or a combination of the two (known as "salt and pepper"), as opposed to the customary white horsehair used on the bows of other string instruments. Some of the lowest-quality, lowest cost student bows are made with synthetic hair. Synthetic hair does not have the tiny "barbs" that real horsehair has, so it does not "grip" the string well or take rosin well. </p> <div class="mw-heading mw-heading4"><h4 id="Rosin">Rosin</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=13" title="Edit section: Rosin"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Rosins.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Rosins.JPG/200px-Rosins.JPG" decoding="async" width="200" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Rosins.JPG/300px-Rosins.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Rosins.JPG/400px-Rosins.JPG 2x" data-file-width="2000" data-file-height="1200" /></a><figcaption>A variety of rosin types</figcaption></figure> <p>String players apply <a href="/wiki/Rosin" title="Rosin">rosin</a> to the bow hair so it "grips" the string and makes it vibrate. Double bass rosin is generally softer and stickier than violin rosin to allow the hair to grab the thicker strings better, but players use a wide variety of rosins that vary from quite hard (like violin rosin) to quite soft, depending on the weather, the humidity, and the preference of the player. The amount used generally depends on the type of music being performed as well as the personal preferences of the player. Some brands of rosin, such as Wiedoeft or Pop's double bass rosin, are softer and more prone to melting in hot weather. </p> <div class="mw-heading mw-heading2"><h2 id="Mechanism_of_sound_production">Mechanism of sound production</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=14" title="Edit section: Mechanism of sound production"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Owing to their relatively small diameters, the strings themselves do not move much air and therefore cannot produce much sound on their own. The vibrational energy of the strings must somehow be transferred to the surrounding air. To do this, the strings vibrate the bridge and this in turn vibrates the top surface. Very small amplitude but relatively large force variations (due to the cyclically varying tension in the vibrating string) at the bridge are transformed to larger amplitude ones by combination of bridge and body of the bass. The bridge transforms the high force, small amplitude vibrations to lower force higher amplitude vibrations on the top of the bass body. The top is connected to the back by means of a sound post, so the back also vibrates. Both the front and back transmit the vibrations to the air and act to match the impedance of the vibrating string to the <a href="/wiki/Acoustic_impedance" title="Acoustic impedance">acoustic impedance</a> of the air. </p> <div class="mw-heading mw-heading2"><h2 id="Specific_sound_and_tone_production_mechanism">Specific sound and tone production mechanism</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=15" title="Edit section: Specific sound and tone production mechanism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Because the acoustic bass is a non-fretted instrument, any string vibration due to plucking or bowing will cause an audible sound due to the strings vibrating against the fingerboard near to the fingered position. This buzzing sound gives the note its character. </p> <div class="mw-heading mw-heading2"><h2 id="Pitch">Pitch</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=16" title="Edit section: Pitch"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bass_clef.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Bass_clef.svg/170px-Bass_clef.svg.png" decoding="async" width="170" height="200" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Bass_clef.svg/255px-Bass_clef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/61/Bass_clef.svg/340px-Bass_clef.svg.png 2x" data-file-width="397" data-file-height="468" /></a><figcaption>The bass (or F) clef is used for most double bass music.</figcaption></figure> <p>The lowest note of a double bass is an E<sub>1</sub> (on standard four-string basses) at approximately 41 Hz or a C<sub>1</sub> (≈33 Hz), or sometimes B<sub>0</sub> (≈31 Hz), when five strings are used. This is within about an octave above the <a href="/wiki/Hearing_range" title="Hearing range">lowest frequency</a> that the average human ear can perceive as a distinctive pitch. The top of the instrument's fingerboard range is typically near D<sub>5</sub>, two octaves and a fifth above the open pitch of the G string (G<sub>2</sub>), as shown in the range illustration found at the head of this article. Playing beyond the end of the fingerboard can be accomplished by pulling the string slightly to the side. </p><p>Double bass symphony parts sometimes indicate that the performer should play <a href="/wiki/Harmonic#Harmonics_on_stringed_instruments" title="Harmonic">harmonics</a> (also called <a href="/wiki/Flageolet_tone" class="mw-redirect" title="Flageolet tone">flageolet tones</a>), in which the bassist lightly touches the string–without pressing it onto the fingerboard in the usual fashion–in the location of a note and then plucks or bows the note. Bowed harmonics are used in contemporary music for their "glassy" sound. Both natural <a href="/wiki/Harmonics" class="mw-redirect" title="Harmonics">harmonics</a> and <a href="/wiki/Artificial_harmonic" class="mw-redirect" title="Artificial harmonic">artificial harmonics</a>, where the thumb stops the note and the octave or other harmonic is activated by lightly touching the string at the relative node point, extend the instrument's range considerably. Natural and artificial harmonics are used in plenty of virtuoso concertos for the double bass. </p><p>Orchestral parts from the standard <a href="/wiki/Classical_music" title="Classical music">Classical repertoire</a> rarely demand the double bass exceed a two-octave and a minor third range, from E<sub>1</sub> to G<sub>3</sub>, with occasional A<sub>3</sub>s appearing in the standard repertoire (an exception to this rule is Orff's <i><a href="/wiki/Carmina_Burana_(Orff)" title="Carmina Burana (Orff)">Carmina Burana</a></i>, which calls for three octaves and a perfect fourth). The upper limit of this range is extended a great deal for 20th- and 21st-century orchestral parts (e.g., <a href="/wiki/Prokofiev" class="mw-redirect" title="Prokofiev">Prokofiev</a>'s <i><a href="/wiki/Lieutenant_Kij%C3%A9_Suite" class="mw-redirect" title="Lieutenant Kijé Suite">Lieutenant Kijé Suite</a></i> (<abbr title="circa">c.</abbr>1933) bass solo, which calls for notes as high as D<sub>4</sub> and E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span><sub>4</sub>). The upper range a <a href="/wiki/Virtuoso" title="Virtuoso">virtuoso</a> solo player can achieve using natural and artificial harmonics is hard to define, as it depends on the skill of the particular player. The high harmonic in the range illustration found at the head of this article may be taken as representative rather than normative. </p><p>Five-string instruments have an additional string, typically tuned to a low B below the E string (B<sub>0</sub>). On rare occasions, a higher string is added instead, tuned to the C above the G string (C<sub>3</sub>). Four-string instruments may feature the <a href="#C_extension">C extension</a> extending the range of the E string downwards to C<sub>1</sub> (sometimes B<sub>0</sub>). </p><p>Traditionally, the double bass is a <a href="/wiki/Transposing_instrument" title="Transposing instrument">transposing instrument</a>. Since much of the double bass's range lies below the standard <a href="/wiki/Bass_clef" class="mw-redirect" title="Bass clef">bass clef</a>, it is notated an octave higher than it sounds to avoid having to use excessive ledger lines below the staff. Thus, when double bass players and cellists are playing from a combined bass-cello part, as used in many Mozart and Haydn symphonies, they will play in octaves, with the basses one octave below the cellos. This transposition applies even when bass players are reading the <a href="/wiki/Tenor_clef" class="mw-redirect" title="Tenor clef">tenor</a> and <a href="/wiki/Treble_clef" class="mw-redirect" title="Treble clef">treble clef</a> (which are used in solo playing and some orchestral parts). The tenor clef is also used by composers for cello and low brass parts. The use of tenor or treble clef avoids excessive ledger lines above the staff when notating the instrument's upper range. Other notation traditions exist. Italian solo music is typically written at the sounding pitch, and the "old" German method sounded an octave below where notation except in the treble clef, where the music was written at pitch. </p> <div class="mw-heading mw-heading2"><h2 id="Tuning">Tuning</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=17" title="Edit section: Tuning"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Regular_tuning">Regular tuning</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=18" title="Edit section: Regular tuning"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:(Portrait_of_Teddy_Kaye,_Vivien_Garry,_and_Arv(in)_Charles_Garrison,_Dixon%27s,_New_York,_N.Y.,_ca._May_1947)_(LOC)_(4976467461).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b0/%28Portrait_of_Teddy_Kaye%2C_Vivien_Garry%2C_and_Arv%28in%29_Charles_Garrison%2C_Dixon%27s%2C_New_York%2C_N.Y.%2C_ca._May_1947%29_%28LOC%29_%284976467461%29.jpg/180px-%28Portrait_of_Teddy_Kaye%2C_Vivien_Garry%2C_and_Arv%28in%29_Charles_Garrison%2C_Dixon%27s%2C_New_York%2C_N.Y.%2C_ca._May_1947%29_%28LOC%29_%284976467461%29.jpg" decoding="async" width="180" height="177" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b0/%28Portrait_of_Teddy_Kaye%2C_Vivien_Garry%2C_and_Arv%28in%29_Charles_Garrison%2C_Dixon%27s%2C_New_York%2C_N.Y.%2C_ca._May_1947%29_%28LOC%29_%284976467461%29.jpg/270px-%28Portrait_of_Teddy_Kaye%2C_Vivien_Garry%2C_and_Arv%28in%29_Charles_Garrison%2C_Dixon%27s%2C_New_York%2C_N.Y.%2C_ca._May_1947%29_%28LOC%29_%284976467461%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b0/%28Portrait_of_Teddy_Kaye%2C_Vivien_Garry%2C_and_Arv%28in%29_Charles_Garrison%2C_Dixon%27s%2C_New_York%2C_N.Y.%2C_ca._May_1947%29_%28LOC%29_%284976467461%29.jpg/360px-%28Portrait_of_Teddy_Kaye%2C_Vivien_Garry%2C_and_Arv%28in%29_Charles_Garrison%2C_Dixon%27s%2C_New_York%2C_N.Y.%2C_ca._May_1947%29_%28LOC%29_%284976467461%29.jpg 2x" data-file-width="1024" data-file-height="1005" /></a><figcaption>Double bass player <a href="/wiki/Vivien_Garry" title="Vivien Garry">Vivien Garry</a> playing a show in New York City in 1947</figcaption></figure> <p>The double bass is generally tuned in <a href="/wiki/Perfect_fourth" title="Perfect fourth">fourths</a>, in contrast to other members of the orchestral string family, which are tuned in <a href="/wiki/Perfect_fifth" title="Perfect fifth">fifths</a> (for example, the violin's four strings are, from lowest-pitched to highest-pitched: G–D–A–E). The standard tuning (lowest-pitched to highest-pitched) for bass is E–A–D–G, starting from E below second low C (<a href="/wiki/Concert_pitch" title="Concert pitch">concert pitch</a>). This is the same as the standard tuning of a bass guitar and is one octave lower than the four lowest-pitched strings of <a href="/wiki/Guitar" title="Guitar">standard guitar tuning</a>. Prior to the 19th-century, many double basses had only three strings; "Giovanni Bottesini (1821–1889) favored the three-stringed instrument popular in Italy at the time",<sup id="cite_ref-oocities.org_15-2" class="reference"><a href="#cite_note-oocities.org-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> because "the three-stringed instrument [was viewed as] being more sonorous".<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Many <a href="/wiki/Cobla" title="Cobla">cobla</a> bands in <a href="/wiki/Catalonia" title="Catalonia">Catalonia</a> still have players using traditional three-string double basses tuned A–D–G.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p>Throughout <a href="/wiki/Classical_music" title="Classical music">classical</a> repertoire, there are notes that fall below the range of a standard double bass. Notes below low E appear regularly in the double bass parts found in later arrangements and interpretations of <a href="/wiki/Baroque_music" title="Baroque music">Baroque music</a>. In the <a href="/wiki/Classical_period_(music)" title="Classical period (music)">Classical</a> era, the double bass typically doubled the cello part an octave below, occasionally requiring descent to C below the E of the four-string double bass. In the <a href="/wiki/Romantic_music" title="Romantic music">Romantic</a> era and the 20th century, composers such as <a href="/wiki/Richard_Wagner" title="Richard Wagner">Wagner</a>, <a href="/wiki/Gustav_Mahler" title="Gustav Mahler">Mahler</a>, <a href="/wiki/Ferruccio_Busoni" title="Ferruccio Busoni">Busoni</a> and <a href="/wiki/Sergei_Prokofiev" title="Sergei Prokofiev">Prokofiev</a> also requested notes below the low E. </p><p>There are several methods for making these notes available to the player. Players with standard double basses (E–A–D–G) may play the notes below "E" an octave higher or if this sounds awkward, the entire passage may be transposed up an octave. The player may tune the low E string down to the lowest note required in the piece: D or C. Four-string basses may be fitted with a "low-C extension" (<a href="#C_extension">see below</a>). Or the player may employ a five-string instrument, with the additional lower string tuned to C, or (more commonly in modern times) B, three octaves and a <a href="/wiki/Semitone" title="Semitone">semitone</a> below <a href="/wiki/Middle_C" class="mw-redirect" title="Middle C">middle C</a>. Several major European orchestras use basses with a fifth string.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="C_extension">C extension</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=19" title="Edit section: C extension"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Double_bass_C_extension.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Double_bass_C_extension.jpg/250px-Double_bass_C_extension.jpg" decoding="async" width="250" height="188" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Double_bass_C_extension.jpg/375px-Double_bass_C_extension.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Double_bass_C_extension.jpg/500px-Double_bass_C_extension.jpg 2x" data-file-width="1280" data-file-height="960" /></a><figcaption>A low-C extension with wooden mechanical "fingers" that stop the string at C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>, D, E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>, or E. For orchestral passages which only go down to a low E, the "finger" at the nut is usually closed.</figcaption></figure> <p>Most professional orchestral players use four-string double basses with a <i>C extension</i>.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> This is an extra section of fingerboard mounted on the head of the bass. It extends the fingerboard under the lowest string and gives an additional four semitones of downward range. The lowest string is typically tuned down to C<sub>1</sub>, an octave below the lowest note on the cello (as it is quite common for a bass part to double the cello part an octave lower). More rarely this string may be tuned to a low B<sub>0</sub>, as a few works in the orchestral repertoire call for such a B, such as <a href="/wiki/Ottorino_Respighi" title="Ottorino Respighi">Respighi</a>'s <i>The Pines of Rome</i>. In rare cases, some players have a low B extension, which has B as its lowest note. There are several varieties of extensions: </p><p>In the simplest mechanical extensions, there are no mechanical aids attached to the fingerboard extension except a locking nut or "gate" for the E note. To play the extension notes, the player reaches back over the area under the scroll to press the string to the fingerboard. The advantage of this "fingered" extension is that the player can adjust the intonation of all of the <a href="/wiki/Stopped_note" title="Stopped note">stopped notes</a> on the extension, and there are no mechanical noises from metal keys and levers. The disadvantage of the "fingered" extension is that it can be hard to perform rapid alternations between low notes on the extension and notes on the regular fingerboard, such as a bassline that quickly alternates between G<sub>1</sub> and D<sub>1</sub>. </p><p>The simplest type of mechanical aid is the use of wooden "fingers" or "gates" that can be closed to press the string down and fret the C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>, D, E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>, or E notes. This system is particularly useful for basslines that have a repeating <a href="/wiki/Pedal_point" title="Pedal point">pedal point</a> such as a low D because once the note is locked in place with the mechanical finger the lowest string sounds a different note when played open. </p><p>The most complicated mechanical aid for use with extensions is the mechanical lever system nicknamed the <i>machine</i>. This lever system, which superficially resembles the keying mechanism of reed instruments such as the bassoon, mounts levers beside the regular fingerboard (near the nut, on the E-string side), which remotely activate metal "fingers" on the extension fingerboard. The most expensive metal lever systems also give the player the ability to "lock" down notes on the extension fingerboard, as with the wooden "finger" system. One criticism of these devices is that they may lead to unwanted metallic clicking noises. </p><p>Once a mechanical "finger" of the wooden "finger" extension or the metal "finger" machine extension is locked down or depressed, it is not easy to make microtonal pitch adjustments or <a href="/wiki/Glissando" title="Glissando">glissando</a> effects, as is possible with a hand-fingered extension. </p><p>Five-string basses, in which the lowest string is normally B<sub>0</sub>, may use either a two semitone extension, providing a low A, or the very rare low G extension. </p> <div class="mw-heading mw-heading3"><h3 id="Other_tuning_variations">Other tuning variations</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=20" title="Edit section: Other tuning variations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A small number of bass players tune their strings in <a href="/wiki/Fifths_tuning" title="Fifths tuning">fifths</a>, like a cello but an octave lower (C<sub>1</sub>–G<sub>1</sub>–D<sub>2</sub>–A<sub>2</sub> low to high). This tuning was used by the jazz player <a href="/wiki/Red_Mitchell" title="Red Mitchell">Red Mitchell</a> and is used by some classical players, notably the Canadian bassist <a href="/wiki/Joel_Quarrington" title="Joel Quarrington">Joel Quarrington</a>. Advocates of tuning the bass in fifths point out that all of the other orchestral strings are tuned in fifths (violin, viola, and cello), so this puts the bass in the same tuning approach. Fifth tuning provides a bassist with a wider range of pitch than a standard E–A–D–G bass, as it ranges (without an extension) from C<sub>1</sub> to A<sub>2</sub>. Some players who use fifths tuning who play a five-string bass use an additional high E<sub>3</sub> string (thus, from lowest to highest: C–G–D–A–E). Some fifth tuning bassists who only have a four string instrument and who are mainly performing soloistic works use the G–D–A–E tuning, thus omitting the low C string but gaining a high E. Some fifth tuning bassists who use a five-string use a smaller scale instrument, thus making fingering somewhat easier. The Berlioz–Strauss <a href="/wiki/Treatise_on_Instrumentation" title="Treatise on Instrumentation">Treatise on Instrumentation</a> (first published in 1844) states that "A good orchestra should have several four-string double-basses, some of them tuned in fifths and thirds." The book then shows a tuning of E<sub>1</sub>–G<sub>1</sub>–D<sub>2</sub>–A<sub>2</sub>) from bottom to top string. "Together with the other double-basses tuned in fourths, a combination of open strings would be available, which would greatly increase the sonority of the orchestra." </p><p>In classical solo playing the double bass is usually tuned a whole tone higher (F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span><sub>1</sub>–B<sub>1</sub>–E<sub>2</sub>–A<sub>2</sub>). This higher tuning is called "solo tuning", whereas the regular tuning is known as "orchestral tuning". Solo tuning strings are generally thinner than regular strings. String tension differs so much between solo and orchestral tuning that a different set of strings is often employed that has a lighter gauge. Strings are always labelled for either solo or orchestral tuning and published solo music is arranged for either solo or orchestral tuning. Some popular solos and concerti, such as the <i><a href="/w/index.php?title=Koussevitsky_Concerto&action=edit&redlink=1" class="new" title="Koussevitsky Concerto (page does not exist)">Koussevitsky Concerto</a></i> are available in both solo and orchestral tuning arrangements. Solo tuning strings can be tuned down a tone to play in orchestra pitch, but the strings often lack projection in orchestral tuning and their pitch may be unstable. </p><p>Some contemporary composers specify highly specialized <a href="/wiki/Scordatura" title="Scordatura">scordatura</a> (intentionally changing the tuning of the open strings). Changing the pitch of the open strings makes different notes available as <a href="/wiki/Pedal_point" title="Pedal point">pedal points</a> and harmonics. A variant and much less-commonly used form of solo tuning used in some Eastern European countries is (A<sub>1</sub>–D<sub>2</sub>–G<sub>2</sub>–C<sub>3</sub>), which omits the low E string from orchestral tuning and then adds a high C string. The <a href="/wiki/Tololoche" title="Tololoche">tololoche</a> in Mexico (a smaller variant of the double bass) also uses the A-D-G-C tuning. Some bassists with five-string basses use a high C<sub>3</sub> string as the fifth string, instead of a low B<sub>0</sub> string. Adding the high C string facilitates the performance of solo repertoire with a high tessitura (range). Another option is to utilize both a low C (or low B) extension and a high C string. </p> <div class="mw-heading mw-heading4"><h4 id="Five_strings">Five strings</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=21" title="Edit section: Five strings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>When choosing a bass with a fifth string, the player may decide between adding a higher-pitched string (a high C string) or a lower-pitched string (typically a low B). To accommodate the additional fifth string, the fingerboard is usually slightly widened, and the top slightly thicker, to handle the increased tension. Most five-string basses are therefore larger in size than a standard four-string bass. Some five-stringed instruments are converted four-string instruments. Because these do not have wider fingerboards, some players find them more difficult to finger and bow. Converted four-string basses usually require either a new, thicker top, or lighter strings to compensate for the increased tension. </p> <div class="mw-heading mw-heading4"><h4 id="Six_strings">Six strings</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=22" title="Edit section: Six strings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The six-string double bass has both a high C and a low B, making it very useful, and it is becoming more practical after several updates. It is ideal for solo and orchestral playing because it has a more playable range. This can be achieved on a six-string <a href="/wiki/Violone" title="Violone">violone</a> in D by restringing it with double bass strings, making the tuning B<sub>0</sub>–E<sub>1</sub>–A<sub>1</sub>–D<sub>2</sub>–G<sub>2</sub>–C<sub>3</sub>. </p> <div class="mw-heading mw-heading2"><h2 id="Playing_and_performance_considerations">Playing and performance considerations</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=23" title="Edit section: Playing and performance considerations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Body_and_hand_position">Body and hand position</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=24" title="Edit section: Body and hand position"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Renaudgarciafons.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/Renaudgarciafons.JPG/200px-Renaudgarciafons.JPG" decoding="async" width="200" height="203" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/Renaudgarciafons.JPG/300px-Renaudgarciafons.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/77/Renaudgarciafons.JPG/400px-Renaudgarciafons.JPG 2x" data-file-width="628" data-file-height="636" /></a><figcaption>French double-bass player and composer <a href="/wiki/Renaud_Garcia-Fons" title="Renaud Garcia-Fons">Renaud Garcia-Fons</a> during a performance</figcaption></figure> <p>Double bassists either stand or sit to play the instrument. The instrument height is set by adjusting the endpin such that the player can reach the desired playing zones of the strings with bow or plucking hand. Bassists who stand and bow sometimes set the endpin by aligning the first finger in either first or half position with eye level, although there is little standardization in this regard. Players who sit generally use a stool about the height of the player's trousers inseam length. </p><p>Traditionally, double bassists stood to play solo and sat to play in the orchestra or opera pit. Now, it is unusual for a player to be equally proficient in both positions, so some soloists sit (as with <a href="/wiki/Joel_Quarrington" title="Joel Quarrington">Joel Quarrington</a>, <a href="/wiki/Jeff_Bradetich" title="Jeff Bradetich">Jeff Bradetich</a>, Thierry Barbé, and others) and some orchestral bassists stand. </p><p>When playing in the instrument's upper range (above G<sub>3</sub>, the G below middle C), the player shifts the hand from behind the neck and flattens it out, using the side of the thumb to press down the string. This technique—also used on the cello—is called <i><a href="/wiki/Thumb_position" title="Thumb position">thumb position</a></i>. While playing in thumb position, few players use the fourth (little) finger, as it is usually too weak to produce reliable tone (this is also true for cellists), although some extreme chords or extended techniques, especially in contemporary music, may require its use. </p> <div class="mw-heading mw-heading3"><h3 id="Physical_considerations">Physical considerations</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=25" title="Edit section: Physical considerations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Rockabilly style can be very demanding on the plucking hand, due to rockabilly's use of "slapping" on the fingerboard. Performing on bass can be physically demanding, because the strings are under relatively high tension. Also, the space between notes on the fingerboard is large, due to scale length and string spacing, so players must hold their fingers apart for the notes in the lower positions and shift positions frequently to play basslines. As with all non-fretted <a href="/wiki/String_instrument" title="String instrument">string instruments</a>, performers must learn to place their fingers precisely to produce the correct pitch. For bassists with shorter arms or smaller hands, the large spaces between pitches may present a significant challenge, especially in the lowest range, where the spaces between notes are largest. However, the increased use of playing techniques such as thumb position and modifications to the bass, such as the use of lighter-gauge strings at lower tension, have eased the difficulty of playing the instrument. </p><p>Bass parts have relatively fewer fast passages, double stops, or large jumps in range. These parts are usually given to the cello section, since the cello is a smaller instrument on which these techniques are more easily performed. </p> <div class="mw-heading mw-heading3"><h3 id="Volume">Volume</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=26" title="Edit section: Volume"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Despite the size of the instrument, it is not as loud as many other instruments, due to its low musical <a href="/wiki/Pitch_(music)" title="Pitch (music)">pitch</a>. In a large orchestra, usually between four and eight bassists play the same <a href="/wiki/Bassline" title="Bassline">bassline</a> in unison to produce enough volume. In the largest orchestras, bass sections may have as many as ten or twelve players, but modern budget constraints make bass sections this large unusual. </p><p>When writing solo passages for the bass in orchestral or chamber music, composers typically ensure the <a href="/wiki/Orchestration" title="Orchestration">orchestration</a> is light so it does not obscure the bass. While amplification is rarely used in classical music, in some cases where a bass soloist performs a concerto with a full orchestra, subtle amplification called <a href="/wiki/Acoustic_enhancement" title="Acoustic enhancement">acoustic enhancement</a> may be used. The use of microphones and amplifiers in a classical setting has led to debate within the classical community, as "...purists maintain that the natural acoustic sound of [Classical] voices [or] instruments in a given hall should not be altered".<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Jimbo_Wallace.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Jimbo_Wallace.JPG/220px-Jimbo_Wallace.JPG" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Jimbo_Wallace.JPG/330px-Jimbo_Wallace.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Jimbo_Wallace.JPG/440px-Jimbo_Wallace.JPG 2x" data-file-width="1536" data-file-height="2048" /></a><figcaption><a href="/wiki/Psychobilly" title="Psychobilly">Psychobilly</a> bassist <a href="/wiki/Jimbo_Wallace" title="Jimbo Wallace">Jimbo Wallace</a> onstage with <a href="/wiki/Reverend_Horton_Heat" class="mw-redirect" title="Reverend Horton Heat">Reverend Horton Heat</a>; note his large <a href="/wiki/Bass_stack" class="mw-redirect" title="Bass stack">bass stack</a> consisting of a 15-inch cabinet, a quadruple 10-inch cabinet, and an amplifier "head".</figcaption></figure> <p>In many genres, such as jazz and <a href="/wiki/Blues" title="Blues">blues</a>, players use amplification via a <a href="/wiki/Bass_instrument_amplification" class="mw-redirect" title="Bass instrument amplification">specialized amplifier</a> and loudspeakers. A piezoelectric pickup connects to the amplifier with a <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">1</span>⁄<span class="den">4</span></span>-inch cable. Bluegrass and jazz players typically use less amplification than blues, <a href="/wiki/Psychobilly" title="Psychobilly">psychobilly</a>, or <a href="/wiki/Jam_band" title="Jam band">jam band</a> players. In the latter cases, high overall volume from other amplifiers and instruments may cause unwanted <a href="/wiki/Audio_feedback" title="Audio feedback">acoustic feedback</a>, a problem exacerbated by the bass's large surface area and interior volume. The feedback problem has led to technological fixes like electronic feedback eliminator devices (essentially an automated <a href="/wiki/Notch_filter" class="mw-redirect" title="Notch filter">notch filter</a> that identifies and reduces frequencies where feedback occurs) and instruments like the <a href="/wiki/Electric_upright_bass" title="Electric upright bass">electric upright bass</a>, which has playing characteristics like the double bass but usually little or no soundbox, which makes feedback less likely. Some bassists reduce the problem of feedback by lowering their onstage volume or playing further away from their bass amp speakers. </p><p>In rockabilly and psychobilly, percussively slapping the strings against the fingerboard is an important part of the bass playing style. Since piezoelectric pickups are not good at reproducing the sounds of strings being slapped against the fingerboard, bassists in these genres often use both piezoelectric pickups (for the low bass tone) and a miniature <a href="/wiki/Condenser_mic" class="mw-redirect" title="Condenser mic">condenser mic</a> (to pick up the percussive slapping sounds). These two signals are blended together using a simple <a href="/wiki/Audio_mixer" class="mw-redirect" title="Audio mixer">mixer</a> before the signal is sent to the bass amp. </p> <div class="mw-heading mw-heading3"><h3 id="Transportation">Transportation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=27" title="Edit section: Transportation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The double bass's large size and relative fragility make it cumbersome to handle and transport. Most bassists use soft cases, referred to as <a href="/wiki/Gig_bag" title="Gig bag">gig bags</a>, to protect the instrument during transport. These range from inexpensive, thin unpadded cases used by students (which only protect against scratches and rain) to thickly padded versions for professional players, which also protect against bumps and impacts. Some bassists carry their bow in a hard bow case; more expensive bass cases have a large pocket for a bow case. Players also may use a small cart and end pin-attached wheels to move the bass. Some higher-priced padded cases have wheels attached to the case. Another option found in higher-priced padded cases are backpack straps, to make it easier to carry the instrument. </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Double_bass_flight_cases,_CBSO,_2013-06-23.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Double_bass_flight_cases%2C_CBSO%2C_2013-06-23.jpg/200px-Double_bass_flight_cases%2C_CBSO%2C_2013-06-23.jpg" decoding="async" width="200" height="150" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Double_bass_flight_cases%2C_CBSO%2C_2013-06-23.jpg/300px-Double_bass_flight_cases%2C_CBSO%2C_2013-06-23.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Double_bass_flight_cases%2C_CBSO%2C_2013-06-23.jpg/400px-Double_bass_flight_cases%2C_CBSO%2C_2013-06-23.jpg 2x" data-file-width="4608" data-file-height="3456" /></a><figcaption>Hard flight cases for double basses</figcaption></figure> <p>Hard flight cases have cushioned interiors and tough exteriors of <a href="/wiki/Carbon_fiber" class="mw-redirect" title="Carbon fiber">carbon fiber</a>, <a href="/wiki/Graphite" title="Graphite">graphite</a>, <a href="/wiki/Fiberglass" title="Fiberglass">fiberglass</a>, or <a href="/wiki/Kevlar" title="Kevlar">Kevlar</a>. The cost of good hard cases–several thousand US dollars–and the high airline fees for shipping them tend to limit their use to touring professionals. </p> <div class="mw-heading mw-heading3"><h3 id="Accessories">Accessories</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=28" title="Edit section: Accessories"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Page_451_(A_Dictionary_of_Music_and_Musicians-Volume_2).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Page_451_%28A_Dictionary_of_Music_and_Musicians-Volume_2%29.jpg/150px-Page_451_%28A_Dictionary_of_Music_and_Musicians-Volume_2%29.jpg" decoding="async" width="150" height="168" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Page_451_%28A_Dictionary_of_Music_and_Musicians-Volume_2%29.jpg/225px-Page_451_%28A_Dictionary_of_Music_and_Musicians-Volume_2%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/0/00/Page_451_%28A_Dictionary_of_Music_and_Musicians-Volume_2%29.jpg 2x" data-file-width="275" data-file-height="308" /></a><figcaption>A wooden mute attached to the bass bridge to make the tone darker (a drawing from 1900)</figcaption></figure> <p>Double bass players use various accessories to help them to perform and rehearse. Three types of <a href="/wiki/Mute_(music)#String" title="Mute (music)">mutes</a> are used in orchestral music: a wooden mute that slides onto the bridge, a rubber mute that attaches to the bridge and a wire device with brass weights that fits onto the bridge. The player uses the mute when the Italian instruction <i>con sordino</i> ("with mute") appears in the bass part, and removes it in response to the instruction <i>senza sordino</i> ("without mute"). With the mute on, the tone of the bass is quieter, darker, and more somber. Bowed bass parts with a mute can have a nasal tone. Players use a third type of mute, a heavy rubber practice mute, to practice quietly without disturbing others (e.g., in a hotel room). </p><p>A quiver is an accessory for holding the bow. It is often made of leather and it attaches to the bridge and tailpiece with ties or straps. It is used to hold the bow while a player plays pizzicato parts. </p><p>A <a href="/wiki/Wolf_tone" title="Wolf tone">wolf tone</a> eliminator is used to lessen unwanted sympathetic vibrations in the part of a string between the bridge and the tailpiece which can cause tone problems for certain notes. It is a rubber tube cut down the side that is used with a cylindrical metal sleeve which also has a slot on the side. The metal cylinder has a screw and a nut that fastens the device to the string. Different placements of the cylinder along the string influence or eliminate the frequency at which the wolf tone occurs. It is essentially an <a href="/wiki/Attenuation" title="Attenuation">attenuator</a> that slightly shifts the natural frequency of the string (and/or instrument body) cutting down on the reverberation.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> The wolf tone occurs because the strings below the bridge sometimes resonate at pitches close to notes on the playing part of the string. When the intended note makes the below-the-bridge string vibrate sympathetically, a dissonant "wolf note" or "wolf tone" can occur. In some cases, the wolf tone is strong enough to cause an audible "beating" sound. The wolf tone often occurs with the note G<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> on the bass.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><p>In orchestra, instruments tune to an A played by the oboist. Due to the three-octave gap between the oboist's tuning A and the open A string on the bass (for example, in an orchestra that tunes to <a href="/wiki/Concert_pitch" title="Concert pitch">440 Hz</a>, the oboist plays an A<sub>4</sub> at 440 Hz and the open A<sub>1</sub> of the bass is 55 Hz) it can be difficult to tune the bass by ear during the short period that the oboist plays the tuning note. Violinists, on the other hand, tune their A string to the same frequency as the oboist's tuning note. There is a method commonly used to tune a double bass in this context by playing the A harmonic on the D string (which is only an octave below the oboe A) and then matching the harmonics of the other strings. However, this method is not foolproof, since some basses' harmonics are not perfectly in tune with the open strings. To ensure the bass is in tune, some bassists use an <a href="/wiki/Electronic_tuner" title="Electronic tuner">electronic tuner</a> that indicates pitch on a small display. Bassists who play in styles that use a <a href="/wiki/Bass_amp" class="mw-redirect" title="Bass amp">bass amp</a>, such as blues, rockabilly, or jazz, may use a <a href="/wiki/Effects_pedal" class="mw-redirect" title="Effects pedal">stompbox</a>-format electronic tuner, which mutes the bass pickup during tuning. </p><p>A double bass stand is used to hold the instrument in place and raise it a few inches off the ground. A wide variety of stands are available, and there is no one common design. </p> <div class="mw-heading mw-heading2"><h2 id="Classical_repertoire">Classical repertoire</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=29" title="Edit section: Classical repertoire"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Solo_works_for_double_bass">Solo works for double bass</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=30" title="Edit section: Solo works for double bass"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading4"><h4 id="1700s">1700s</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=31" title="Edit section: 1700s"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The double bass as a solo instrument enjoyed a period of popularity during the 18th century and many of the most popular composers from that era wrote pieces for the double bass. The double bass, then often referred to as the <a href="/wiki/Violone" title="Violone">Violone</a>, used different tunings from region to region. The "Viennese tuning" (A<sub>1</sub>–D<sub>2</sub>–F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span><sub>2</sub>–A<sub>2</sub>) was popular, and in some cases a fifth string or even sixth string was added (F<sub>1</sub>–A<sub>1</sub>–D<sub>2</sub>–F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span><sub>2</sub>–A<sub>2</sub>).<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> The popularity of the instrument is documented in <a href="/wiki/Leopold_Mozart" title="Leopold Mozart">Leopold Mozart</a>'s second edition of his Violinschule, where he writes "One can bring forth difficult passages easier with the five-string violone, and I heard unusually beautiful performances of concertos, trios, solos, etc." </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Domenico_Dragonetti.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/4/4b/Domenico_Dragonetti.JPG" decoding="async" width="150" height="230" class="mw-file-element" data-file-width="150" data-file-height="230" /></a><figcaption>The Italian bass virtuoso <a href="/wiki/Domenico_Dragonetti" title="Domenico Dragonetti">Domenico Dragonetti</a> helped to encourage composers to give more difficult parts for his instrument.</figcaption></figure> <p>The earliest known concerto for double bass was written by <a href="/wiki/Joseph_Haydn" title="Joseph Haydn">Joseph Haydn</a> <abbr title="circa">c.</abbr>1763, and is presumed lost in a fire at the Eisenstadt library. The earliest known existing concertos are by <a href="/wiki/Carl_Ditters_von_Dittersdorf" title="Carl Ditters von Dittersdorf">Carl Ditters von Dittersdorf</a>, who composed two concertos for the double bass and a <a href="/wiki/Sinfonia_concertante" title="Sinfonia concertante">Sinfonia Concertante</a> for viola and double bass. Other composers that have written concertos from this period include <a href="/wiki/Johann_Baptist_Wanhal" title="Johann Baptist Wanhal">Johann Baptist Wanhal</a>, <a href="/wiki/Franz_Anton_Hoffmeister" title="Franz Anton Hoffmeister">Franz Anton Hoffmeister</a> (3 concertos), <a href="/wiki/Leopold_Kozeluch" class="mw-redirect" title="Leopold Kozeluch">Leopold Kozeluch</a>, <a href="/wiki/Anton_Zimmermann" title="Anton Zimmermann">Anton Zimmermann</a>, <a href="/wiki/Antonio_Capuzzi" title="Antonio Capuzzi">Antonio Capuzzi</a>, <a href="/wiki/Wenzel_Pichl" class="mw-redirect" title="Wenzel Pichl">Wenzel Pichl</a> (2 concertos), and <a href="/wiki/Johannes_Matthias_Sperger" title="Johannes Matthias Sperger">Johannes Matthias Sperger</a> (18 concertos). While many of these names were leading figures to the music public of their time, they are generally unknown by contemporary audiences. <a href="/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Wolfgang Amadeus Mozart</a>'s concert aria, <i><a href="/wiki/Per_questa_bella_mano" title="Per questa bella mano">Per questa bella mano</a></i>, K.612 for bass, double bass <a href="/wiki/Obbligato" title="Obbligato">obbligato</a>, and orchestra contains impressive writing for solo double bass of that period. It remains popular among both singers and double bassists today. </p><p>The double bass eventually evolved to fit the needs of orchestras that required lower notes and a louder sound. The leading double bassists from the mid-to-late 18th century, such as Josef Kämpfer, Friedrich Pischelberger, and Johannes Mathias Sperger employed the "Viennese" tuning. Bassist Johann Hindle (1792–1862), who composed a concerto for the double bass, pioneered tuning the bass in fourths, which marked a turning point for the double bass and its role in solo works. Bassist <a href="/wiki/Domenico_Dragonetti" title="Domenico Dragonetti">Domenico Dragonetti</a> was a prominent musical figure and an acquaintance of Haydn and <a href="/wiki/Ludwig_van_Beethoven" title="Ludwig van Beethoven">Ludwig van Beethoven</a>. His playing was known all the way from his homeland, Italy, to the Tsardom of Russia and he found a prominent place performing in concerts with the <a href="/wiki/Philharmonic_Society_of_London" class="mw-redirect" title="Philharmonic Society of London">Philharmonic Society of London</a>. Beethoven's friendship with Dragonetti may have inspired him to write difficult, separate parts for the double bass in his symphonies, such as the impressive passages in the third movement of the Fifth Symphony, the second movement of the Seventh Symphony, and last movement of the Ninth Symphony. These parts do not double the cello part. </p><p>Dragonetti wrote ten concertos for the double bass and many solo works for bass and piano. During <a href="/wiki/Rossini" class="mw-redirect" title="Rossini">Rossini</a>'s stay in London in the summer of 1824, he composed his popular Duetto for cello and double bass for Dragonetti and the cellist David Salomons. Dragonetti frequently played on a three string double bass tuned G–D–A from top to bottom. The use of only the top three strings was popular for bass soloists and principal bassists in orchestras in the 19th century, because it reduced the pressure on the wooden top of the bass, which was thought to create a more resonant sound. As well, the low E-strings used during the 19th century were thick cords made of gut, which were difficult to tune and play. </p> <div class="mw-heading mw-heading4"><h4 id="1800s">1800s</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=32" title="Edit section: 1800s"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:BottesiniTestore.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/BottesiniTestore.jpg/150px-BottesiniTestore.jpg" decoding="async" width="150" height="249" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/BottesiniTestore.jpg/225px-BottesiniTestore.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5e/BottesiniTestore.jpg/300px-BottesiniTestore.jpg 2x" data-file-width="721" data-file-height="1197" /></a><figcaption>The virtuoso nineteenth-century bassist and composer Giovanni Bottesini with his 1716 Carlo Antonio Testore bass</figcaption></figure> <p>In the 19th century, the opera conductor, composer, and bassist <a href="/wiki/Giovanni_Bottesini" title="Giovanni Bottesini">Giovanni Bottesini</a> was considered the "<a href="/wiki/Niccol%C3%B2_Paganini" title="Niccolò Paganini">Paganini</a> of the double bass" of his time, a reference to the violin virtuoso and composer. Bottesini's bass <a href="/wiki/Concerto" title="Concerto">concertos</a> were written in the popular Italian <a href="/wiki/Opera" title="Opera">opera</a> style of the 19th century, which exploit the double bass in a way that was not seen beforehand. They require virtuosic runs and great leaps to the highest registers of the instrument, even into the realm of natural and <a href="/wiki/Artificial_harmonic" class="mw-redirect" title="Artificial harmonic">artificial harmonics</a>. Many 19th century and early 20th century bassists considered these compositions unplayable, but in the 2000s, they are frequently performed. During the same time, a prominent school of bass players in the <a href="/wiki/Czech_lands" title="Czech lands">Czech region</a> arose, which included Franz Simandl, Theodore Albin Findeisen, Josef Hrabe, <a href="/wiki/Ludwig_Manoly" title="Ludwig Manoly">Ludwig Manoly</a>, and <a href="/wiki/Adolf_Mi%C5%A1ek" title="Adolf Mišek">Adolf Mišek</a>. Simandl and Hrabe were also pedagogues whose method books and studies remain in use in the 2000s. </p> <div class="mw-heading mw-heading4"><h4 id="1900s–present"><span id="1900s.E2.80.93present"></span>1900s–present</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=33" title="Edit section: 1900s–present"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The leading figure of the double bass in the early 20th century was <a href="/wiki/Serge_Koussevitzky" title="Serge Koussevitzky">Serge Koussevitzky</a>, best known as conductor of the <a href="/wiki/Boston_Symphony_Orchestra" title="Boston Symphony Orchestra">Boston Symphony Orchestra</a>, who popularized the double bass in modern times as a solo instrument. Because of improvements to the double bass with steel strings and better set-ups, the bass is now played at a more advanced level than ever before and more and more composers have written works for the double bass. In the mid-century and in the following decades, many new concerti were written for the double bass, including <a href="/wiki/Nikos_Skalkottas" title="Nikos Skalkottas">Nikos Skalkottas</a>'s Concerto (1942), <a href="/wiki/Eduard_Tubin" title="Eduard Tubin">Eduard Tubin</a>'s Concerto (1948), <a href="/wiki/Lars-Erik_Larsson" title="Lars-Erik Larsson">Lars-Erik Larsson</a>'s Concertino (1957), <a href="/wiki/Gunther_Schuller" title="Gunther Schuller">Gunther Schuller</a>'s Concerto (1962), <a href="/wiki/Hans_Werner_Henze" title="Hans Werner Henze">Hans Werner Henze</a>'s Concerto (1966) and <a href="/wiki/Frank_Proto" title="Frank Proto">Frank Proto</a>'s Concerto No. 1 (1968). </p><p>The <i>Solo For Contrabass</i> is one of the parts of <a href="/wiki/John_Cage" title="John Cage">John Cage</a>'s <i>Concert For Piano And Orchestra</i> and can be played as a solo, or with any of the other parts both orchestral and/or piano. Similarly, his solo contrabass parts for the orchestral work <i>Atlas Eclipticalis</i> can also be performed as solos. Cage's indeterminate works such as <i>Variations I</i>, <i>Variations II</i>, <i>Fontana Mix</i>, <i>Cartridge Music</i> et al. can be arranged for a solo contrabassist. His work <i>26.1.1499 for a String Player</i> is often realized by a solo contrabass player, although it can also be played by a violinist, violist, or cellist. </p><p>From the 1960s through the end of the century Gary Karr was the leading proponent of the double bass as a solo instrument and was active in commissioning or having hundreds of new works and concerti written especially for him. Karr was given Koussevitzky's famous solo double bass by Olga Koussevitsky and played it in concerts around the world for 40 years before, in turn, giving the instrument to the <a href="/wiki/International_Society_of_Bassists" title="International Society of Bassists">International Society of Bassists</a> for talented soloists to use in concert. Another important performer in this period, <a href="/wiki/Bertram_Turetzky" title="Bertram Turetzky">Bertram Turetzky</a>, commissioned and premiered more than 300 double bass works. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Sergei_Koussevitsky.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/12/Sergei_Koussevitsky.jpg/240px-Sergei_Koussevitsky.jpg" decoding="async" width="240" height="336" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/12/Sergei_Koussevitsky.jpg/360px-Sergei_Koussevitsky.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/1/12/Sergei_Koussevitsky.jpg 2x" data-file-width="381" data-file-height="533" /></a><figcaption><a href="/wiki/Serge_Koussevitzky" title="Serge Koussevitzky">Serge Koussevitzky</a> popularized the double bass in modern times as a solo instrument.</figcaption></figure> <p>In the 1970s, 1980 and 1990s, new concerti included <a href="/wiki/Nino_Rota" title="Nino Rota">Nino Rota</a>'s <i>Divertimento for Double Bass and Orchestra</i> (1973), <a href="/wiki/Alan_Ridout" title="Alan Ridout">Alan Ridout</a>'s concerto for double bass and strings (1974), <a href="/wiki/Jean_Fran%C3%A7aix" title="Jean Françaix">Jean Françaix</a>'s Concerto (1975), <a href="/wiki/Frank_Proto" title="Frank Proto">Frank Proto</a>'s Concerto No. 2, <a href="/wiki/Einojuhani_Rautavaara" title="Einojuhani Rautavaara">Einojuhani Rautavaara</a>'s <i>Angel of Dusk</i> (1980), <a href="/wiki/Gian_Carlo_Menotti" title="Gian Carlo Menotti">Gian Carlo Menotti</a>'s Concerto (1983), <a href="/wiki/Christopher_Rouse_(composer)" title="Christopher Rouse (composer)">Christopher Rouse</a>'s Concerto (1985), <a href="/wiki/Henry_Brant" title="Henry Brant">Henry Brant</a>'s Ghost Nets (1988) and Frank Proto's "Carmen Fantasy for Double Bass and Orchestra" (1991) and "Four Scenes after Picasso" Concerto No. 3 (1997). <a href="/wiki/Peter_Maxwell_Davies" title="Peter Maxwell Davies">Peter Maxwell Davies</a>' lyrical <a href="/wiki/Strathclyde_Concerto" class="mw-redirect" title="Strathclyde Concerto">Strathclyde Concerto</a> No. 7, for double bass and orchestra, dates from 1992. </p><p>In the first decade of the 21st century, new concerti include Frank Proto's "Nine Variants on Paganini" (2002), <a href="/wiki/Kalevi_Aho" title="Kalevi Aho">Kalevi Aho</a>'s Concerto (2005), <a href="/wiki/John_Harbison" title="John Harbison">John Harbison</a>'s <i>Concerto for Bass Viol</i> (2006), <a href="/wiki/Andr%C3%A9_Previn" title="André Previn">André Previn</a>'s Double Concerto for violin, double bass, and orchestra (2007) and <a href="/wiki/John_Woolrich" title="John Woolrich">John Woolrich</a>'s <i>To the Silver Bow</i>, for double bass, viola and strings (2014). </p><p><a href="/wiki/Reinhold_Gli%C3%A8re" title="Reinhold Glière">Reinhold Glière</a> wrote an Intermezzo and Tarantella for double bass and piano, Op. 9, No. 1 and No. 2 and a Praeludium and Scherzo for double bass and piano, Op. 32 No. 1 and No. 2. <a href="/wiki/Paul_Hindemith" title="Paul Hindemith">Paul Hindemith</a> wrote a rhythmically challenging Double Bass Sonata in 1949. Frank Proto wrote his Sonata "1963" for Double Bass and Piano. In the Soviet Union, <a href="/wiki/Mieczys%C5%82aw_Weinberg" title="Mieczysław Weinberg">Mieczysław Weinberg</a> wrote his Sonata No. 1 for double bass solo in 1971. <a href="/wiki/Giacinto_Scelsi" title="Giacinto Scelsi">Giacinto Scelsi</a> wrote two double bass pieces called <i>Nuits</i> in 1972, and then in 1976, he wrote <i>Maknongan</i>, a piece for any low-voiced instrument, such as double bass, contrabassoon, or tuba. <a href="/wiki/Vincent_Persichetti" title="Vincent Persichetti">Vincent Persichetti</a> wrote solo works—which he called "Parables"—for many instruments. He wrote Parable XVII for Double Bass, Op. 131 in 1974. <a href="/wiki/Sofia_Gubaidulina" title="Sofia Gubaidulina">Sofia Gubaidulina</a> penned a Sonata for double bass and piano in 1975. In 1976 American minimalist composer <a href="/wiki/Tom_Johnson_(composer)" title="Tom Johnson (composer)">Tom Johnson</a> wrote "Failing – a very difficult piece for solo string bass" in which the player has to perform an extremely virtuosic solo on the bass whilst simultaneously reciting a text which says how very difficult the piece is and how unlikely he or she is to successfully complete the performance without making a mistake. </p><p>In 1977 Dutch-Hungarian composer <a href="/wiki/G%C3%A9za_Frid" title="Géza Frid">Géza Frid</a> wrote a set of variations on The Elephant from <a href="/wiki/Saint-Sa%C3%ABns" class="mw-redirect" title="Saint-Saëns">Saint-Saëns</a>' <i><a href="/wiki/Le_Carnaval_des_Animaux" class="mw-redirect" title="Le Carnaval des Animaux">Le Carnaval des Animaux</a></i> for <a href="/wiki/Scordatura" title="Scordatura">scordatura</a> double bass and string orchestra. In 1987 <a href="/wiki/Lowell_Liebermann" title="Lowell Liebermann">Lowell Liebermann</a> wrote his Sonata for Contrabass and Piano Op. 24. Fernando Grillo wrote the "Suite No. 1" for double bass (1983/2005). <a href="/wiki/Jacob_Druckman" title="Jacob Druckman">Jacob Druckman</a> wrote a piece for solo double bass entitled <i>Valentine</i>. US double bass soloist and composer <a href="/wiki/Bertram_Turetzky" title="Bertram Turetzky">Bertram Turetzky</a> (born 1933) has performed and recorded more than 300 pieces written by and for him. He writes chamber music, baroque music, classical, jazz, renaissance music, improvisational music and world music </p><p>US minimalist composer <a href="/wiki/Philip_Glass" title="Philip Glass">Philip Glass</a> wrote a prelude focused on the lower register that he scored for timpani and double bass. Italian composer <a href="/wiki/Sylvano_Bussotti" title="Sylvano Bussotti">Sylvano Bussotti</a>, whose composing career spans from the 1930s to the first decade of the 21st century, wrote a solo work for bass in 1983 entitled <i>Naked Angel Face per contrabbasso</i>. Fellow Italian composer <a href="/wiki/Franco_Donatoni" title="Franco Donatoni">Franco Donatoni</a> wrote a piece called <i>Lem for contrabbasso</i> in the same year. In 1989, French composer <a href="/wiki/Pascal_Dusapin" title="Pascal Dusapin">Pascal Dusapin</a> (born 1955) wrote a solo piece called <i>In et Out</i> for double bass. In 1996, the Sorbonne-trained Lebanese composer <a href="/wiki/Karim_Haddad" title="Karim Haddad">Karim Haddad</a> composed <i>Ce qui dort dans l'ombre sacrée</i> ("He who sleeps in the sacred shadows") for Radio France's Presence Festival. <a href="/wiki/Renaud_Garcia-Fons" title="Renaud Garcia-Fons">Renaud Garcia-Fons</a> (born 1962) is a French double bass player and composer, notable for drawing on jazz, folk, and Asian music for recordings of his pieces like <i>Oriental Bass</i> (1997). </p><p>Two significant recent works written for solo bass include, <a href="/wiki/Mario_Davidovsky" title="Mario Davidovsky">Mario Davidovsky</a>'s Synchronisms No.11 for double bass and electronic sounds and <a href="/wiki/Elliott_Carter" title="Elliott Carter">Elliott Carter</a>'s Figment III, for solo double bass. The German composer <a href="/wiki/Gerhard_St%C3%A4bler" title="Gerhard Stäbler">Gerhard Stäbler</a> wrote <i>Co-wie Kobalt</i> (1989–90), "...a music for double bass solo and grand orchestra". <a href="/wiki/Charles_Wuorinen" title="Charles Wuorinen">Charles Wuorinen</a> added several important works to the repertoire, <i>Spinoff</i> trio for double bass, violin and conga drums, and <i>Trio for Bass Instruments</i> double bass, tuba and bass trombone, and in 2007 <i>Synaxis</i> for double bass, horn, oboe and clarinet with timpani and strings. The suite "Seven Screen Shots" for double bass and piano (2005) by Ukrainian composer <a href="/wiki/Alexander_Shchetynsky" title="Alexander Shchetynsky">Alexander Shchetynsky</a> has a solo bass part that includes many unconventional methods of playing. The German composer <a href="/wiki/Claus_K%C3%BChnl" title="Claus Kühnl">Claus Kühnl</a> wrote <i>Offene Weite / Open Expanse</i> (1998) and <i>Nachtschwarzes Meer, ringsum…</i> (2005) for double bass and piano.In 1997 <a href="/wiki/Joel_Quarrington" title="Joel Quarrington">Joel Quarrington</a> commissioned the American / Canadian composer <a href="/wiki/Raymond_Luedeke" title="Raymond Luedeke">Raymond Luedeke</a> to write his "Concerto for Double Bass and Orchestra", a piece he performed with the <a href="/wiki/Toronto_Symphony_Orchestra" title="Toronto Symphony Orchestra">Toronto Symphony Orchestra</a>, with the <a href="/wiki/Saskatoon_Symphony_Orchestra" title="Saskatoon Symphony Orchestra">Saskatoon Symphony Orchestra</a>, and, in a version for small orchestra, with the <a href="/w/index.php?title=Nova_Scotia_Symphony_Orchestra&action=edit&redlink=1" class="new" title="Nova Scotia Symphony Orchestra (page does not exist)">Nova Scotia Symphony Orchestra</a>.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> Composer Raymond Luedeke also composed a work for double bass, flute, and viola with narration, "The Book of Questions", with text by <a href="/wiki/Pablo_Neruda" title="Pablo Neruda">Pablo Neruda</a>.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>In 2004 Italian double bassist and composer <a href="/wiki/Stefano_Scodanibbio" title="Stefano Scodanibbio">Stefano Scodanibbio</a> made a double bass arrangement of <a href="/wiki/Luciano_Berio" title="Luciano Berio">Luciano Berio</a>'s 2002 solo cello work <i><a href="/wiki/Sequenza_XIV" title="Sequenza XIV">Sequenza XIV</a></i> with the new title <i>Sequenza XIVb</i>. </p> <div class="mw-heading mw-heading3"><h3 id="Chamber_music_with_double_bass">Chamber music with double bass</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=34" title="Edit section: Chamber music with double bass"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Since there is no established instrumental ensemble that includes the double bass, its use in chamber music has not been as exhaustive as the literature for ensembles such as the <a href="/wiki/String_quartet" title="String quartet">string quartet</a> or <a href="/wiki/Piano_trio" title="Piano trio">piano trio</a>. Despite this, there is a substantial number of <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161003155641/http://www.paulnemeth.com/basschamber.htm">chamber works</a> that incorporate the double bass in both small and large ensembles. </p><p>There is a small body of works written for <a href="/wiki/Piano_quintet" title="Piano quintet">piano quintet</a> with the instrumentation of piano, violin, viola, cello, and double bass. The most famous is <a href="/wiki/Franz_Schubert" title="Franz Schubert">Franz Schubert</a>'s Piano Quintet in A major, known as "The <a href="/wiki/Trout_Quintet" title="Trout Quintet">Trout Quintet</a>" for its set of variations in the fourth movement of Schubert's <i><a href="/wiki/Die_Forelle" title="Die Forelle">Die Forelle</a></i>. Other works for this instrumentation written from roughly the same period include those by <a href="/wiki/Johann_Nepomuk_Hummel" title="Johann Nepomuk Hummel">Johann Nepomuk Hummel</a>, <a href="/wiki/George_Onslow_(composer)" title="George Onslow (composer)">George Onslow</a>, <a href="/wiki/Jan_Ladislav_Dussek" title="Jan Ladislav Dussek">Jan Ladislav Dussek</a>, <a href="/wiki/Louise_Farrenc" title="Louise Farrenc">Louise Farrenc</a>, <a href="/wiki/Ferdinand_Ries" title="Ferdinand Ries">Ferdinand Ries</a>, <a href="/wiki/Franz_Limmer" title="Franz Limmer">Franz Limmer</a>, <a href="/wiki/Johann_Baptist_Cramer" title="Johann Baptist Cramer">Johann Baptist Cramer</a>, and <a href="/wiki/Hermann_Goetz" title="Hermann Goetz">Hermann Goetz</a>. Later composers who wrote chamber works for this quintet include <a href="/wiki/Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a>, <a href="/wiki/Colin_Matthews" title="Colin Matthews">Colin Matthews</a>, <a href="/wiki/Jon_Deak" title="Jon Deak">Jon Deak</a>, Frank Proto, and <a href="/wiki/John_Woolrich" title="John Woolrich">John Woolrich</a>. Slightly larger sextets written for piano, string quartet, and double bass have been written by <a href="/wiki/Felix_Mendelssohn" title="Felix Mendelssohn">Felix Mendelssohn</a>, <a href="/wiki/Mikhail_Glinka" title="Mikhail Glinka">Mikhail Glinka</a>, <a href="/wiki/Richard_Wernick" title="Richard Wernick">Richard Wernick</a>, and <a href="/wiki/Charles_Ives" title="Charles Ives">Charles Ives</a>. </p><p>In the genre of string quintets, there are a few works for string quartet with double bass. <a href="/wiki/Anton%C3%ADn_Dvo%C5%99%C3%A1k" title="Antonín Dvořák">Antonín Dvořák</a>'s String Quintet in G major, Op.77 and <a href="/wiki/Wolfgang_Amadeus_Mozart" title="Wolfgang Amadeus Mozart">Wolfgang Amadeus Mozart</a>'s Serenade in G major, K.525 ("<a href="/wiki/Eine_kleine_Nachtmusik" title="Eine kleine Nachtmusik">Eine kleine Nachtmusik</a>") are the most popular pieces in this repertoire, along with works by <a href="/wiki/Miguel_del_%C3%81guila" title="Miguel del Águila">Miguel del Águila</a> (<i>Nostalgica</i> for string quartet and bass), <a href="/wiki/Darius_Milhaud" title="Darius Milhaud">Darius Milhaud</a>, <a href="/wiki/Luigi_Boccherini" title="Luigi Boccherini">Luigi Boccherini</a> (3 quintets), <a href="/wiki/Harold_Shapero" title="Harold Shapero">Harold Shapero</a>, and <a href="/wiki/Paul_Hindemith" title="Paul Hindemith">Paul Hindemith</a>. Another example is Alistair Hinton's String Quintet (1969–77), which also includes a major part for solo soprano; at almost 170 minutes in duration, it is almost certainly the largest such work in the repertoire. </p><p>Slightly smaller string works with the double bass include six string sonatas by <a href="/wiki/Gioachino_Rossini" title="Gioachino Rossini">Gioachino Rossini</a>, for two violins, cello, and double bass written at the age of twelve over the course of three days in 1804. These remain his most famous instrumental works and have also been adapted for wind quartet. Rossini and Dragonetti composed duos for cello and double bass, as did <a href="/wiki/Johannes_Matthias_Sperger" title="Johannes Matthias Sperger">Johannes Matthias Sperger</a>, a major soloist on the "Viennese" tuning instrument of the 18th century. <a href="/wiki/Franz_Anton_Hoffmeister" title="Franz Anton Hoffmeister">Franz Anton Hoffmeister</a> wrote four String Quartets for Solo Double Bass, Violin, Viola, and Cello in D Major. Frank Proto has written a Trio for Violin, Viola and Double Bass (1974), 2 Duos for Violin and Double Bass (1967 and 2005), and <i>The Games of October</i> for Oboe/English Horn and Double Bass (1991). </p><p>Larger works that incorporate the double bass include <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>'s Septet in E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> major, Op. 20, one of his most famous pieces during his lifetime, which consists of clarinet, horn, bassoon, violin, viola, cello, and bass. When the clarinetist <a href="/wiki/Ferdinand_Troyer" title="Ferdinand Troyer">Ferdinand Troyer</a> commissioned a work from <a href="/wiki/Franz_Schubert" title="Franz Schubert">Franz Schubert</a> for similar forces, he added one more violin for his Octet in F major, D.803. <a href="/wiki/Paul_Hindemith" title="Paul Hindemith">Paul Hindemith</a> used the same instrumentation as Schubert for his own Octet. In the realm of even larger works, Mozart included the double bass in addition to 12 wind instruments for his "<a href="/wiki/Gran_Partita" class="mw-redirect" title="Gran Partita">Gran Partita</a>" Serenade, K.361 and <a href="/wiki/Bohuslav_Martin%C5%AF" title="Bohuslav Martinů">Martinů</a> used the double bass in his <a href="/wiki/Nonet_(music)" title="Nonet (music)">nonet</a> for wind quintet, violin, viola, cello and double bass. </p><p>Other examples of chamber works that use the double bass in mixed ensembles include <a href="/wiki/Sergei_Prokofiev" title="Sergei Prokofiev">Sergei Prokofiev</a>'s Quintet in G minor, Op. 39 for oboe, clarinet, violin, viola, and double bass; <a href="/wiki/Miguel_del_%C3%81guila" title="Miguel del Águila">Miguel del Águila</a>'s <i>Malambo</i> for bass flute and piano and for string quartet, bass and bassoon; <a href="/wiki/Erwin_Schulhoff" title="Erwin Schulhoff">Erwin Schulhoff</a>'s Concertino for flute/piccolo, viola, and double bass; Frank Proto's <i>Afro-American Fragments</i> for bass clarinet, cello, double bass and narrator and Sextet for clarinet and strings; <a href="/wiki/Fred_Lerdahl" title="Fred Lerdahl">Fred Lerdahl</a>'s Waltzes for violin, viola, cello, and double bass; <a href="/wiki/Mohammed_Fairouz" title="Mohammed Fairouz">Mohammed Fairouz</a>'s Litany for double bass and wind quartet; <a href="/wiki/Mario_Davidovsky" title="Mario Davidovsky">Mario Davidovsky</a>'s Festino for guitar, viola, cello, and double bass; and <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a>'s Morsima-Amorsima for piano, violin, cello, and double bass. There are also new music ensembles that utilize the double bass such as Time for Three and <a href="/wiki/PROJECT_Trio" class="mw-redirect" title="PROJECT Trio">PROJECT Trio</a>. </p> <div class="mw-heading mw-heading3"><h3 id="Orchestral_passages_and_solos">Orchestral passages and solos</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=35" title="Edit section: Orchestral passages and solos"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="thumb tright" style=""><div class="thumbinner" style="width:402px"><div class="thumbimage noresize" style="width:400px;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/2/s/2sspqvam3n1z43ri1h5anbxcs5007a3/2sspqvam.midi"><img src="//upload.wikimedia.org/score/2/s/2sspqvam3n1z43ri1h5anbxcs5007a3/2sspqvam.png" width="395" height="77" alt="
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" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/2/s/2sspqvam3n1z43ri1h5anbxcs5007a3/2sspqvam.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/2/s/2sspqvam3n1z43ri1h5anbxcs5007a3/2sspqvam.mp3">download the audio file</a>.</div></audio></div></div></div><div class="thumbcaption">The opening of the third movement of Beethoven's Symphony No. 5 is often used as an orchestral excerpt during bass <a href="/wiki/Audition" title="Audition">auditions</a>.</div></div></div> <p>In the baroque and classical periods, composers typically had the double bass double the cello part in orchestral passages. A notable exception is Haydn, who composed solo passages for the double bass in his Symphonies No. 6 <i>Le Matin</i>, No. 7 <i>Le midi</i>, No. 8 <i>Le Soir</i>, No. 31 <i>Horn Signal</i>, and No. 45 <i>Farewell</i>—but who otherwise grouped bass and cello parts together. Beethoven paved the way for separate double bass parts, which became more common in the romantic era. The <a href="/wiki/Scherzo" title="Scherzo">scherzo</a> and <a href="/wiki/Trio_(music)" title="Trio (music)">trio</a> from <a href="/wiki/Beethoven%27s_Fifth_Symphony" class="mw-redirect" title="Beethoven's Fifth Symphony">Beethoven's Fifth Symphony</a> are famous orchestral excerpts, as is the recitative at the beginning of the fourth movement of <a href="/wiki/Beethoven%27s_Ninth_Symphony" class="mw-redirect" title="Beethoven's Ninth Symphony">Beethoven's Ninth Symphony</a>. In many nineteenth century symphonies and concertos, the typical impact of separate bass and cello parts was that bass parts became simpler and cello parts got the melodic lines and rapid passage work.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (May 2015)">citation needed</span></a></i>]</sup> </p><p>A double bass section of a modern <a href="/wiki/Orchestra" title="Orchestra">orchestra</a> typically uses eight double bassists, usually in <a href="/wiki/Unison" title="Unison">unison</a>. Smaller orchestras may have four double basses, and in exceptional cases, bass sections may have as many as ten members. If some double bassists have low C extensions, and some have regular (low E) basses, those with the low C extensions may play some passages an octave below the regular double basses. Also, some composers write divided (divisi) parts for the basses, where upper and lower parts in the music are often assigned to "outside" (nearer the audience) and "inside" players. Composers writing divisi parts for bass often write <a href="/wiki/Perfect_interval" class="mw-redirect" title="Perfect interval">perfect intervals</a>, such as octaves and fifths, but in some cases use thirds and sixths. </p> <div class="thumb tright" style=""><div class="thumbinner" style="width:-moz-fit-content; width:fit-content;"><div class="thumbimage noresize" style="width:auto;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/3/b/3bpzebmd6iz3zq4ziargszzl9oh8fem/3bpzebmd.midi"><img src="//upload.wikimedia.org/score/3/b/3bpzebmd6iz3zq4ziargszzl9oh8fem/3bpzebmd.png" width="416" height="148" alt="
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" /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/3/b/3bpzebmd6iz3zq4ziargszzl9oh8fem/3bpzebmd.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/3/b/3bpzebmd6iz3zq4ziargszzl9oh8fem/3bpzebmd.mp3">download the audio file</a>.</div></audio></div></div></div><div class="thumbcaption">Basses play the theme from the fourth movement<br />of Beethoven's Ninth Symphony.</div></div></div> <p>Where a composition calls for a solo bass part, the principal bass invariably plays that part. The section leader (or principal) also determines the bowings, often based on bowings set out by the concertmaster. In some cases, the principal bass may use a slightly different bowing than the concertmaster, to accommodate the requirements of playing bass. The principal bass also leads entrances for the bass section, typically by lifting the bow or plucking hand before the entrance or indicating the entrance with the head, to ensure the section starts together. Major professional orchestras typically have an assistant principal bass player, who plays solos and leads the bass section if the principal is absent. </p><p>While orchestral bass solos are somewhat rare, there are some notable examples. <a href="/wiki/Johannes_Brahms" title="Johannes Brahms">Johannes Brahms</a>, whose father was a double bass player, wrote many difficult and prominent parts for the double bass in his symphonies. <a href="/wiki/Richard_Strauss" title="Richard Strauss">Richard Strauss</a> assigned the double bass daring parts, and his symphonic poems and operas stretch the instrument to its limits. "The Elephant" from <a href="/wiki/Camille_Saint-Sa%C3%ABns" title="Camille Saint-Saëns">Camille Saint-Saëns</a>' <i><a href="/wiki/The_Carnival_of_the_Animals" title="The Carnival of the Animals">The Carnival of the Animals</a></i> is a satirical portrait of the double bass, and American virtuoso <a href="/wiki/Gary_Karr" title="Gary Karr">Gary Karr</a> made his televised debut playing "The Swan" (originally written for the cello) with the <a href="/wiki/New_York_Philharmonic" title="New York Philharmonic">New York Philharmonic</a> conducted by <a href="/wiki/Leonard_Bernstein" title="Leonard Bernstein">Leonard Bernstein</a>. The third movement of <a href="/wiki/Gustav_Mahler" title="Gustav Mahler">Gustav Mahler</a>'s <a href="/wiki/Symphony_No._1_(Mahler)" title="Symphony No. 1 (Mahler)">first symphony</a> features a solo for the double bass that quotes the children's song <i>Frere Jacques</i>, transposed into a minor key. <a href="/wiki/Sergei_Prokofiev" title="Sergei Prokofiev">Sergei Prokofiev</a>'s <i><a href="/wiki/Lieutenant_Kij%C3%A9_(Prokofiev)" title="Lieutenant Kijé (Prokofiev)">Lieutenant Kijé</a> Suite</i> features a difficult and very high double bass solo in the "Romance" movement. <a href="/wiki/Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a>'s <i><a href="/wiki/The_Young_Person%27s_Guide_to_the_Orchestra" title="The Young Person's Guide to the Orchestra">The Young Person's Guide to the Orchestra</a></i> contains a prominent passage for the double bass section. </p> <div class="mw-heading mw-heading3"><h3 id="Double_bass_ensembles">Double bass ensembles</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=36" title="Edit section: Double bass ensembles"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Ensembles made up entirely of double basses, though relatively rare, also exist, and several composers have written or arranged for such ensembles. Compositions for four double basses exist by <a href="/wiki/Gunther_Schuller" title="Gunther Schuller">Gunther Schuller</a>, <a href="/wiki/Jacob_Druckman" title="Jacob Druckman">Jacob Druckman</a>, <a href="/wiki/James_Tenney" title="James Tenney">James Tenney</a>, <a href="/wiki/Claus_K%C3%BChnl" title="Claus Kühnl">Claus Kühnl</a>, Robert Ceely, <a rel="nofollow" class="external text" href="http://www.janalm.se/">Jan Alm</a>, Bernhard Alt, Norman Ludwin, Frank Proto, Joseph Lauber, <a href="/wiki/Erich_Hartmann_(musician)" title="Erich Hartmann (musician)">Erich Hartmann</a>, <a href="/wiki/Colin_Brumby" title="Colin Brumby">Colin Brumby</a>, Miloslav Gajdos and Theodore Albin Findeisen. <a href="/wiki/David_A._Jaffe" title="David A. Jaffe">David A. Jaffe</a>'s "Who's on First?",<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> commissioned by the Russian National Orchestra is scored for five double basses. <a href="/wiki/Bertold_Hummel" title="Bertold Hummel">Bertold Hummel</a> wrote a <i>Sinfonia piccola</i><sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> for eight double basses. Larger ensemble works include <a href="/wiki/Galina_Ustvolskaya" title="Galina Ustvolskaya">Galina Ustvolskaya</a>'s Composition No. 2, "Dies Irae" (1973), for eight double basses, piano, and wooden cube, <a href="/wiki/Jos%C3%A9_Serebrier" title="José Serebrier">José Serebrier</a>'s "George and Muriel" (1986), for solo bass, double bass ensemble, and chorus, and Gerhard Samuel's <i>What of my music!</i> (1979), for soprano, percussion, and 30 double basses. </p><p>Double bass ensembles include L'Orchestre de Contrebasses (6 members),<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> Bass Instinct (6 members),<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> Bassiona Amorosa (6 members),<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> the Chicago Bass Ensemble (4+ members),<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> <a rel="nofollow" class="external text" href="http://www.ludusgravis.com/index.html">Ludus Gravis</a> founded by Daniele Roccato and <a href="/wiki/Stefano_Scodanibbio" title="Stefano Scodanibbio">Stefano Scodanibbio</a>, The Bass Gang (4 members),<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> the <a href="/wiki/London_Double_Bass_Ensemble" title="London Double Bass Ensemble">London Double Bass Ensemble</a> (6 members) founded by members of the Philharmonia Orchestra of London who produced the LP<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> <a rel="nofollow" class="external text" href="http://www.discogs.com/London-Double-Bass-Ensemble-Jim-Lawless-Steve-Gray-Music-Interludes/release/2008247">Music Interludes by London Double Bass Ensemble</a> on <a href="/wiki/Bruton_Music" title="Bruton Music">Bruton Music records</a>, Brno Double Bass Orchestra (14 members) founded by the double bass professor at <a href="/wiki/Jan%C3%A1%C4%8Dek_Academy_of_Music_and_Performing_Arts" class="mw-redirect" title="Janáček Academy of Music and Performing Arts">Janáček Academy of Music and Performing Arts</a> and principal double bass player at <a href="/wiki/Brno_Philharmonic_Orchestra" class="mw-redirect" title="Brno Philharmonic Orchestra">Brno Philharmonic Orchestra</a> – Miloslav Jelinek, and the ensembles of <a href="/wiki/Ball_State_University" title="Ball State University">Ball State University</a> (12 members), <a href="/wiki/Shenandoah_University" title="Shenandoah University">Shenandoah University</a>, and the <a href="/wiki/Hartt_School_of_Music" class="mw-redirect" title="Hartt School of Music">Hartt School of Music</a>. The Amarillo Bass Base of <a href="/wiki/Amarillo,_Texas" title="Amarillo, Texas">Amarillo, Texas</a> once featured 52 double bassists,<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> and The London Double Bass Sound, who have released a CD on Cala Records, have 10 players.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>In addition, the double bass sections of some orchestras perform as an ensemble, such as the <a href="/wiki/Chicago_Symphony_Orchestra" title="Chicago Symphony Orchestra">Chicago Symphony Orchestra</a>'s Lower Wacker Consort.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> There is an increasing number of published compositions and arrangements for double bass ensembles, and the <a href="/wiki/International_Society_of_Bassists" title="International Society of Bassists">International Society of Bassists</a> regularly features double bass ensembles (both smaller ensembles as well as very large "mass bass" ensembles) at its conferences, and sponsors the biennial David Walter Composition Competition, which includes a division for double bass ensemble works. </p> <div class="mw-heading mw-heading2"><h2 id="Use_in_jazz">Use in jazz</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=37" title="Edit section: Use in jazz"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Jazz_bass" title="Jazz bass">Jazz bass</a></div> <p>Beginning around 1890, the early New Orleans jazz ensemble (which played a mixture of marches, <a href="/wiki/Ragtime" title="Ragtime">ragtime</a>, and <a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">Dixieland</a>) was initially a marching band with a tuba or <a href="/wiki/Sousaphone" title="Sousaphone">sousaphone</a> (or occasionally <a href="/wiki/Bass_saxophone" title="Bass saxophone">bass saxophone</a>) supplying the bass line. As the music moved into bars and brothels, the upright bass gradually replaced these wind instruments around the 1920s.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Many early bassists doubled on both the <i>brass bass (<a href="/wiki/Tuba" title="Tuba">tuba</a>)</i> and <i>string bass</i>, as the instruments were then often referred to. Bassists played improvised <a href="/wiki/Walking_bassline" class="mw-redirect" title="Walking bassline">"walking" bass lines</a>—scale- and arpeggio-based lines that outlined the <a href="/wiki/Chord_progression" title="Chord progression">chord progression</a>. </p><p>Because an unamplified upright bass is generally the quietest instrument in a jazz band, many players of the 1920s and 1930s used the <i>slap style</i>, slapping and pulling the strings to produce a rhythmic "slap" sound against the fingerboard. The slap style cuts through the sound of a band better than simply plucking the strings, and made the bass more easily heard on early sound recordings, as the recording equipment of that time did not favor low frequencies.<sup id="cite_ref-fotos_48-0" class="reference"><a href="#cite_note-fotos-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> For more about the slap style, see <i>Modern playing styles</i>, below. </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Minugs_1976.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Minugs_1976.jpg/170px-Minugs_1976.jpg" decoding="async" width="170" height="256" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Minugs_1976.jpg/255px-Minugs_1976.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Minugs_1976.jpg/340px-Minugs_1976.jpg 2x" data-file-width="385" data-file-height="580" /></a><figcaption>Jazz bassist <a href="/wiki/Charles_Mingus" title="Charles Mingus">Charles Mingus</a> was also an influential bandleader and composer whose musical interests spanned from bebop to free jazz.</figcaption></figure> <p>Jazz bass players are expected to improvise an accompaniment line or solo for a given chord progression. They are also expected to know the rhythmic patterns that are appropriate for different styles (e.g., Afro-Cuban). Bassists playing in a big band must also be able to read written-out bass lines, as some arrangements have written bass parts. </p><p>Many upright bass players have contributed to the evolution of jazz. Examples include swing era players such as <a href="/wiki/Jimmy_Blanton" title="Jimmy Blanton">Jimmy Blanton</a>, who played with <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a>, and <a href="/wiki/Oscar_Pettiford" title="Oscar Pettiford">Oscar Pettiford</a>, who pioneered the instrument's use in <a href="/wiki/Bebop" title="Bebop">bebop</a>. <a href="/wiki/Paul_Chambers" title="Paul Chambers">Paul Chambers</a> (who worked with <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a> on the famous <i><a href="/wiki/Kind_of_Blue" title="Kind of Blue">Kind of Blue</a></i> album) achieved renown for being one of the first jazz bassists to play bebop solos with the bow. <a href="/wiki/Terry_Plumeri" title="Terry Plumeri">Terry Plumeri</a> furthered the development of arco (bowed) solos, achieving horn-like technical freedom and a clear, vocal bowed tone, while <a href="/wiki/Charlie_Haden" title="Charlie Haden">Charlie Haden</a>, best known for his work with <a href="/wiki/Ornette_Coleman" title="Ornette Coleman">Ornette Coleman</a>, defined the role of the bass in <a href="/wiki/Free_Jazz" class="mw-redirect" title="Free Jazz">Free Jazz</a>. </p><p>A number of other bassists, such as <a href="/wiki/Ray_Brown_(musician)" title="Ray Brown (musician)">Ray Brown</a>, <a href="/wiki/Slam_Stewart" title="Slam Stewart">Slam Stewart</a> and <a href="/wiki/Niels-Henning_%C3%98rsted_Pedersen" title="Niels-Henning Ørsted Pedersen">Niels-Henning Ørsted Pedersen</a>, were central to the history of jazz. Stewart, who was popular with the beboppers, played his solos with a bow combined with octave humming. Notably, <a href="/wiki/Charles_Mingus" title="Charles Mingus">Charles Mingus</a> was a highly regarded composer as well as a bassist noted for his technical virtuosity and powerful sound.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Scott_LaFaro" title="Scott LaFaro">Scott LaFaro</a> influenced a generation of musicians by liberating the bass from contrapuntal "walking" behind soloists instead favoring interactive, conversational melodies.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> Since the commercial availability of <a href="/wiki/Bass_amplifier" title="Bass amplifier">bass amplifiers</a> in the 1950s, jazz bassists have used amplification to augment the natural volume of the instrument. </p><p>While the electric bass guitar was used intermittently in jazz as early as 1951, beginning in the 1970s bassist <a href="/wiki/Bob_Cranshaw" title="Bob Cranshaw">Bob Cranshaw</a>, playing with saxophonist <a href="/wiki/Sonny_Rollins" title="Sonny Rollins">Sonny Rollins</a>, and fusion pioneers <a href="/wiki/Jaco_Pastorius" title="Jaco Pastorius">Jaco Pastorius</a> and <a href="/wiki/Stanley_Clarke" title="Stanley Clarke">Stanley Clarke</a> began to commonly substitute the bass guitar for the upright bass. Apart from the jazz styles of jazz fusion and Latin-influenced jazz however, the upright bass is still the dominant bass instrument in jazz. The sound and tone of the plucked upright bass is distinct from that of the fretted bass guitar. The upright bass produces a different sound than the bass guitar, because its strings are not stopped by metal <a href="/wiki/Fret" title="Fret">frets</a>, instead having a continuous tonal range on the uninterrupted fingerboard. As well, bass guitars usually have a solid wood body, which means that their sound is produced by electronic amplification of the vibration of the strings, instead of the upright bass's acoustic reverberation. </p><p>Demonstrative examples of the sound of a solo double bass and its technical use in jazz can be heard on the solo recordings <i><a href="/wiki/Emerald_Tears" title="Emerald Tears">Emerald Tears</a></i> (1978) by <a href="/wiki/Dave_Holland_(bassist)" title="Dave Holland (bassist)">Dave Holland</a> or <i><a href="/wiki/Emergence_(Miroslav_Vitou%C5%A1_album)" title="Emergence (Miroslav Vitouš album)">Emergence</a></i> (1986) by <a href="/wiki/Miroslav_Vitou%C5%A1" title="Miroslav Vitouš">Miroslav Vitouš</a>. Holland also recorded an album with the representative title <i><a href="/wiki/Music_from_Two_Basses" title="Music from Two Basses">Music from Two Basses</a></i> (1971) on which he plays with <a href="/wiki/Barre_Phillips" title="Barre Phillips">Barre Phillips</a> while he sometimes switches to cello. </p> <div class="mw-heading mw-heading2"><h2 id="Use_in_bluegrass_and_country">Use in bluegrass and country</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=38" title="Edit section: Use in bluegrass and country"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_double_bassists_in_popular_music" title="List of double bassists in popular music">List of double bassists in popular music</a></div> <p>The string bass is the most commonly used bass instrument in bluegrass music and is almost always plucked, though some modern bluegrass bassists have also used a bow. The bluegrass bassist is part of the rhythm section, and is responsible for keeping a steady beat, whether fast, slow, in <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span>, <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>2</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> or <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>3</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> time. The bass also maintains the chord progression and harmony. The Engelhardt-Link (formerly <a href="/wiki/Kay_Musical_Instrument_Company" title="Kay Musical Instrument Company">Kay</a>) brands of plywood laminate basses have long been popular choices for bluegrass bassists. Most bluegrass bassists use the <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">3</span>⁄<span class="den">4</span></span> size bass, but the full-size and <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027" /><span class="frac"><span class="num">5</span>⁄<span class="den">8</span></span> size basses are also used. </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Double_bass_Uncle_Charlie%27s_Smokehouse_Crozet_VA_June_2008.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Double_bass_Uncle_Charlie%27s_Smokehouse_Crozet_VA_June_2008.jpg/170px-Double_bass_Uncle_Charlie%27s_Smokehouse_Crozet_VA_June_2008.jpg" decoding="async" width="170" height="228" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Double_bass_Uncle_Charlie%27s_Smokehouse_Crozet_VA_June_2008.jpg/255px-Double_bass_Uncle_Charlie%27s_Smokehouse_Crozet_VA_June_2008.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/87/Double_bass_Uncle_Charlie%27s_Smokehouse_Crozet_VA_June_2008.jpg/340px-Double_bass_Uncle_Charlie%27s_Smokehouse_Crozet_VA_June_2008.jpg 2x" data-file-width="2092" data-file-height="2800" /></a><figcaption>Upright bass used by a bluegrass group; the cable for a piezoelectric pickup can be seen extending from the bridge.</figcaption></figure> <p>Early pre-bluegrass traditional music was often accompanied by the cello. The cellist Natalie Haas points out that in the US, you can find "...old photographs, and even old recordings, of American string bands with cello". However, "The cello dropped out of sight in folk music, and became associated with the orchestra."<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> The cello did not reappear in bluegrass until the 1990s and first decade of the 21st century. Some contemporary bluegrass bands favor the electric bass, because it is easier to transport than the large and somewhat fragile upright bass. However, the bass guitar has a different musical sound. Many musicians feel the slower attack and percussive, woody tone of the upright bass gives it a more "earthy" or "natural" sound than an electric bass, particularly when gut strings are used. </p><p>Common rhythms in bluegrass bass playing involve (with some exceptions) plucking on beats 1 and 3 in <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> time; beats 1 and 2 in <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>2</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> time, and on the downbeat in <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>3</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> time (waltz time). Bluegrass bass lines are usually simple, typically staying on the root and fifth of each chord throughout most of a song. There are two main exceptions to this rule. Bluegrass bassists often do a diatonic <i>walkup</i> or <i><a href="/wiki/Walkdown" title="Walkdown">walkdown</a>,</i> in which they play every beat of a bar for one or two bars, typically when there is a chord change. In addition, if a bass player is given a solo, they may play a <a href="/wiki/Walking_bass" class="mw-redirect" title="Walking bass">walking bass</a> line with a note on every beat or play a pentatonic scale-influenced bassline. </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Riders_Bass.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/71/Riders_Bass.jpg/220px-Riders_Bass.jpg" decoding="async" width="220" height="143" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/71/Riders_Bass.jpg/330px-Riders_Bass.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/71/Riders_Bass.jpg/440px-Riders_Bass.jpg 2x" data-file-width="800" data-file-height="520" /></a><figcaption>Country music bassist "Too Slim" (<a href="/wiki/Fred_LaBour" title="Fred LaBour">Fred LaBour</a> of <a href="/wiki/Riders_in_the_Sky_(band)" title="Riders in the Sky (band)">Riders in the Sky</a>) performing in Ponca City, Oklahoma, in 2008</figcaption></figure> <p>An early bluegrass bassist to rise to prominence was Howard Watts (also known as Cedric Rainwater), who played with <a href="/wiki/Bill_Monroe" title="Bill Monroe">Bill Monroe</a>'s Blue Grass Boys beginning in 1944.<sup id="cite_ref-watts_52-0" class="reference"><a href="#cite_note-watts-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> The classical bassist <a href="/wiki/Edgar_Meyer" title="Edgar Meyer">Edgar Meyer</a> has frequently branched out into <a href="/wiki/Progressive_bluegrass" class="mw-redirect" title="Progressive bluegrass">newgrass</a>, old-time, jazz, and other genres. "My all-time favorite is <a href="/wiki/Todd_Phillips_(musician)" title="Todd Phillips (musician)">Todd Phillips</a>", proclaimed Union Station bassist Barry Bales in April 2005. "He brought a completely different way of thinking about and playing bluegrass.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p><p>An upright bass was the standard bass instrument in traditional <a href="/wiki/Country_western_music" class="mw-redirect" title="Country western music">country western music</a>. While the upright bass is still occasionally used in <a href="/wiki/Country_music" title="Country music">country music</a>, the electric bass has largely replaced its bigger cousin in country music, especially in the more pop-infused country styles of the 1990s and 2000s, such as new country. </p> <div class="mw-heading mw-heading3"><h3 id="Slap-style_bass">Slap-style bass</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=39" title="Edit section: Slap-style bass"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Slap-style bass is sometimes used in bluegrass bass playing. When bluegrass bass players slap the string by pulling it until it hits the fingerboard or hit the strings against the fingerboard, it adds the high-pitched percussive "clack" or "slap" sound to the low-pitched bass notes, sounding much like the clacks of a tap dancer. Slapping is a subject of minor controversy in the bluegrass scene. Even slapping experts such as <a href="/wiki/Mike_Bub" class="mw-redirect" title="Mike Bub">Mike Bub</a> say, "Don't slap on every gig", or in songs where it is not appropriate. As well, bluegrass bassists who play slap-style on live shows often slap less on records. Bub and his mentor <a href="/wiki/Jerry_McCoury" class="mw-redirect" title="Jerry McCoury">Jerry McCoury</a> rarely do slap bass on recordings. While bassists such as Jack Cook slap bass on the occasional faster "Clinch Mountain Boys song", bassists such as Gene Libbea, <a href="/wiki/Missy_Raines" title="Missy Raines">Missy Raines</a>, Jenny Keel, and <a href="/wiki/Barry_Bales" title="Barry Bales">Barry Bales</a> [rarely] slap bass.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> </p><p>Bluegrass bassist Mark Schatz, who teaches slap bass in his <i>Intermediate Bluegrass Bass</i> DVD acknowledges that slap bass "...has not been stylistically very predominant in the music I have recorded". He notes that "Even in traditional bluegrass slap bass only appears sporadically and most of what I've done has been on the more contemporary side of that (Tony Rice, Tim O'Brien)." Schatz states that he would be "... more likely to use it [slap] in a live situation than on a recording—for a solo or to punctuate a particular place in a song or tune where I wouldn't be obliterating someone's solo".<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> Another bluegrass method, <i>Learn to Play Bluegrass Bass</i>, by Earl Gately, also teaches bluegrass slap bass technique. German bassist Didi Beck plays rapid triplet slaps, as demonstrated in this video.<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Use_in_popular_music">Use in popular music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=40" title="Edit section: Use in popular music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_double_bassists_in_popular_music" title="List of double bassists in popular music">List of double bassists in popular music</a></div> <p>In the early 1950s, the upright bass was the standard bass instrument in the emerging style of rock and roll music, <a href="/wiki/Marshall_Lytle" title="Marshall Lytle">Marshall Lytle</a> of <a href="/wiki/Bill_Haley_%26_His_Comets" title="Bill Haley & His Comets">Bill Haley & His Comets</a> being but one example. In the 1940s, a new style of dance music called <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">rhythm and blues</a> developed, incorporating elements of the earlier styles of blues and swing. <a href="/wiki/Louis_Jordan" title="Louis Jordan">Louis Jordan</a>, the first innovator of this style, featured an upright bass in his group, the <a href="/wiki/Tympany_Five" title="Tympany Five">Tympany Five</a>.<sup id="cite_ref-Bartley_57-0" class="reference"><a href="#cite_note-Bartley-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p><p>The upright bass remained an integral part of pop lineups throughout the 1950s, as the new genre of <a href="/wiki/Rock_and_roll" title="Rock and roll">rock and roll</a> was built largely upon the model of rhythm and blues, with strong elements also derived from jazz, country, and bluegrass. However, upright bass players using their instruments in these contexts faced inherent problems. They were forced to compete with louder horn instruments (and later amplified <a href="/wiki/Electric_guitar" title="Electric guitar">electric guitars</a>), making bass parts difficult to hear. The upright bass is difficult to amplify in loud concert venue settings, because it can be prone to <a href="/wiki/Audio_feedback" title="Audio feedback">feedback</a> <i>howls</i>.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> As well, the upright bass is large and awkward to transport, which also created transportation problems for touring bands. In some groups, the slap bass was utilized as band percussion in lieu of a drummer; such was the case with Bill Haley & His Saddlemen (the forerunner group to the Comets), which did not use drummers on recordings and live performances until late 1952; prior to this the slap bass was relied on for percussion, including on recordings such as Haley's versions of "<a href="/wiki/Rock_the_Joint" title="Rock the Joint">Rock the Joint</a>" and "<a href="/wiki/Rocket_88" title="Rocket 88">Rocket 88</a>".<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p><p>In 1951, <a href="/wiki/Leo_Fender" title="Leo Fender">Leo Fender</a> released his <a href="/wiki/Precision_Bass" class="mw-redirect" title="Precision Bass">Precision Bass</a>, the first commercially successful <a href="/wiki/Electric_bass" class="mw-redirect" title="Electric bass">electric bass</a> guitar.<sup id="cite_ref-p-bass_60-0" class="reference"><a href="#cite_note-p-bass-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> The electric bass was easily amplified with its built-in <a href="/wiki/Magnetic_pickup" class="mw-redirect" title="Magnetic pickup">magnetic pickups</a>, easily portable (less than a foot longer than an electric guitar), and easier to play in tune than an upright bass, thanks to the metal frets. In the 1960s and 1970s bands were playing at louder volumes and performing in larger venues. The electric bass was able to provide the huge, highly amplified stadium-filling bass tone that the pop and rock music of this era demanded, and the upright bass receded from the limelight of the popular music scene. </p> <div class="center" style="width:auto; margin-left:auto; margin-right:auto;">Photos of bassist <a href="/wiki/Miroslav_Vitou%C5%A1" title="Miroslav Vitouš">Miroslav Vitouš</a>: <ul class="gallery mw-gallery-traditional"> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Miroslav-Vitous01.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/14/Miroslav-Vitous01.jpg/120px-Miroslav-Vitous01.jpg" decoding="async" width="120" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/14/Miroslav-Vitous01.jpg/180px-Miroslav-Vitous01.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/14/Miroslav-Vitous01.jpg/240px-Miroslav-Vitous01.jpg 2x" data-file-width="450" data-file-height="450" /></a></span></div> <div class="gallerytext"></div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Miroslav-Vitous02.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/Miroslav-Vitous02.jpg/120px-Miroslav-Vitous02.jpg" decoding="async" width="120" height="90" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/Miroslav-Vitous02.jpg/180px-Miroslav-Vitous02.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/38/Miroslav-Vitous02.jpg/240px-Miroslav-Vitous02.jpg 2x" data-file-width="450" data-file-height="337" /></a></span></div> <div class="gallerytext"></div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Miroslav-Vitous03.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Miroslav-Vitous03.jpg/120px-Miroslav-Vitous03.jpg" decoding="async" width="120" height="90" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Miroslav-Vitous03.jpg/180px-Miroslav-Vitous03.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Miroslav-Vitous03.jpg/240px-Miroslav-Vitous03.jpg 2x" data-file-width="450" data-file-height="337" /></a></span></div> <div class="gallerytext"></div> </li> </ul></div> <p>The upright bass began making a comeback in popular music in the mid-1980s, in part due to a renewed interest in earlier forms of folk and country music, as part of the <a href="/wiki/Roots_rock" title="Roots rock">roots rock</a> and <a href="/wiki/Americana_(music)" class="mw-redirect" title="Americana (music)">Americana</a> trends. In the 1990s, improvements in pickups and amplifier designs for electro-acoustic horizontal and upright basses made it easier for bassists to get a good, clear amplified tone from an acoustic instrument. Some popular bands decided to anchor their sound with an upright bass instead of an electric bass, such as the <a href="/wiki/Barenaked_Ladies" title="Barenaked Ladies">Barenaked Ladies</a>. A trend for "unplugged" performances on <a href="/wiki/MTV" title="MTV">MTV</a>, in which rock bands performed with solely acoustic instruments, further helped to enhance the public's interest in the upright bass and <a href="/wiki/Acoustic_bass_guitar" title="Acoustic bass guitar">acoustic bass guitars</a>. </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:JimCreeggan1.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/JimCreeggan1.JPG/170px-JimCreeggan1.JPG" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/JimCreeggan1.JPG/255px-JimCreeggan1.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/20/JimCreeggan1.JPG/340px-JimCreeggan1.JPG 2x" data-file-width="400" data-file-height="533" /></a><figcaption>Jim Creeggan of <a href="/wiki/Barenaked_Ladies" title="Barenaked Ladies">Barenaked Ladies</a>, pictured at a 2009 show</figcaption></figure> <p><a href="/wiki/Jim_Creeggan" title="Jim Creeggan">Jim Creeggan</a> of <a href="/wiki/Barenaked_Ladies" title="Barenaked Ladies">Barenaked Ladies</a> primarily plays upright bass, although he has increasingly played bass guitar throughout the band's career. <a href="/wiki/Chris_Wyse" title="Chris Wyse">Chris Wyse</a> of alternative rock group <a href="/wiki/Owl_(band)" title="Owl (band)">Owl</a> uses a combination of electric and double bass. <a href="/wiki/Athol_Guy" title="Athol Guy">Athol Guy</a> of the Australian folk/pop group <a href="/wiki/The_Seekers" title="The Seekers">The Seekers</a> plays an upright bass. <a href="/wiki/Shannon_Birchall" title="Shannon Birchall">Shannon Birchall</a>, of the Australian folk-rock group the <a href="/wiki/John_Butler_Trio" title="John Butler Trio">John Butler Trio</a>,<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> makes extensive use of upright basses, performing extended live solos in songs such as Betterman. On the 2008 album <i><a href="/wiki/In_Ear_Park" title="In Ear Park">In Ear Park</a></i> by the indie/pop band <a href="/wiki/Department_of_Eagles" title="Department of Eagles">Department of Eagles</a>, a bowed upright bass is featured quite prominently on the songs "Teenagers" and "In Ear Park". Norwegian ompa-rock band <a href="/wiki/Kaizers_Orchestra" title="Kaizers Orchestra">Kaizers Orchestra</a> use the upright bass exclusively both live and on their recordings.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> </p><p>French contemporary pop duet "What a day" uses double bass extended pizzicato technique with vocals and type writer<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Hank_Williams_III" title="Hank Williams III">Hank Williams III</a>'s bass players (Jason Brown, <a href="/wiki/Joe_Buck_(musician)" title="Joe Buck (musician)">Joe Buck</a> and Zach Shedd, most notably) have used upright basses for recording as well as during the country and Hellbilly sets of Hank III's live performances before switching to electric bass for the <a href="/wiki/Assjack" title="Assjack">Assjack</a> set. </p><p>The late 1970s rockabilly-punk genre of psychobilly continued and expanded upon the rockabilly tradition of slap bass. Bassists such as <a href="/wiki/Kim_Nekroman" title="Kim Nekroman">Kim Nekroman</a> and <a href="/wiki/Geoff_Kresge" title="Geoff Kresge">Geoff Kresge</a> have developed the ability to play rapid slap bass that in effect turns the bass into a percussion instrument. </p> <div class="mw-heading mw-heading2"><h2 id="Modern_playing_styles">Modern playing styles</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=41" title="Edit section: Modern playing styles"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Double_Bass_during_the_break_(photo_by_Garry_Knight).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Double_Bass_during_the_break_%28photo_by_Garry_Knight%29.jpg/200px-Double_Bass_during_the_break_%28photo_by_Garry_Knight%29.jpg" decoding="async" width="200" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Double_Bass_during_the_break_%28photo_by_Garry_Knight%29.jpg/300px-Double_Bass_during_the_break_%28photo_by_Garry_Knight%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Double_Bass_during_the_break_%28photo_by_Garry_Knight%29.jpg/400px-Double_Bass_during_the_break_%28photo_by_Garry_Knight%29.jpg 2x" data-file-width="2592" data-file-height="3888" /></a><figcaption>A mid-sized bass amp used to amplify a double bass at a small jazz gig</figcaption></figure> <p>In popular music genres, the instrument is usually played with <a href="/wiki/Bass_instrument_amplifier" class="mw-redirect" title="Bass instrument amplifier">amplification</a> and almost exclusively played with the fingers, <i><a href="/wiki/Pizzicato" title="Pizzicato">pizzicato</a></i> style. The pizzicato style varies between different players and genres. Some players perform with the sides of one, two, or three fingers, especially for walking basslines and slow tempo ballads, because this is purported to create a stronger and more solid tone. Some players use the more nimble tips of the fingers to play fast-moving solo passages or to pluck lightly for quiet tunes. The use of amplification allows the player to have more control over the tone of the instrument, because amplifiers have equalization controls that allow the bassist to accentuate certain frequencies (often the bass frequencies) while de-accentuating some frequencies (often the high frequencies, so that there is less finger noise). </p><p>An unamplified acoustic bass's tone is limited by the frequency responsiveness of the instrument's hollow body, which means that the very low pitches may not be as loud as the higher pitches. With an amplifier and equalization devices, a bass player can boost the low frequencies, which changes the frequency response. In addition, the use of an amplifier can increase the sustain of the instrument, which is particularly useful for accompaniment during ballads and for melodic solos with held notes. </p><p>In traditional jazz, <a href="/wiki/Swing_(genre)" class="mw-redirect" title="Swing (genre)">swing</a>, <a href="/wiki/Polka" title="Polka">polka</a>, rockabilly, and psychobilly music, it is sometimes played in the <i><a href="/wiki/Slapping_(music)" title="Slapping (music)">slap style</a></i>. This is a vigorous version of pizzicato where the strings are "slapped" against the fingerboard between the main notes of the bass line, producing a <a href="/wiki/Snare_drum" title="Snare drum">snare drum</a>-like percussive sound. The main notes are either played normally or by pulling the string away from the fingerboard and releasing it so that it bounces off the fingerboard, producing a distinctive percussive attack in addition to the expected pitch. Notable slap style bass players, whose use of the technique was often highly syncopated and virtuosic, sometimes interpolated two, three, four, or more slaps in between notes of the bass line. </p> <div class="mw-heading mw-heading2"><h2 id="Double_bassists">Double bassists</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=42" title="Edit section: Double bassists"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Historical">Historical</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=43" title="Edit section: Historical"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Domenico_Dragonetti" title="Domenico Dragonetti">Domenico Dragonetti</a> (1763–1846) <a href="/wiki/Virtuoso" title="Virtuoso">Virtuoso</a>, composer, conductor</li> <li><a href="/wiki/Giovanni_Bottesini" title="Giovanni Bottesini">Giovanni Bottesini</a> (1821–1889) Virtuoso, composer, conductor</li> <li><a href="/wiki/Franz_Simandl" title="Franz Simandl">Franz Simandl</a> (1840–1912) Virtuoso, composer, <a href="/wiki/Pedagogue" class="mw-redirect" title="Pedagogue">pedagogue</a></li> <li><a href="/wiki/%C3%89douard_Nanny" title="Édouard Nanny">Édouard Nanny</a> (1872–1943) Virtuoso, composer</li> <li><a href="/wiki/Serge_Koussevitzky" title="Serge Koussevitzky">Serge Koussevitzky</a> (1874–1951) Virtuoso, composer, conductor</li></ul> <div class="mw-heading mw-heading3"><h3 id="Modern">Modern</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=44" title="Edit section: Modern"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Fran%C3%A7ois_Rabbath" title="François Rabbath">François Rabbath</a> (1931–) Virtuoso, composer</li> <li><a href="/wiki/Gary_Karr" title="Gary Karr">Gary Karr</a> (1941– ) Virtuoso</li> <li><a href="/wiki/Edgar_Meyer" title="Edgar Meyer">Edgar Meyer</a> (1960– ) Virtuoso, composer, teacher</li></ul> <div class="mw-heading mw-heading3"><h3 id="Contemporary_(1900s)"><span id="Contemporary_.281900s.29"></span>Contemporary (1900s)</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=45" title="Edit section: Contemporary (1900s)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading4"><h4 id="Classical">Classical</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=46" title="Edit section: Classical"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_contemporary_classical_double_bass_players" class="mw-redirect" title="List of contemporary classical double bass players">List of contemporary classical double bass players</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Gary_karr.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Gary_karr.jpg/220px-Gary_karr.jpg" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Gary_karr.jpg/330px-Gary_karr.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Gary_karr.jpg/440px-Gary_karr.jpg 2x" data-file-width="800" data-file-height="597" /></a><figcaption>Double bass soloist Gary Karr</figcaption></figure> <p>Some of the most influential contemporary classical double bass players are known as much for their contributions to pedagogy as for their performing skills, such as US bassist <a href="/wiki/Oscar_G._Zimmerman" class="mw-redirect" title="Oscar G. Zimmerman">Oscar G. Zimmerman</a> (1910–1987), known for his teaching at the <a href="/wiki/Eastman_School_of_Music" title="Eastman School of Music">Eastman School of Music</a> and, for 44 summers at the <a href="/wiki/Interlochen" class="mw-redirect" title="Interlochen">Interlochen</a> National Music Camp in <a href="/wiki/Michigan" title="Michigan">Michigan</a> and French bassist <a href="/wiki/Fran%C3%A7ois_Rabbath" title="François Rabbath">François Rabbath</a> (b. 1931) who developed a new bass method that divided the entire fingerboard into six positions. Bassists noted for their virtuoso solo skills include American pedagogue and performer <a href="/wiki/Gary_Karr" title="Gary Karr">Gary Karr</a> (b. 1941), Finnish composer <a href="/wiki/Teppo_Hauta-aho" title="Teppo Hauta-aho">Teppo Hauta-aho</a> (b. 1941), Italian composer Fernando Grillo, and US player-composer Edgar Meyer. For a longer list, see the <i><a href="/wiki/List_of_contemporary_classical_double_bass_players" class="mw-redirect" title="List of contemporary classical double bass players">List of contemporary classical double bass players</a></i>. </p> <div class="mw-heading mw-heading4"><h4 id="Jazz">Jazz</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=47" title="Edit section: Jazz"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_jazz_bassists" title="List of jazz bassists">List of jazz bassists</a></div> <p>Notable jazz bassists from the 1940s to the 1950s included bassist <a href="/wiki/Jimmy_Blanton" title="Jimmy Blanton">Jimmy Blanton</a> (1918–1942) whose short tenure in the <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a> Swing band (cut short by his death from <a href="/wiki/Tuberculosis" title="Tuberculosis">tuberculosis</a>) introduced new melodic and harmonic solo ideas for the instrument; bassist <a href="/wiki/Ray_Brown_(musician)" title="Ray Brown (musician)">Ray Brown</a> (1926–2002), known for backing Beboppers <a href="/wiki/Dizzy_Gillespie" title="Dizzy Gillespie">Dizzy Gillespie</a>, <a href="/wiki/Oscar_Peterson" title="Oscar Peterson">Oscar Peterson</a>, <a href="/wiki/Art_Tatum" title="Art Tatum">Art Tatum</a> and <a href="/wiki/Charlie_Parker" title="Charlie Parker">Charlie Parker</a>, and forming the <a href="/wiki/Modern_Jazz_Quartet" title="Modern Jazz Quartet">Modern Jazz Quartet</a>; <a href="/wiki/Hard_bop" title="Hard bop">hard bop</a> bassist Ron Carter (born 1937), who has appeared on 3,500 albums make him one of the most-recorded bassists in jazz history, including LPs by <a href="/wiki/Thelonious_Monk" title="Thelonious Monk">Thelonious Monk</a> and <a href="/wiki/Wes_Montgomery" title="Wes Montgomery">Wes Montgomery</a> and many <a href="/wiki/Blue_Note_Records" title="Blue Note Records">Blue Note Records</a> artists; and <a href="/wiki/Paul_Chambers" title="Paul Chambers">Paul Chambers</a> (1935–1969), a member of the <a href="/wiki/Miles_Davis_Quintet" title="Miles Davis Quintet">Miles Davis Quintet</a> (including the landmark modal jazz recording <i><a href="/wiki/Kind_of_Blue" title="Kind of Blue">Kind of Blue</a></i>) and many other 1950s and 1960s rhythm sections, was known for his virtuosic <a href="/wiki/Improvisation" title="Improvisation">improvisations</a>. </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Bassist_Christian_McBride.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Bassist_Christian_McBride.jpg/200px-Bassist_Christian_McBride.jpg" decoding="async" width="200" height="169" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Bassist_Christian_McBride.jpg/300px-Bassist_Christian_McBride.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Bassist_Christian_McBride.jpg/400px-Bassist_Christian_McBride.jpg 2x" data-file-width="3371" data-file-height="2847" /></a><figcaption><a href="/wiki/Christian_McBride" title="Christian McBride">Christian McBride</a> (born 1972), one of the new "young lions" in the jazz scene, has won four <a href="/wiki/Grammy_Awards" title="Grammy Awards">Grammy Awards</a>.</figcaption></figure> <p>The experimental post 1960s era, and free jazz and jazz-rock fusion, produced several influential bassists. <a href="/wiki/Charles_Mingus" title="Charles Mingus">Charles Mingus</a> (1922–1979), who was also a composer and <a href="/wiki/Bandleader" title="Bandleader">bandleader</a>, produced music that fused <a href="/wiki/Hard_bop" title="Hard bop">hard bop</a> with black <a href="/wiki/Gospel_music" title="Gospel music">gospel music</a>, <a href="/wiki/Free_jazz" title="Free jazz">free jazz</a>, and classical music. <a href="/wiki/Free_jazz" title="Free jazz">Free jazz</a> and post-bop bassist <a href="/wiki/Charlie_Haden" title="Charlie Haden">Charlie Haden</a> (1937–2014) is best known for his long association with saxophonist <a href="/wiki/Ornette_Coleman" title="Ornette Coleman">Ornette Coleman</a>, and for his role in the 1970s-era <a href="/wiki/Liberation_Music_Orchestra" class="mw-redirect" title="Liberation Music Orchestra">Liberation Music Orchestra</a>, an experimental group. <a href="/wiki/Eddie_G%C3%B3mez" title="Eddie Gómez">Eddie Gómez</a> and <a href="/wiki/George_Mraz" title="George Mraz">George Mraz</a>, who played with <a href="/wiki/Bill_Evans" title="Bill Evans">Bill Evans</a> and <a href="/wiki/Oscar_Peterson" title="Oscar Peterson">Oscar Peterson</a>, respectively, and are both acknowledged to have furthered expectations of pizzicato fluency and melodic phrasing. <a href="/wiki/Jazz_fusion" title="Jazz fusion">Fusion</a> virtuoso <a href="/wiki/Stanley_Clarke" title="Stanley Clarke">Stanley Clarke</a> (born 1951) is notable for his dexterity on both the upright bass and the electric bass. <a href="/wiki/Terry_Plumeri" title="Terry Plumeri">Terry Plumeri</a> is noted for his horn-like arco fluency and vocal-sounding tone. </p><p>In the 1990s and first decade of the 21st century, one of the new "young lions" was <a href="/wiki/Christian_McBride" title="Christian McBride">Christian McBride</a> (born 1972), who has performed with a range of veterans ranging from <a href="/wiki/McCoy_Tyner" title="McCoy Tyner">McCoy Tyner</a> to fusion gurus <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a> and <a href="/wiki/Chick_Corea" title="Chick Corea">Chick Corea</a>, and who has released albums such as 2003's <i><a href="/wiki/Vertical_Vision" title="Vertical Vision">Vertical Vision</a></i>. Another young bassist of note is <a href="/wiki/Esperanza_Spalding" title="Esperanza Spalding">Esperanza Spalding</a> (born 1984) who, at 27 years of age, had already won a <a href="/wiki/Grammy" class="mw-redirect" title="Grammy">Grammy</a> for Best New Artist. </p> <div class="mw-heading mw-heading4"><h4 id="Other_popular_genres">Other popular genres</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=48" title="Edit section: Other popular genres"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Scottowen-London2007.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/e/e1/Scottowen-London2007.jpg/170px-Scottowen-London2007.jpg" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e1/Scottowen-London2007.jpg/255px-Scottowen-London2007.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e1/Scottowen-London2007.jpg/340px-Scottowen-London2007.jpg 2x" data-file-width="453" data-file-height="604" /></a><figcaption><a href="/wiki/Scott_Owen" title="Scott Owen">Scott Owen</a>, double bass player for Australian rock band <a href="/wiki/The_Living_End" title="The Living End">The Living End</a></figcaption></figure> <p>In addition to being a noted classical player, <a href="/wiki/Edgar_Meyer" title="Edgar Meyer">Edgar Meyer</a> is well known in <a href="/wiki/Bluegrass_music" title="Bluegrass music">bluegrass</a> and <a href="/wiki/Progressive_bluegrass" class="mw-redirect" title="Progressive bluegrass">newgrass</a> circles. <a href="/wiki/Todd_Phillips" title="Todd Phillips">Todd Phillips</a> is another prominent bluegrass player. Well-known <a href="/wiki/Rockabilly" title="Rockabilly">rockabilly</a> bassists include <a href="/wiki/Bill_Black" title="Bill Black">Bill Black</a>, <a href="/wiki/Marshall_Lytle" title="Marshall Lytle">Marshall Lytle</a> (with <a href="/wiki/Bill_Haley_%26_His_Comets" title="Bill Haley & His Comets">Bill Haley & His Comets</a>) and <a href="/wiki/Lee_Rocker" title="Lee Rocker">Lee Rocker</a> (with 1980s-era rockabilly revivalists the <a href="/wiki/Stray_Cats" title="Stray Cats">Stray Cats</a>). </p><p>Notable rockabilly revivalists and psychobilly performers from the 1990s and first decade of the 21st century include <a href="/wiki/Scott_Owen" title="Scott Owen">Scott Owen</a> (from the Australian band <a href="/wiki/The_Living_End" title="The Living End">The Living End</a>), <a href="/wiki/Jimbo_Wallace" title="Jimbo Wallace">Jimbo Wallace</a> (from the US band <a href="/wiki/Reverend_Horton_Heat" class="mw-redirect" title="Reverend Horton Heat">Reverend Horton Heat</a>), <a href="/wiki/Kim_Nekroman" title="Kim Nekroman">Kim Nekroman</a> (<a href="/wiki/Nekromantix" title="Nekromantix">Nekromantix</a>), <a href="/wiki/Patricia_Day" title="Patricia Day">Patricia Day</a> (<a href="/wiki/HorrorPops" title="HorrorPops">HorrorPops</a>), <a href="/wiki/Geoff_Kresge" title="Geoff Kresge">Geoff Kresge</a> (<a href="/wiki/Tiger_Army" title="Tiger Army">Tiger Army</a>, ex-<a href="/wiki/AFI_(band)" title="AFI (band)">AFI</a>). <a href="/wiki/Willie_Dixon" title="Willie Dixon">Willie Dixon</a> (1915–1992) was one of the most notable figures in the history of <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">rhythm and blues</a>. In addition to being an upright bassist, he wrote dozens of R&B hits and worked as a producer. He also plays bass on numerous <a href="/wiki/Chuck_Berry" title="Chuck Berry">Chuck Berry</a>'s rock and roll hits. Many other rockabilly bands like El Rio Trio (from the Netherlands) also use this instrument in their work. See also the <a href="/wiki/List_of_double_bassists_in_popular_music" title="List of double bassists in popular music">List of double bassists in popular music</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Pedagogy_and_training">Pedagogy and training</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=49" title="Edit section: Pedagogy and training"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The pedagogy and training for the double bass varies widely by genre and country. Classical double bass has a history of pedagogy dating back several centuries, including teaching manuals, studies, and progressive exercises that help students to develop the endurance and accuracy of the left hand, and control for the bowing hand. Classical training methods vary by country: many of the major European countries are associated with specific methods (e.g., the <a href="/wiki/%C3%89douard_Nanny" title="Édouard Nanny">Édouard Nanny</a> method in France or the <a href="/wiki/Franz_Simandl" title="Franz Simandl">Franz Simandl</a> method in <a href="/wiki/Germany" title="Germany">Germany</a>). In classical training, the majority of the instruction for the right hand focuses on the production of bowing tone; little time is spent studying the varieties of pizzicato tone. </p><p>In contrast, in genres that mainly or exclusively use pizzicato (plucking), such as jazz and blues, a great deal of time and effort is focused on learning the varieties of different pizzicato styles used for music of different styles of tempi. For example, in jazz, aspiring bassists have to learn how to perform a wide range of pizzicato tones, including using the sides of the fingers to create a full, deep sound for ballads, using the tips of the fingers for fast walking basslines or solos, and performing a variety of percussive <i>ghost notes</i> by raking muted or partially muted strings. </p> <div class="mw-heading mw-heading3"><h3 id="Formal_training">Formal training</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=50" title="Edit section: Formal training"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg/170px-Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg" decoding="async" width="170" height="333" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg/255px-Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/46/Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg/340px-Nobel_Peace_Price_Concert_2009_Esperanza_Spalding1.jpg 2x" data-file-width="460" data-file-height="900" /></a><figcaption>Jazz singer/bassist <a href="/wiki/Esperanza_Spalding" title="Esperanza Spalding">Esperanza Spalding</a> performing on 10 December 2009 at the <a href="/wiki/Nobel_Peace_Prize" title="Nobel Peace Prize">Nobel Peace Prize Concert</a> of 2009</figcaption></figure> <p>Of all of the genres, classical and jazz have the most established and comprehensive systems of instruction and training. In the classical milieu, children can begin taking private lessons on the instrument and performing in children's or youth orchestras. Teens who aspire to becoming professional classical bassists can continue their studies in a variety of formal training settings, including colleges, conservatories, and universities. Colleges offer certificates and diplomas in bass performance. </p><p><a href="/wiki/Music_school" title="Music school">Conservatories</a>, which are the standard musical training system in France and in Quebec (Canada) provide lessons and amateur orchestral experience for double bass players. Universities offer a range of double bass programs, including bachelor's degrees, Master of Music degrees, and <a href="/wiki/Doctor_of_Musical_Arts" title="Doctor of Musical Arts">Doctor of Musical Arts</a> degrees. As well, there are a variety of other training programs such as classical summer camps and orchestral, opera, or chamber music training festivals, which give students the opportunity to play a wide range of music. </p><p>Bachelor's degrees in bass performance (referred to as <a href="/wiki/B.Mus." class="mw-redirect" title="B.Mus.">B.Mus.</a> or B.M.) are four-year programs that include individual bass lessons, amateur orchestra experience, and a sequence of courses in music history, music theory, and liberal arts courses (e.g., English literature), which give the student a more well-rounded education. Usually, bass performance students perform several recitals of solo double bass music, such as concertos, sonatas, and Baroque suites. </p><p>Master of music degrees (<a href="/wiki/M.mus." class="mw-redirect" title="M.mus.">M.mus.</a>) in double bass performance consist of private lessons, ensemble experience, coaching in playing orchestral double bass parts, and graduate courses in music history and music theory, along with one or two solo recitals. A Master's degree in music (referred to as an <a href="/wiki/M.Mus." class="mw-redirect" title="M.Mus.">M.Mus.</a> or M.M.) is often a required credential for people who wish to become a professor of double bass at a university or conservatory. </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:TimothyBCobb.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/TimothyBCobb.jpg/200px-TimothyBCobb.jpg" decoding="async" width="200" height="193" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/TimothyBCobb.jpg/300px-TimothyBCobb.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f7/TimothyBCobb.jpg/400px-TimothyBCobb.jpg 2x" data-file-width="491" data-file-height="474" /></a><figcaption>Manhattan School of Music professor <a href="/wiki/Timothy_Cobb" class="mw-redirect" title="Timothy Cobb">Timothy Cobb</a> teaching a bass lesson in the late 2000s. His bass has a low C extension with a metal "machine" with buttons for playing the pitches on the extension.</figcaption></figure> <p>Doctor of Musical Arts (referred to as D.M.A., DMA, D.Mus.A. or A.Mus.D.) degrees in double bass performance provide an opportunity for advanced study at the highest artistic and pedagogical level, requiring usually an additional 54+ credit hours beyond a master's degree (which is about 30+ credits beyond a bachelor's degree). For this reason, admission is highly selective. Examinations in music history, music theory, ear training/dictation, and an entrance examination-recital, are required. Students perform a number of recitals (around six), including a lecture-recital with an accompanying doctoral dissertation, advanced coursework, and a minimum B average are other typical requirements of a D.M.A. program. </p><p>Throughout the early history of jazz, double bass players either learned the instrument informally, or from getting classical training early on, as in the case of Ron Carter and Charles Mingus. In the 1980s and 1990s, colleges and universities began to introduce diplomas and degrees in jazz performance. Students in jazz diploma or Bachelor of Music programs take individual bass lessons, get experience in small jazz combos with coaching from an experienced player, and play in jazz big bands. As with classical training programs, jazz programs also include classroom courses in music history and music theory. In a jazz program, these courses focus on the different eras of jazz history. such as Swing, Bebop, and fusion. The theory courses focus on the musical skills used in jazz improvisation and in jazz comping (accompanying) and the composition of jazz tunes. There are also jazz summer camps and training festivals/seminars, which offer students the chance to learn new skills and styles. </p> <div class="mw-heading mw-heading3"><h3 id="Informal_training">Informal training</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=51" title="Edit section: Informal training"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In other genres, such as blues, rockabilly, and psychobilly, the pedagogical systems and training sequences are not as formalized and institutionalized. There are not degrees in blues bass performance, or conservatories offering multiple-year diplomas in rockabilly bass. However, there are a range of books, playing methods, and, since the 1990s, instructional DVDs (e.g., on how to play rockabilly-style slap bass). As such, performers in these other genres tend to come from a variety of routes, including informal learning by using bass method books or DVDs, taking private lessons and coaching, and learning from records and CDs. In some cases, blues or rockabilly bassists may have obtained some initial training through the classical or jazz pedagogy systems (e.g., youth orchestra or high school big band). In genres such as tango, which use a lot of bowed passages and jazz-style pizzicato lines, the bassists tend to come from classical or jazz training routes. </p> <div class="mw-heading mw-heading2"><h2 id="Careers">Careers</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=52" title="Edit section: Careers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Careers in double bass vary widely by genre and by region or country. Most bassists earn their living from a mixture of performance and teaching jobs. The first step to getting most performance jobs is by playing at an <a href="/wiki/Audition" title="Audition">audition</a>. In some styles of music, such as jazz-oriented stage bands, bassists may be asked to <a href="/wiki/Sight_reading" class="mw-redirect" title="Sight reading">sight read</a> printed music or perform standard pieces (e.g., a <a href="/wiki/Jazz_standard" title="Jazz standard">jazz standard</a> such as <i>Now's the Time</i>) with an ensemble. Similarly, in a rock or blues band, auditionees may be asked to play various rock or blues standards. An upright bassist auditioning for a blues band might be asked to play in a Swing-style walking <a href="/wiki/Bassline" title="Bassline">bassline</a>, a rockabilly-style <a href="/wiki/Slap_bass" class="mw-redirect" title="Slap bass">"slapping"</a> bassline (in which the strings are percussively struck against the fingerboard) and a 1950s ballad with long held notes. A person auditioning for a role as a bassist in some styles of pop or rock music may be expected to demonstrate the ability to perform <a href="/wiki/Harmony_vocals" class="mw-redirect" title="Harmony vocals">harmony vocals</a> as a <a href="/wiki/Backup_singer" class="mw-redirect" title="Backup singer">backup singer</a>. In some pop and rock groups, the bassist may be asked to play other instruments from time to time, such as electric bass, keyboards or acoustic guitar. The ability to play electric bass is widely expected in country groups, in case the band is performing a <a href="/wiki/Classic_rock" title="Classic rock">classic rock</a> or new country song. </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Fotothek_df_roe-neg_0006311_021_Musiker_mit_einem_Kontrabass.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Fotothek_df_roe-neg_0006311_021_Musiker_mit_einem_Kontrabass.jpg/200px-Fotothek_df_roe-neg_0006311_021_Musiker_mit_einem_Kontrabass.jpg" decoding="async" width="200" height="298" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Fotothek_df_roe-neg_0006311_021_Musiker_mit_einem_Kontrabass.jpg/300px-Fotothek_df_roe-neg_0006311_021_Musiker_mit_einem_Kontrabass.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Fotothek_df_roe-neg_0006311_021_Musiker_mit_einem_Kontrabass.jpg/400px-Fotothek_df_roe-neg_0006311_021_Musiker_mit_einem_Kontrabass.jpg 2x" data-file-width="551" data-file-height="820" /></a><figcaption>A German double bass section in 1952. The player to the left is using a German bow.</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Classical_music">Classical music</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=53" title="Edit section: Classical music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <a href="/wiki/Classical_music" title="Classical music">classical music</a>, bassists audition for playing jobs in orchestras and for admission into university or Conservatory programs or degrees. At a classical bass audition, the performer typically plays a movement from a <a href="/wiki/J.S._Bach_suite_for_solo_cello" class="mw-redirect" title="J.S. Bach suite for solo cello">J.S. Bach suite for solo cello</a> or a movement from a bass concerto and a variety of excerpts from the orchestral literature. The excerpts are typically the most technically challenging parts of bass parts and bass solos from the orchestral literature. Some of the most commonly requested orchestral excerpts at bass auditions are from <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>'s Symphonies Nos. 5, 7 and 9; <a href="/wiki/Strauss" title="Strauss">Strauss</a>'s <i><a href="/wiki/Ein_Heldenleben" title="Ein Heldenleben">Ein Heldenleben</a></i> and <i>Don Juan</i>; <a href="/wiki/Mozart" class="mw-redirect" title="Mozart">Mozart</a>'s Symphonies Nos. 35, 39 and 40; <a href="/wiki/Brahms" class="mw-redirect" title="Brahms">Brahms</a>' Symphonies Nos. 1 and 2; <a href="/wiki/Stravinsky" class="mw-redirect" title="Stravinsky">Stravinsky</a>'s Pulcinella; <a href="/wiki/Shostakovich" class="mw-redirect" title="Shostakovich">Shostakovich</a>'s Symphony No. 5; <a href="/wiki/Ginastera" class="mw-redirect" title="Ginastera">Ginastera</a>'s <i>Variaciones Concertante</i>; <a href="/wiki/Tchaikovsky" class="mw-redirect" title="Tchaikovsky">Tchaikovsky</a>'s Symphony No. 4; <a href="/wiki/Mahler" class="mw-redirect" title="Mahler">Mahler</a>'s Symphony No. 2; J. S. Bach's Suite No. 2 in B; <a href="/wiki/Berlioz" class="mw-redirect" title="Berlioz">Berlioz</a>'s <i><a href="/wiki/Symphonie_Fantastique" class="mw-redirect" title="Symphonie Fantastique">Symphonie Fantastique</a></i>, <a href="/wiki/Mendelssohn" class="mw-redirect" title="Mendelssohn">Mendelssohn</a>'s Symphony No. 4; and the bass solos from <a href="/wiki/Verdi" class="mw-redirect" title="Verdi">Verdi</a>'s opera <i><a href="/wiki/Otello" title="Otello">Otello</a></i>, <a href="/wiki/Mahler" class="mw-redirect" title="Mahler">Mahler</a>'s Symphony No. 1, <a href="/wiki/Britten" class="mw-redirect" title="Britten">Britten</a>'s <i><a href="/wiki/The_Young_Person%27s_Guide_to_the_Orchestra" title="The Young Person's Guide to the Orchestra">The Young Person's Guide to the Orchestra</a></i> and <a href="/wiki/Prokofiev" class="mw-redirect" title="Prokofiev">Prokofiev</a>'s <i><a href="/wiki/Lieutenant_Kije_Suite" class="mw-redirect" title="Lieutenant Kije Suite">Lieutenant Kije Suite</a></i>.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=54" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><i><a href="/wiki/Bach:_Unaccompanied_Cello_Suites_Performed_on_Double_Bass" title="Bach: Unaccompanied Cello Suites Performed on Double Bass">Bach: Unaccompanied Cello Suites Performed on Double Bass</a></i></li> <li><a href="/wiki/Bogdon_Box_Bass" title="Bogdon Box Bass">Bogdon Box Bass</a></li> <li><a href="/wiki/Double_bass_concerto" title="Double bass concerto">Double bass concerto</a></li> <li><a href="/wiki/Electric_upright_bass" title="Electric upright bass">Electric upright bass</a></li> <li><a href="/wiki/List_of_classical_double_bass_players" title="List of classical double bass players">List of classical double bass players</a></li> <li><a href="/wiki/Octobass" title="Octobass">Octobass</a></li> <li><a href="/wiki/Piccolo_bass" title="Piccolo bass">Piccolo bass</a></li> <li><a href="/wiki/Tololoche" title="Tololoche">Tololoche</a></li> <li><a href="/wiki/Triple_contrabass_viol" title="Triple contrabass viol">Triple contrabass viol</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=55" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFSlatfordShipton2001" class="citation web cs1">Slatford, Rodney; Shipton, Alyn (2001). <a rel="nofollow" class="external text" href="https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046437">"Double bass"</a>. <i>Oxford Music Online: Grove Music Online</i>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fgmo%2F9781561592630.article.46437">10.1093/gmo/9781561592630.article.46437</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-263-0" title="Special:BookSources/978-1-56159-263-0"><bdi>978-1-56159-263-0</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">6 December</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Oxford+Music+Online%3A+Grove+Music+Online&rft.atitle=Double+bass&rft.date=2001&rft_id=info%3Adoi%2F10.1093%2Fgmo%2F9781561592630.article.46437&rft.isbn=978-1-56159-263-0&rft.aulast=Slatford&rft.aufirst=Rodney&rft.au=Shipton%2C+Alyn&rft_id=https%3A%2F%2Fwww.oxfordmusiconline.com%2Fgrovemusic%2Fview%2F10.1093%2Fgmo%2F9781561592630.001.0001%2Fomo-9781561592630-e-0000046437&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.ludwig-van.com/toronto/2015/05/20/cool-stuff-8-the-octobass-an-instrument-capable-of-playing-below-human-hearing-range/#:~:text=Have%20you%20ever%20heard%20of,stands%20a%2012%2Dfeet%20tall.">"Ludwig-van.com – The Octobass Is An Instrument Capable of Playing Below Human Hearing Range"</a>. 20 May 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Ludwig-van.com+%E2%80%93+The+Octobass+Is+An+Instrument+Capable+of+Playing+Below+Human+Hearing+Range&rft.date=2015-05-20&rft_id=https%3A%2F%2Fwww.ludwig-van.com%2Ftoronto%2F2015%2F05%2F20%2Fcool-stuff-8-the-octobass-an-instrument-capable-of-playing-below-human-hearing-range%2F%23%3A~%3Atext%3DHave%2520you%2520ever%2520heard%2520of%2Cstands%2520a%252012%252Dfeet%2520tall.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-guide-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-guide_3-0">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.mti.dmu.ac.uk/~ahugill/manual"><i>The Orchestra: A User's Manual</i></a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20111229212914/http://www.mti.dmu.ac.uk/~ahugill/manual/">Archived</a> 29 December 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, Andrew Hugill with the Philharmonia Orchestra</span> </li> <li id="cite_note-Planyavsky-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-Planyavsky_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Planyavsky_4-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="/wiki/Alfred_Planyavsky" title="Alfred Planyavsky">Alfred Planyavsky</a>, <a rel="nofollow" class="external text" href="http://earlybass.com/articles-bibliographies/chamber-music-in-the-vienna-double-bass-archive/">"Chamber music in the Vienna Double Bass Archive"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210825073756/http://earlybass.com/articles-bibliographies/chamber-music-in-the-vienna-double-bass-archive/">Archived</a> 25 August 2021 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, September 1996, translated by James Barket</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20200130124914/https://www.stringbassonline.com/tuning.htm">"Bass basics"</a>. Archived from <a rel="nofollow" class="external text" href="https://www.stringbassonline.com/tuning.htm">the original</a> on 30 January 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">30 January</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Bass+basics&rft_id=https%3A%2F%2Fwww.stringbassonline.com%2Ftuning.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-briefhistoryofthedoublebass-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-briefhistoryofthedoublebass_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-briefhistoryofthedoublebass_6-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20091027140138/http://www.geocities.com/Vienna/1187/Music/basshist.html">"A Brief History of the Double Bass, Lawrence Hurst, Professor of Double Bass, School of Music, Indiana University"</a>. 27 October 2009. Archived from <a rel="nofollow" class="external text" href="http://www.geocities.com/Vienna/1187/Music/basshist.html">the original</a> on 27 October 2009<span class="reference-accessdate">. Retrieved <span class="nowrap">21 July</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=A+Brief+History+of+the+Double+Bass%2C+Lawrence+Hurst%2C+Professor+of+Double+Bass%2C+School+of+Music%2C+Indiana+University&rft.date=2009-10-27&rft_id=http%3A%2F%2Fwww.geocities.com%2FVienna%2F1187%2FMusic%2Fbasshist.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMaitlandWodehouse1879" class="citation book cs1">Maitland, José Alexander; Wodehouse, Adèle H. 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By Natalie Haas</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110103024640/http://www.allthingsstrings.com/article/default.aspx?articleid=21495">Archived</a> 3 January 2011 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span> </li> <li id="cite_note-watts-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-watts_52-0">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://doodah.net/bgb/HowardCedricRainwaterWatts.html"><i>Howard "Cedric Rainwater" Watts</i></a>, Stewart Evans</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFJohnston" class="citation web cs1">Johnston, Richard. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170131185628/http://www.guitarplayer.com/miscellaneous/1139/barry-bales-expands-the-spectrum-with-alison-krauss--union-station/17886">"Barry Bales Expands The Spectrum With Alison Krauss & Union Station"</a>. <i>Guitar Player</i>. 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Retrieved <span class="nowrap">18 January</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Guitar+Player&rft.atitle=Barry+Bales+Expands+The+Spectrum+With+Alison+Krauss+%26+Union+Station&rft.aulast=Johnston&rft.aufirst=Richard&rft_id=http%3A%2F%2Fwww.guitarplayer.com%2Fmiscellaneous%2F1139%2Fbarry-bales-expands-the-spectrum-with-alison-krauss--union-station%2F17886&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20030511071642/http://www.ibluegrass.com/vi_posting3.CFM?p__i=1004&p__r=&p__a=bass">"Bluegrass Music: iBluegrass.com, Your #1 Source for Bluegrass"</a>. 11 May 2003. Archived from <a rel="nofollow" class="external text" href="http://www.ibluegrass.com/vi_posting3.CFM?p__i=1004&p__r=&p__a=bass">the original</a> on 11 May 2003.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Bluegrass+Music%3A+iBluegrass.com%2C+Your+%231+Source+for+Bluegrass&rft.date=2003-05-11&rft_id=http%3A%2F%2Fwww.ibluegrass.com%2Fvi_posting3.CFM%3Fp__i%3D1004%26p__r%3D%26p__a%3Dbass&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.rockabillybass.com/markschatz.htm">"Learn How to Play Bass Guitar With Free Online Lessons"</a>. Rockabillybass.com. 10 April 2015<span class="reference-accessdate">. Retrieved <span class="nowrap">23 December</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Learn+How+to+Play+Bass+Guitar+With+Free+Online+Lessons&rft.pub=Rockabillybass.com&rft.date=2015-04-10&rft_id=http%3A%2F%2Fwww.rockabillybass.com%2Fmarkschatz.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://ghostarchive.org/varchive/youtube/20211030/d5f9pTVpdsU">"The Art of Slap Bass Presents DIDI BECK"</a>. 31 March 2010. Archived from <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=d5f9pTVpdsU">the original</a> on 30 October 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">23 December</span> 2015</span> – via YouTube.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Art+of+Slap+Bass+Presents+DIDI+BECK&rft.date=2010-03-31&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dd5f9pTVpdsU&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-Bartley-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-Bartley_57-0">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://library.missouristate.edu/archives/exhibits/bartley/index.htm"><i>Dallas Bartley – Small town Boy: Playing in the bands</i></a>, Special Collections and Archives Department, Missouri State University</span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLanphier2012" class="citation journal cs1">Lanphier, B. W (February 2012). "Recording Upright Bass, Part 1: Mics & Pickups". <i>Bass Player</i>. <b>23</b> – via ProQuest.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Bass+Player&rft.atitle=Recording+Upright+Bass%2C+Part+1%3A+Mics+%26+Pickups&rft.volume=23&rft.date=2012-02&rft.aulast=Lanphier&rft.aufirst=B.+W&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">BBC Radio 2, <i>Just Keep on Rockin' </i>, broadcast 17 April 2004. On this radio documentary, host <a href="/wiki/Suzi_Quatro" title="Suzi Quatro">Suzi Quatro</a> expresses disbelief that no drums were played on the recording of <i>Rock the Joint</i>.</span> </li> <li id="cite_note-p-bass-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-p-bass_60-0">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://mickcervino.com/the-electric-guitar/"><i>The Electric Guitar: How We Got From Andrés Segovia To Kurt Cobain</i></a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160623163340/http://mickcervino.com/the-electric-guitar/">Archived</a> 23 June 2016 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, Monica M. Smith</span> </li> <li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text">"In Australia, the John Butler Trio has established itself as one of the most successful independent acts in recent history. Their U.S. debut, <i>Sunrise Over Sea</i>, features gritty and soulful vocals, elements of hip-hop and Appalachian folk." <a rel="nofollow" class="external text" href="https://www.npr.org/templates/story/story.php?storyId=4814948">The John Butler Trio's Fresh Blends</a></span> </li> <li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20120705190429/http://www.kaizers.no/">"Kaizers Orchestra official web page"</a>. Kaizers.no. Archived from <a rel="nofollow" class="external text" href="http://www.kaizers.no">the original</a> on 5 July 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">21 July</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Kaizers+Orchestra+official+web+page&rft.pub=Kaizers.no&rft_id=http%3A%2F%2Fwww.kaizers.no&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">What a day – <a rel="nofollow" class="external text" href="http://www.notreble.com/buzz/2015/08/08/what-a-day-closet/">Closet</a></span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFJason2006" class="citation web cs1">Jason (3 December 2006). <a rel="nofollow" class="external text" href="http://doublebassblog.org/2006/12/double-bass-orchestral-audition-lists-a-survey.html">"Double Bass Orchestral Audition Lists – A Survey – Jason Heath's Double Bass Blog"</a>. Doublebassblog.org<span class="reference-accessdate">. Retrieved <span class="nowrap">23 December</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Double+Bass+Orchestral+Audition+Lists+%E2%80%93+A+Survey+%E2%80%93+Jason+Heath%27s+Double+Bass+Blog&rft.pub=Doublebassblog.org&rft.date=2006-12-03&rft.au=Jason&rft_id=http%3A%2F%2Fdoublebassblog.org%2F2006%2F12%2Fdouble-bass-orchestral-audition-lists-a-survey.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADouble+bass" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=56" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 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side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409" /> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><a href="/wiki/File:Wiktionary-logo-en-v2.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/40px-Wiktionary-logo-en-v2.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/60px-Wiktionary-logo-en-v2.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/80px-Wiktionary-logo-en-v2.svg.png 2x" data-file-width="512" data-file-height="512" /></a></span></div> <div class="side-box-text plainlist">Look up <i><b><a href="https://en.wiktionary.org/wiki/Special:Search/double_bass" class="extiw" title="wiktionary:Special:Search/double bass">double bass</a></b></i> in Wiktionary, the free dictionary.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735" /><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409" /> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><a href="/wiki/File:Commons-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></a></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Double_basses" class="extiw" title="commons:Category:Double basses">Double basses</a></span>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="http://www.EarlyBass.com">EarlyBass.com by Jerry Fuller</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20031119103819/http://www.earlybass.com/">Archived</a> 19 November 2003 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20161003155641/http://www.paulnemeth.com/basschamber.htm">List of chamber music pieces with double bass</a></li> <li><a rel="nofollow" class="external text" href="http://ludowe.instrumenty.edu.pl/en/instruments-/categories/category/317">Polish folk music double basses</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=57" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="General">General</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=58" title="Edit section: General"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Grodner, Murray, <i>Comprehensive Catalog of books, recordings and videos for the double bass</i>. Bloomington IN, Murray Grodner, 2000.</li> <li>Praetorius, Michael, <i>Syntagma Musicum, Band II</i>, Kassel, Bärenreiter, 2001. (Reprint of the first edition of 1619). ISBN 978-3-76181527-4.</li></ul> <div class="mw-heading mw-heading3"><h3 id="History_2">History</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=59" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Billė, Isaia, <i>Gli strumenti ad arco e i loro culturi.</i> Rome, Ausonia. 1928. Pdf available at: <a rel="nofollow" class="external free" href="https://www.vitoliuzzi.com/news-for-a-new-and-authentic-history-of-the-classic-bass/">https://www.vitoliuzzi.com/news-for-a-new-and-authentic-history-of-the-classic-bass/</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20221022174506/https://www.vitoliuzzi.com/news-for-a-new-and-authentic-history-of-the-classic-bass/">Archived</a> 22 October 2022 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>.</li> <li>Boyden, David B., et al., <i>The Violin Family</i>, The New Grove Musical Instruments Series, London, Macmillan, 1989. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-393-30517-1" title="Special:BookSources/0-393-30517-1">0-393-30517-1</a>.</li> <li>Brun, Paul, <i>A New History of the Double Bass</i>, Seillons source d'Argens, Paul Brun Productions, 2018. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2-9514461-0-1" title="Special:BookSources/2-9514461-0-1">2-9514461-0-1</a>.</li> <li>Elgar, Raymond, <i>Introduction to the Double Bass</i>, published by the author, St Leonards on Sea, 1960.</li> <li>Elgar, Raymond, <i>More About the Double Bass</i>, published by the author, St Leonards on Sea, 1963.</li> <li>Elgar, Raymomd, <i>Looking at the Double Bass</i>, published by the author, St Leonards on Sea, 1967.</li> <li>Lohse, Jonas, <i>Das Kontrabass-Buch</i>, Friedberg, Jonas Lohse Verlag, 2020. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-9822602-0-4" title="Special:BookSources/978-3-9822602-0-4">978-3-9822602-0-4</a>.</li> <li>Martin, Thomas, Martin Lawrence and George Martin, <i>The English Double Bass </i>. Banbury, Arpeggio Publishing, 2018.</li> <li>Palmer, Fiona M. (1997). <i>Domenico Dragonetti in England (1794-1846) : the career of a double bass virtuoso</i>. Oxford, Clarendon Press, 1997. ISBN 0-19-816591-9.</li> <li><a href="/wiki/Alfred_Planyavsky" title="Alfred Planyavsky">Planyavsky, Alfred</a>, <i>Geschichte des Kontrabasses</i>, Tutzing, Verlag Hans Schneider, 1984.</li> <li>Stanton, David H., <i>The String (Double) Bass</i>. Evanston IL, The Instrumentalist Company, 1982.</li> <li>West, Chris, "The Paganini of the Double Bass - Bottesini in Britain." Independently published, 2021. ISBN 979-8747194595.</li></ul> <div class="mw-heading mw-heading3"><h3 id="Instruction_methods_and_performance">Instruction methods and performance</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Double_bass&action=edit&section=60" title="Edit section: Instruction methods and performance"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Billè, Isaia, <i>Nuovo metodo per contrabbasso</i>. Milan: Ricordi, 1922</li> <li>Bradetich, Jeff, <i>Double Bass: The Ultimate Challenge</i>. Denton, TX: Music for All to Hear, 2016.</li> <li>Cruft, Eugene, <i>The Eugene Cruft School of Double Bass Playing: A Method with a Repertoire</i>. Oxford: Oxford University Press, 1966.</li> <li>Goïlav, Yoan, <i>La contrebasse: Une philosophie du jeu, histoire, pédagogie, technique / The Double Bass: A Philosophy of Playing, History, Pedagogy, Technique.</i> Lévis, Quebec: Doberman-Yppan, 2003.</li> <li>Goldsby, John, <i>The Jazz Bass Book: Technique and Tradition</i>. San Francisco: Backbeat Books, 2002.</li> <li>O'Brien, Orin. <i>Double-Bass Notebook: Ideas, Tips, and Pointers for the Complete Professional.</i> New York: Carl Fisher, 2016. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0825888830" title="Special:BookSources/978-0825888830">978-0825888830</a>.</li> <li>Simandl, Franz, <i>New Method for the Double Bass</i>. Carl Fischer, 1984.</li> <li>Tambroni, Peter, <i>An Introduction to Double Bass Playing</i>. Oak Park IL, www.MostlyBass.com, 2014.</li> <li>Trebbi, Alfredo, "Il Contrabbasso - novissimo manuale semiserio." Milan: Casa Musicale Sonzogno, 2007. ISBN 978-88-87318-40-1.</li> <li>Turetzky, Bertram. <i>The Contemporary Contrabass</i>. Berkeley: University of California Press, 1989.</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output 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class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acoustic_bass_guitar" title="Acoustic bass guitar">Acoustic bass guitar</a></li> <li><a href="/wiki/Bass_(voice_type)" title="Bass (voice type)">Bass (voice type)</a></li> <li><a href="/wiki/Bass_clarinet" title="Bass clarinet">Bass clarinet</a></li> <li><a href="/wiki/Bass_drum" title="Bass drum">Bass drum</a></li> <li><a href="/wiki/Bass_guitar" title="Bass guitar">Bass guitar</a></li> <li><a href="/wiki/Bass_pedals" title="Bass pedals">Bass pedals</a></li> <li><a href="/wiki/Bass_saxophone" title="Bass saxophone">Bass saxophone</a></li> <li><a href="/wiki/Bass_synthesizer" class="mw-redirect" title="Bass synthesizer">Bass synthesizer</a></li> <li><a href="/wiki/Bass_trombone" title="Bass trombone">Bass trombone</a></li> <li><a href="/wiki/Bassoon" title="Bassoon">Bassoon</a></li> <li><a href="/wiki/Contrabassoon" title="Contrabassoon">Contrabassoon</a></li> <li><a href="/wiki/Contrabass_trombone" title="Contrabass trombone">Contrabass trombone</a></li> <li><a class="mw-selflink selflink">Double bass</a></li> <li><a href="/wiki/Euphonium" title="Euphonium">Euphonium</a></li> <li><a href="/wiki/Guitarr%C3%B3n_mexicano" title="Guitarrón mexicano">Guitarrón</a></li> <li><a href="/wiki/Keyboard_bass" title="Keyboard bass">Keyboard bass</a></li> <li><a href="/wiki/Octobass" title="Octobass">Octobass</a></li> <li><a href="/wiki/Pedal_keyboard" title="Pedal keyboard">Pedal keyboard</a></li> <li><a href="/wiki/Tuba" title="Tuba">Tuba</a></li> <li><a href="/wiki/Washtub_bass" title="Washtub bass">Washtub bass</a></li></ul> </div></td><td class="noviewer navbox-image" rowspan="3" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/wiki/File:FClef.svg" class="mw-file-description"><img alt="F (bass) clef symbol" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/40px-FClef.svg.png" decoding="async" width="40" height="44" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/60px-FClef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/80px-FClef.svg.png 2x" data-file-width="18" data-file-height="20" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Performance/<br />notation</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alternate_bass" title="Alternate bass">Alternate bass</a></li> <li><a href="/wiki/Bass_clef" class="mw-redirect" title="Bass clef">Bass clef</a></li> <li><a href="/wiki/Bass_effects" title="Bass effects">Bass effects</a> <ul><li><a href="/wiki/Bass_chorus" title="Bass chorus">Bass chorus</a></li> <li><a href="/wiki/Fuzz_bass" title="Fuzz bass">Fuzz bass</a></li></ul></li> <li><a href="/wiki/Bass_note" title="Bass note">Bass note</a></li> <li><a href="/wiki/Bassline" title="Bassline">Bassline</a></li> <li><a href="/wiki/Basso_continuo" title="Basso continuo">Basso continuo</a></li> <li><a href="/wiki/Drone_(sound)" title="Drone (sound)">Burden</a></li> <li><a href="/wiki/Figured_bass" title="Figured bass">Figured bass</a></li> <li><a href="/wiki/Unfigured_bass" title="Unfigured bass">Unfigured bass</a></li> <li><a href="/wiki/Partimento" title="Partimento">Partimento</a></li> <li><a href="/wiki/Jazz_bass" title="Jazz bass">Jazz bass</a></li> <li><a href="/wiki/Lament_bass" title="Lament bass">Lament bass</a></li> <li><a href="/wiki/Ostinato" title="Ostinato">Ostinato</a></li> <li><a href="/wiki/Slapping_(music)" title="Slapping (music)">Slap bass</a></li> <li><a href="/wiki/Walkdown" title="Walkdown">Walkdown</a></li> <li><a href="/wiki/Walking_bass" class="mw-redirect" title="Walking bass">Walking bass</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Sound<br />reproduction</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_amplifier" title="Bass amplifier">Bass amplifier</a></li> <li><a href="/wiki/Low-frequency_effects" title="Low-frequency effects">Low-frequency effects</a></li> <li><a href="/wiki/Sub-bass" title="Sub-bass">Sub-bass</a></li> <li><a href="/wiki/Subwoofer" title="Subwoofer">Subwoofer</a></li> <li><a href="/wiki/Woofer" title="Woofer">Woofer</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Violin_family282" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Violin_family" title="Template:Violin family"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Violin_family" title="Template talk:Violin family"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Violin_family" title="Special:EditPage/Template:Violin family"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Violin_family282" style="font-size:114%;margin:0 4em"><a href="/wiki/Violin_family" title="Violin family">Violin family</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Instruments</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Violin" title="Violin">Violin</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Electric_violin" title="Electric violin">Electric violin</a></li> <li><a href="/wiki/Pochette_(musical_instrument)" title="Pochette (musical instrument)">Pochette</a></li> <li><a href="/wiki/Five-string_violin" title="Five-string violin">Five-string violin</a></li> <li><a href="/wiki/Violino_piccolo" title="Violino piccolo">Violino piccolo</a></li> <li><a href="/wiki/Alexander_violin" title="Alexander violin">Alexander violin</a></li> <li><a href="/wiki/Stroh_violin" title="Stroh violin">Stroh violin</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Viola" title="Viola">Viola</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Vertical_viola" title="Vertical viola">Vertical viola</a></li> <li><a href="/wiki/Viola_pomposa" title="Viola pomposa">Viola pomposa</a></li> <li><a href="/wiki/Tenor_violin" title="Tenor violin">Tenor violin</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Cello" title="Cello">Cello</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_violin" title="Bass violin">Bass violin</a></li> <li><a href="/wiki/Baritone_violin" title="Baritone violin">Baritone violin</a></li> <li><a href="/wiki/Cello_da_spalla" title="Cello da spalla">Cello da spalla</a></li> <li><a href="/wiki/Cellone" title="Cellone">Cellone</a></li> <li><a href="/wiki/Electric_cello" title="Electric cello">Electric cello</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a class="mw-selflink selflink">Double bass</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Electric_upright_bass" title="Electric upright bass">Electric upright bass</a></li> <li><a href="/wiki/Violone" title="Violone">Violone</a></li> <li><a href="/wiki/Octobass" title="Octobass">Octobass</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Violin_construction_and_mechanics" title="Violin construction and mechanics">Parts</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_bar" title="Bass bar">Bass bar</a></li> <li><a href="/wiki/Bow_(music)" title="Bow (music)">Bow</a> <ul><li><a href="/wiki/Bow_frog" title="Bow frog">Frog</a></li></ul></li> <li><a href="/wiki/Bridge_(instrument)" title="Bridge (instrument)">Bridge</a></li> <li><a href="/wiki/Chinrest" title="Chinrest">Chinrest</a></li> <li><a href="/wiki/Endpin" title="Endpin">Endpin</a></li> <li><a href="/wiki/Sound_hole" title="Sound hole">F-hole</a></li> <li><a href="/wiki/Fingerboard" title="Fingerboard">Fingerboard</a></li> <li><a href="/wiki/Nut_(string_instrument)" title="Nut (string instrument)">Nut</a></li> <li><a href="/wiki/Scroll_(music)" title="Scroll (music)">Scroll</a></li> <li><a href="/wiki/Shoulder_rest" title="Shoulder rest">Shoulder rest</a></li> <li><a href="/wiki/Sound_post" title="Sound post">Sound post</a></li> <li><a href="/wiki/Tailpiece" title="Tailpiece">Tailpiece</a></li> <li><a href="/wiki/Tuning_mechanisms_for_stringed_instruments" title="Tuning mechanisms for stringed instruments">Tuning peg</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Violin_technique" title="Violin technique">Techniques</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bow_(music)" title="Bow (music)">Bowing</a> <ul><li><a href="/wiki/Bow_stroke" title="Bow stroke">Bow stroke</a></li> <li><i><a href="/wiki/Col_legno" title="Col legno">Col legno</a></i></li> <li><a href="/wiki/Martel%C3%A9_(bowstroke)" title="Martelé (bowstroke)">Martelé</a></li> <li><a href="/wiki/Portato" title="Portato">Portato</a></li> <li><a href="/wiki/Spiccato" title="Spiccato">Spiccato</a></li> <li><a href="/wiki/Tremolo" title="Tremolo">Tremolo</a></li></ul></li> <li><a href="/wiki/Arpeggio" title="Arpeggio">Arpeggio</a></li> <li><a href="/wiki/String_harmonic" title="String harmonic">Harmonics</a></li> <li><a href="/wiki/Double_stop" title="Double stop">Double stop</a></li> <li><a href="/wiki/Fingering_(music)" title="Fingering (music)">Fingering</a></li> <li><a href="/wiki/Finger_substitution" title="Finger substitution">Finger substitution</a> <ul><li><a href="/wiki/Bariolage" title="Bariolage">Bariolage</a></li></ul></li> <li><a href="/wiki/Pizzicato" title="Pizzicato">Pizzicato</a></li> <li><a href="/wiki/Scordatura" title="Scordatura">Scordatura</a> (changing string tuning)</li> <li><a href="/wiki/Finger_vibrato" title="Finger vibrato">Vibrato</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Ensembles<br /> and genres of music</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/String_quartet" title="String quartet">String quartet</a></li> <li><a href="/wiki/String_trio" title="String trio">String trio</a></li> <li><a href="/wiki/String_quintet" title="String quintet">String quintet</a></li> <li><a href="/wiki/String_sextet" title="String sextet">String sextet</a></li> <li><a href="/wiki/String_octet" title="String octet">String octet</a></li> <li><a href="/wiki/String_section" title="String section">String section</a></li> <li><a href="/wiki/String_orchestra" title="String orchestra">String orchestra</a></li> <li><a href="/wiki/Violin_concerto" title="Violin concerto">Violin concerto</a></li> <li><a href="/wiki/Viola_concerto" title="Viola concerto">Viola concerto</a></li> <li><a href="/wiki/Cello_concerto" title="Cello concerto">Cello concerto</a></li> <li><a href="/wiki/Double_bass_concerto" title="Double bass concerto">Double bass concerto</a></li> <li><a href="/wiki/Violin_sonata" title="Violin sonata">Violin sonata</a></li> <li><a href="/wiki/Viola_sonata" title="Viola sonata">Viola sonata</a></li> <li><a href="/wiki/Cello_sonata" title="Cello sonata">Cello sonata</a></li> <li><a href="/wiki/Carnatic_music" title="Carnatic music">Carnatic music</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related instruments</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Arpeggione" title="Arpeggione">Arpeggione</a></li> <li><a href="/wiki/Baryton" title="Baryton">Baryton</a></li> <li><a href="/wiki/Hardanger_fiddle" title="Hardanger fiddle">Hardanger fiddle</a></li> <li><a href="/wiki/Hurdy-gurdy" title="Hurdy-gurdy">Hurdy-gurdy</a></li> <li><a href="/wiki/Lira_da_braccio" title="Lira da braccio">Lira da braccio</a></li> <li><a href="/wiki/Lirone" title="Lirone">Lirone</a></li> <li><a href="/wiki/Nyckelharpa" title="Nyckelharpa">Nyckelharpa</a></li> <li><a href="/wiki/Pochette_(musical_instrument)" title="Pochette (musical instrument)">Pochette</a></li> <li><a href="/wiki/Quinton_(musical_instrument)" 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