• Brun,!P.!(1989).!A'history'of'the'double'bass'(Trans.!by!Lynn!Moreel!&!Paul!Brun).

• • • • • • • • Musicians • The double bass, or simply the bass (and ), is the largest and lowest-pitched in the modern. It is a and is typically notated one 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 fourths (like a ), rather than fifths, with strings to. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the or the. The double bass is a standard member of the orchestra's, as well as the, and is featured in, solo and in. The bass is used in a range of other genres, such as, 1950s-style and,,, traditional,, and many types of. The double bass is played with a bow (arco) or by plucking the strings ().

In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm. Classical music uses the natural sound produced acoustically by the instrument, as does.

In jazz, blues, and related genres, the bass is frequently. Ellen Andrea Wang performing at the Oslo Jazz Festival. The double bass stands around 180 cm (6 feet) from scroll to endpin. However, other sizes are available, such as a ​ 1⁄ 2 or ​ 3⁄ 4, which serve to accommodate a player's height and hand size.

These sizes do not reflect the size relative to a full size, or ​ 4⁄ 4 bass; a ​ 1⁄ 2 bass is not half the size of a bass but is only slightly smaller. It is 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 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 family. Playing style [ ] Like other violin and viol-family string instruments, the double bass is played either with a or by plucking the strings (). 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 also occasional written parts in that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone; there is little work done on developing significant pizzicato skills. 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 players (e.g., and ), such as,,,, ('hammered'-style),,,, and. 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.

Double bass is the standard bass instrument in bluegrass. The Norwegian band Ila Auto, shown here, shows that the bass can be a head taller than the bassist (Kristoffer Iversen). Classical players perform both bowed and pizz notes using, 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 for the. 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.

In, and other related genres, much or all of the focus is on playing pizzicato. In jazz and, bassists are required to play extremely rapid pizzicato for extended periods. As well, 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 ' into basslines, to add to the rhythmic feel and to add to a bassline.

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. Some early basses were conversions of existing violones. This 1640 painting shows a violone being played. The double bass is generally regarded as a modern descendant of the string family of instruments that originated in Europe in the 15th century, and as such has been described as a bass Violin.

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. Before these modifications, the design of their shoulders was closer to instruments of the violin family. The double bass is the only modern bowed string instrument that is tuned in fourths (like a viol), rather than (see below). The issue of 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 family is one that has not been entirely resolved. In his A New History of the Double Bass, Paul Brun asserts, with many references, that the double bass has origins as the true bass of the.

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, and very different from the internal structure of viols. Double bass professor 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.' Some existing instruments, such as those by, were converted from 16th-century six-string contrabass.

Terminology [ ]. Principal parts of the double bass In general, there are two major approaches to the design outline shape of the double bass: the violin form (shown in the labelled picture to the right); and the viol da gamba form (shown in the header picture). A third less common design, called the busetto shape, can also be found, as can the even more rare guitar or pear 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. The double bass features many parts that are similar to members of the violin family, including a wooden, carved to support the strings, two, a into which the ball ends of the strings are inserted (with the tailpiece anchored around the endpin mount), an ornamental near the pegbox, a nut with grooves for each string at the junction of the fingerboard and the pegbox and a sturdy, thick, 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 from, and can be considered partly derived, from the family of instruments, in particular the, the lowest-pitched and largest bass member of the viol family. 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. 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). 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. Construction [ ] The double bass is closest in construction to violins, but has some notable similarities to the violone (literally 'large viol'), the largest and lowest-pitched member of the viol family.

Unlike the violone, however, the fingerboard of the double bass is, 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 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).

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. An important distinction between the double bass and other members of the violin family is the construction of the and the tuning mechanism. While the violin,, and cello all use friction for tuning adjustments (tightening and loosening the string tension to raise or lower the string's pitch), the double bass has metal 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 worm, which drives 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 the low C extension, 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 is generally thicker and more robust than that of a cello, because of the greater mass of the instrument. The materials most often used in double bass construction for fully carved basses (the type used by professional orchestra bassists and soloists) are maple (back, neck, ribs), spruce (top), and ebony (fingerboard, tailpiece). The tailpiece may be made from other types of wood or non-wood materials. Exceptions to this include less-expensive basses that have () tops, backs, and ribs, and some 2010-era lower- to mid-priced basses made of.

Fully laminated plywood basses are resistant to changes in heat and humidity and accidental droppage or impacts, which can cause cracks in carved wood tops and bodies (a crack is most serious on the top). This photo shows the thick soundpost on a double bass (circled in green). Laminated (plywood) basses, which are widely used in music schools,, and in popular and folk music settings (including,,, 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. In 2015, the least expensive entry-level new, fully carved basses range from $2,750 to $4,950 USD, although a higher-end new carved instrument may cost from $9,000 to $24,000 USD. In 2015, bassists in top professional orchestras may have antique carved instruments valued at hundreds of thousands of dollars. In 2015, new fully laminated basses are sold for about $1,350 to $4,500 USD. New hybrid basses range from $3,000 to $6,400 USD.

The and 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. 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. 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 projecting from the side of the pegbox, in imitation of the tuning pegs on a cello or violin. Famous double bass makers come from around the world and often represent varied national characteristics. The most highly sought (and expensive) instruments come from Italy and include basses made by,, the family (Carlo Antonio, Carlo Giuseppe, Gennaro, Giovanni, Paulo Antonio),, and.

French and English basses from famous makers are also sought out by players. [ ] Travel instruments [ ] As of 2016, 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, 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. Gut strings The history of the double bass is tightly coupled to the development of string technology, as it was the advent of gut strings, which first rendered the instrument more generally practicable, as (over‑) wound strings attain low notes within a smaller overall string diameter than non-wound strings. Professor 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.' 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.

Prior to the mid-20th century, [ ] double bass strings were usually made of, (which despite its name is made from sheep intestine, not cats) but, since that time, steel has largely replaced it, because steel strings hold their pitch better and yield more volume when played with the bow. Gut strings are also more vulnerable to changes of humidity and temperature, and break more easily than steel strings. Gut strings are nowadays mostly used by bassists who perform in ensembles, bands, traditional bands, and 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.' Rockabilly and bluegrass bassists also prefer gut because it is much easier to perform the ' 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. (For more information on slapping, see the sections below on,,, and ). 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 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.

For information on the strings used in regular and solo tuning (F ♯-B-E-A) and with different types of basses (e.g., four-string and five-string), see the. Bows [ ] The double bass 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.

French and German bows compared 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.

German bow [ ]. German-style bow 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 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. 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. 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 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.

French bow [ ]. A bassist holding a French bow; note how the thumb rests on the shaft of the bow next to the frog. Bow construction and materials [ ] 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., 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, 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. And are also used in bows of a variety of different qualities. The frog of the double bass bow is usually made out of, although snakewood and horn are used by some. The 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 inlay. 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 [ ] or in quality bows. The hair is usually. Part of the regular maintenance of a bow is having the bow 'rehaired' by 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 bassists argue that the slightly rougher black hair 'grabs' the heavier, lower strings better. [ ] As well, some bassists and luthiers believe that it is easier to produce a smoother sound with the white variety. [ ] Red hair (chestnut) is also used by some bassists.

[ ] 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. A variety of rosin types. String players apply 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. Bassists may apply more rosin in works for large orchestra (e.g., Brahms symphonies) than for delicate chamber works.

[ ] Some brands of rosin, such as Pop's double bass rosin, are softer and more prone to melting in hot weather. Other brands, such as Carlsson or Nyman Harts double bass rosin, are harder and less prone to melting. [ ] Pitch [ ].

The bass (or F) clef is used for most orchestral double bass music. The lowest note of a double bass is an E 1 (on standard four-string basses) at approximately 41 Hz or a C 1 (≈33 Hz), or sometimes B 0 (≈31 Hz), when five strings are used. This is within about an octave above the that the average human ear can perceive as a distinctive pitch.

The top of the instrument's fingerboard range is typically near D 5, two octaves and a fifth above the open pitch of the G string (G 2), 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. Double bass symphony parts sometimes indicate that the performer should play (also called ), 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 and, 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 a great deal in virtuoso concertos for the double bass.

Orchestral parts from the standard rarely demand the double bass exceed a two-octave and a minor third range, from E 1 to G 3, with occasional A 3s appearing in the standard repertoire (an exception to this rule is Orff's, 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., 's ( c.1933) bass solo, which calls for notes as high as D 4 and E ♭ 4). The upper range 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. Five-string instruments have an additional string, typically tuned to a low B below the E string (B 0). On rare occasions a higher string is added instead, tuned to the C above the G string (C 3). Four-string instruments may feature the extending the range of the E string downwards to C 1 (sometimes B 0).

Traditionally, the double bass is a. Since much of the double bass's range lies below the standard, 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 and (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.

Tuning [ ] Regular tuning [ ]. Double bass player Vivien Garry playing a show in New York City in 1947. The double bass is generally tuned in, in contrast to other members of the, which are tuned in (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 (). This is the same as the standard tuning of a bass guitar and is one lower than the four lowest-pitched strings of. 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', because 'the three-stringed instrument [was viewed as] being more sonorous.' Many bands in still have players using traditional three-string double basses tuned A–D–G. Throughout 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. In the 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 era and the 20th century, composers such as,, and also requested notes below the low E. 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' (see below). 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 and a below. Several major European orchestras use basses with a fifth string. C extension [ ]. A low-C extension with wooden mechanical 'fingers' that stop the string at C ♯, D, E ♭, or E.

For orchestral passages which only go down to a low E, the 'finger' at the nut is usually closed. In Britain, the USA and Canada, most professional orchestral players use four-string double basses with a C extension. 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 1, an octave below the lowest note on the cello.

More rarely this string may be tuned to a low B 0, as a few works in the orchestral repertoire call for such a B, such as 's The Pines of Rome. In rare cases, some players have a low B extension, which has B as its lowest note.

There are several varieties of extensions: 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 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 and D. 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 ♯, D, E ♭, or E notes. This system is particularly useful for basslines that have a repeating 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 (e.g., a low D).

The most complicated mechanical aid for use with extensions is the mechanical lever system nicknamed the machine. 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. 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 effects, as is possible with a hand-fingered extension. While the most common type of extension is the C extension, in rare cases, owners of five-string basses, in which the lowest string is normally a low B, may use either a two semitone extension, providing a low A, or the very rare low G extension.

Other tuning variations [ ] A small number of bass players tune their strings in, like a cello but an octave lower (C–G–D–A low to high). This tuning was used by the jazz player and is used by some classical players, notably the Canadian bassist. 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 1 to A 2. Some players who use fifths tuning who play a five-string bass use an additional high 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 (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–G–D–A) 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.'

In classical solo playing the double bass is usually tuned a whole tone higher (F ♯–B–E–A). 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 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. Some contemporary composers specify highly specialized (intentionally changing the tuning of the open strings). Changing the pitch of the open strings makes different notes available as and harmonics., for example, asks the player to tune their strings E–G ♯–D–G in Sequenza XIVb and asks for both F–A–D–E and F–A–F–E in Nuits. A variant and much less-commonly used form of solo tuning used in some Eastern European countries is (A–D–G–C), which uses three of the strings from orchestral tuning (A–D–G) and then adds a high 'C' string. Some bassists with five-string basses use a high 'C' string as the fifth string, instead of a low 'B' 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 B) extension and a high C string. Five strings [ ] 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). Six-stringed instruments are generally regarded as impractical. To accommodate the additional fifth string, the fingerboard is usually slightly widened, and the top slightly thicker, to handle the increased tension. 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. Playing and performance considerations [ ] Body and hand position [ ]. The upright bass player of the band Lucky Dados. 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 large and thick.

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, 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.

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. Until the 1990s, child-sized double basses were not widely available, and the large size of the bass prevented children from playing the instrument until they grew to a height and hand size that let them to play a ​ 3⁄ 4-size model (the most common size). Starting in the 1990s, smaller ​ 1⁄ 2, ​ 1⁄ 4, ​ 1⁄ 8, and even ​ 1⁄ 16-sized instruments became more widely available, so children could start younger. Volume [ ] Despite the size of the instrument, it is not as loud as many other instruments, due to its low range. In a large orchestra, usually between four and eight bassists play in the same 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. When writing solo passages for the bass in orchestral or chamber music, composers typically ensure the 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 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.' Bassist onstage with; note his large consisting of a 1x15' cabinet, a 4x10' cabinet, and an amplifier 'head'. In many genres, such as jazz and blues, players use amplification via a and loudspeakers.

A piezoelectric pickup connects to the amplifier with a ​ 1⁄ 4-inch patch cable. Bluegrass and jazz players typically use less amplification than blues,, or players. In the latter cases, high overall volume from other amplifiers and instruments may cause unwanted, 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 that identifies and reduces frequencies where feedback occurs) and instruments like the, 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.

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 (to pick up the percussive slapping sounds). These two signals are blended together using a simple before the signal is sent to the bass amp.

Transportation [ ] The double bass's large size and relative fragility make it cumbersome to handle and transport. Most bassists use soft cases, referred to as, 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. A wooden mute attached to the bass bridge to make the tone darker Double bass players use various accessories to help them to perform and rehearse. Three types of 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 con sordino ('with mute') appears in the bass part, and removes it in response to the instruction senza sordino ('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). 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. 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 that slightly shifts the natural frequency of the string (and/or instrument body) cutting down on the reverberation. 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 ♯ on the bass. In orchestra, instruments tune to an A played by the oboist. Due to the multiple octaves between the oboist's tuning A and the open A string on the bass (for example, in an orchestra that tunes to 440 Hz, the oboist plays an A at 440 Hz and the open A 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. To ensure the bass is in tune, some bassists use an that indicates pitch on a small display.

Bassists who play in styles that use a, such as blues, rockabilly, or jazz, may use a -format electronic tuner, which mutes the bass pickup during tuning. 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. Classical repertoire [ ] Solo works for double bass [ ] 1700s [ ] 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, used different tunings from region to region. The 'Viennese tuning' (A 1–D 2–F ♯ 2–A 2) was popular, and in some cases a fifth string or even sixth string was added (F 1–A 1–D 2–F ♯ 2–A 2). The popularity of the instrument is documented in '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.'

The virtuoso nineteenth-century bassist and composer Giovanni Bottesini with his 1716 Carlo Antonio Testore bass. In the 19th century, the opera conductor, composer, and bassist was considered the ' of the double bass' of his time, a reference to the violin virtuoso and composer. Bottesini's bass were written in the popular Italian 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. 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 arose, which included, Theodore Albin Findeisen, Josef Hrabe,, and.

Simandl and Hrabe were also pedagogues whose method books and studies remain in use in the 2000s. 1900s–present [ ] The leading figure of the double bass in the early 20th century was, best known as conductor of the, 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 's Concerto (1942), 's Concerto (1948), 's Concertino (1957), 's Concerto (1962), 's Concerto (1966) and 's Concerto No.

The Solo For Contrabass is one of the parts of 's Concert For Piano And Orchestra 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 Atlas Eclipticalis can also be performed as solos. Cage's indeterminate works such as Variations I, Variations II, Fontana Mix, Cartridge Music et al. Can be arranged for a solo contrabassist.

His work 26.1.1499 For A String Player is often realized by a solo contrabass player, although it can also be played by a violinist, violist, or cellist. From the 1960s through the end of the century 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 for talented soloists to use in concert. Another important performer in this period,, commissioned and premiered more than 300 double bass works. The opening of the third movement of Beethoven's Symphony No. 5 is often used as an orchestral excerpt during bass. 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 Le Matin, No. 7 Le midi, No. 8 Le Soir, No. 31 Horn Signal, and No. 45 Farewell—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 and from are famous orchestral excerpts, as is the recitative at the beginning of the fourth movement of. 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. Free Ky Learners Permit Practice Test here. [ ] A double bass section of a modern typically uses eight double bassists, usually in.

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, such as octaves and fifths, but in some cases use thirds and sixths. The basses play the theme from the fourth movement of.

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. While orchestral bass solos are somewhat rare, there are some notable examples., whose father was a double bass player, wrote many difficult and prominent parts for the double bass in his symphonies.

Assigned the double bass daring parts, and his symphonic poems and operas stretch the instrument to its limits. 'The Elephant' from ' is a satirical portrait of the double bass, and American virtuoso made his televised debut playing 'The Swan' (originally written for the cello) with the conducted. The third movement of 's features a solo for the double bass that quotes the children's song Frere Jacques, transposed into a minor key. 's Suite features a difficult and very high double bass solo in the 'Romance' movement.

's contains a prominent passage for the double bass section. Double bass ensembles [ ] 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,,,, Robert Ceely,, Bernhard Alt, Norman Ludwin,, Joseph Lauber,,, Miloslav Gajdos and Theodore Albin Findeisen.

's 'Who's on First?,' commissioned by the Russian National Orchestra is scored for five double basses. Wrote a Sinfonia piccola for eight double basses. Larger ensemble works include 's Composition No. 2, 'Dies Irae' (1973), for eight double basses, piano, and wooden cube, 's George and Muriel (1986), for solo bass, double bass ensemble, and chorus, and Gerhard Samuel's What of my music! (1979), for soprano, percussion, and 30 double basses.

Double bass ensembles include L'Orchestre de Contrebasses (6 members), Bass Instinct (6 members), Bassiona Amorosa (6 members), the Chicago Bass Ensemble (4+ members), founded by Daniele Roccato and, The Bass Gang (4 members), the (6 members) founded by members of the Philharmonia Orchestra of London who produced the LP on Bruton Music records, Brno Double Bass Orchestra (14 members) founded by the double bass professor at and principal double bass player at – Miloslav Jelinek, and the ensembles of (12 members),, and the. The Amarillo Bass Base of once featured 52 double bassists, and The London Double Bass Sound, who have released a CD on Cala Records, have 10 players. In addition, the double bass sections of some orchestras perform as an ensemble, such as the 's Lower Wacker Consort. There is an increasing number of published compositions and arrangements for double bass ensembles, and the 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.

Use in jazz [ ]. See also: Beginning around 1890, the early New Orleans ensemble (which played a mixture of marches,, and ) was initially a marching band with a or (or occasionally ) supplying the bass line. As the music moved into bars and brothels, the upright bass gradually replaced these wind instruments around the 1920s. Many early bassists doubled on both the brass bass () and string bass, as the instruments were then often referred to. Bassists played improvised —scale- and arpeggio-based lines that outlined the.

Because an unamplified upright bass is generally the quietest instrument in a jazz band, many players of the 1920s and 1930s used the slap style, 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. For more about the slap style, see Modern playing styles, below. Bassist was also an influential bandleader and composer whose musical interests spanned from bebop to free jazz. 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.

Many upright bass players have contributed to the evolution of jazz. Examples include swing era players such as, who played with, and, who pioneered the instrument's use in. (who worked with on the famous album) achieved renown for being one of the first jazz bassists to play bebop solos with the bow. Furthered the development of arco (bowed) solos, achieving horn-like technical freedom and a clear, vocal bowed tone, while, best known for his work with, defined the role of the bass in. A number of other bassists, such as, and, 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, was a highly regarded composer as well as a bassist noted for his technical virtuosity and powerful sound.

Influenced a generation of musicians by liberating the bass from contrapuntal 'walking' behind soloists instead favoring interactive, conversational melodies. Since the commercial availability of in the 1950s, jazz bassists have used amplification to augment the natural volume of the instrument.

While the electric bass guitar was used intermittently in jazz as early as 1951, beginning in the 1970s bassist, playing with saxophonist, and fusion pioneers and 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, 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.

Demonstrative examples of the sound of a solo double bass and its technical use in jazz can be heard on the solo recordings (1978) by or (1986). Holland also recorded an album with the representative title (1971) on which he plays with while he sometimes switches to cello. Use in bluegrass and country [ ]. See also: The string bass is the most commonly used bass instrument in 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 4 4, 2 4 or 3 4 time. The Engelhardt-Link (formerly ) brands of plywood laminate basses have long been popular choices for bluegrass bassists. Most bluegrass bassists use the ​ 3⁄ 4 size bass, but the full-size and ​ 5⁄ 8 size basses are also used. Upright bass used by a bluegrass group; the cable for a piezoelectric pickup can be seen extending from the bridge. 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.' 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. Common rhythms in bluegrass bass playing involve (with some exceptions) plucking on beats 1 and 3 in 4 4 time; beats 1 and 2 in 2 4 time, and on the downbeat in 3 4 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 walkup or, 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 line with a note on every beat or play a pentatonic scale-influenced bassline. Country music bassist 'Too Slim' ( of ) performing in Ponca City, Oklahoma in 2008. An early bluegrass bassist to rise to prominence was Howard Watts (also known as Cedric Rainwater), who played with 's Blue Grass Boys beginning in 1944. The classical bassist has frequently branched out into, old-time, jazz, and other genres. 'My all-time favorite is,' proclaimed Union Station bassist Barry Bales in April 2005. 'He brought a completely different way of thinking about and playing bluegrass. An upright bass was the standard bass instrument in traditional.

While the upright bass is still occasionally used in, 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. Slap-style bass [ ] 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 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 rarely do slap bass on recordings. While bassists such as slap bass on the occasional faster 'Clinch Mountain Boys song,' bassists such as Gene Libbea,, Jenny Keel, and [rarely] slap bass. Bluegrass bassist Mark Schatz, who teaches slap bass in his Intermediate Bluegrass Bass 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.' Another bluegrass method, Learn to Play Bluegrass Bass, by Earl Gately, also teaches bluegrass slap bass technique. German bassist plays rapid triplet slaps, as demonstrated in this video. Use in popular music [ ]. See also: In the early 1950s, the upright bass was the standard bass instrument in the emerging style of music, of being but one example. In the 1940s, a new style of dance music called developed, incorporating elements of the earlier styles of blues and swing., the first innovator of this style, featured an upright bass in his group, the.

The upright bass remained an integral part of pop lineups throughout the 1950s, as the new genre of 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 ), making bass parts difficult to hear. The upright bass is difficult to amplify in loud concert venue settings, because it can be prone to howls. 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 ' and '. In 1951, released his, the first commercially successful guitar.

The electric bass was easily amplified with its built-in, 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. Photos of bassist: •. 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 and 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 trend for 'unplugged' performances on, in which rock bands performed with solely acoustic instruments, further helped to enhance the public's interest in the upright bass and.

Jim Creeggan of Barenaked Ladies, pictured at a 2009 show. Of primarily plays upright bass, although he has increasingly played bass guitar throughout the band's career. Of alternative rock group uses a combination of electric and double bass. Of the Australian folk/pop group plays an upright bass., of the Australian folk-rock group, makes extensive use of upright basses, performing extended live solos in songs such as Betterman. On the 2008 album by the indie/pop band, a bowed upright bass is featured quite prominently on the songs 'Teenagers' and 'In Ear Park'. Norwegian ompa-rock band use the upright bass exclusively both live and on their recordings. French contemporary pop duet 'What a day' uses double bass extended pizzicato technique with vocals and type writer 's bass players (Jason Brown, 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 set.

The late 1970s rockabilly-punk genre of continued and expanded upon the rockabilly tradition of slap bass. Bassists such as and have developed the ability to play rapid slap bass that in effect turns the bass into a percussion instrument.

Modern playing styles [ ]. A mid-sized bass amp used to amplify a double bass at a small jazz gig. In popular music genres, the instrument is usually played with and almost exclusively played with the fingers, 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).

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. In traditional jazz,,, rockabilly, and psychobilly music, it is sometimes played in the.

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 -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.

'Slap style' may have influenced electric bass guitar players [ ] who, from the mid-sixties (particularly Larry Graham of Sly and the Family Stone), developed a technique called that used the thumb of the plucking hand to hit the string, making a slapping sound but still letting the note ring, and the index or middle finger of the plucking hand to pull the string back so it hits the fretboard, achieving the pop sound described above. Bass player routinely used a double bass for enhancement of the electric bass in post-production ('sweetening') of recorded tracks and vice-versa in many instances. [ ] Double bassists [ ] Historical [ ] • (1763–1846), composer, conductor • (1821–1889) Virtuoso, composer, conductor • (1840–1912) Virtuoso, composer, • (1872–1943) Virtuoso, composer • (1874–1951) Virtuoso, composer, conductor Modern [ ] • (1941– ) Virtuoso • (1960– ) Virtuoso, composer, teacher Contemporary (1900s) [ ] Classical [ ].

Double bass soloist Gary Karr 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 (1910–1987), known for his teaching at the and, for 44 summers at the National Music Camp in and French bassist (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 (b. 1941), Finnish composer (b. 1941), Italian composer Fernando Grillo, and US player-composer. For a longer list, see the. (born 1972), one of the new 'young lions' in the jazz scene, has won four.

The experimental post 1960s era, and free jazz and jazz-rock fusion, produced several influential bassists. (1922–1979), who was also a composer and, produced music that fused with black,, and classical music. Download Compaq Presario M2000 Audio Driver.

And post-bop bassist (1937–2014) is best known for his long association with saxophonist, and for his role in the 1970s-era, an experimental group. And, who played with and, respectively, and are both acknowledged to have furthered expectations of pizzicato fluency and melodic phrasing. Virtuoso (born 1951) is notable for his dexterity on both the upright bass and the electric bass.

Is noted for his horn-like arco fluency and vocal-sounding tone. In the 1990s and first decade of the 21st century, one of the new 'young lions' was (born 1972), who has performed with a range of veterans ranging from to fusion gurus and, and who has released albums such as 2003's. Another young bassist of note is (born 1984) who, at 27 years of age, had already won a for Best New Artist. For a longer list, see the, which includes both double bass and electric bass players. Other popular genres [ ].

Double bass player for Australian rock band. In addition to being a noted classical player, is well known in and circles. Is another prominent bluegrass player.

Well-known bassists include, (with ) and (with 1980s-era rockabilly revivalists the ). Notable rockabilly revivalists and performers from the 1990s and first decade of the 21st century include (from the Australian band ), (from the US band ), (), (), (, ex-). (1915–1992) was one of the most notable figures in the history of.

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 's rock and roll hits. Many other bands like El Rio Trio (from the Netherlands) also use this instrument in their work. See also the. Pedagogy and training [ ] 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 method in France or the method in Germany). 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. 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 ghost notes by raking muted or partially muted strings. Formal training [ ].

Jazz singer/bassist performing on 10 December 2009 at the of 2009 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., 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 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. Bachelor's degrees in bass performance (referred to as 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. Master of music degrees () 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 or M.M.) is often a required credential for people who wish to become a professor of double bass at a university or conservatory.

Manhattan School of Music professor 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. 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. 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.

Informal training [ ] 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. Careers [ ] 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. In some styles of music, such as jazz-oriented stage bands, bassists may be asked to printed music or perform standard pieces (e.g., a such as Now's the Time) 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 rockabilly-style 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 as 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 or song. A German double bass section in 1952. The player to the left is using a German bow.

Classical music [ ] In, 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 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 's Symphonies Nos. 5, 7 and 9; 's and Don Juan; 's Symphonies Nos. 35, 39 and 40; ' Symphonies Nos. 1 and 2; 's Pulcinella; 's Symphony No. 5; 's Variaciones Concertante; 's Symphony No. 4; 's Symphony No. 2; J. S. Bach's Suite No. 2 in B; 's, 's Symphony No. 4; and the bass solos from 's opera, 's Symphony No. 1, 's and 's. See also [ ] • • • • • • • • References [ ].